The Phoenician Scheme

 

Written and directed by Wes Anderson from a story by Anderson and Roman Coppola, The Phoenician Scheme is the story of a wealthy businessman who names his only daughter as his sole heir as they deal with rival businessmen and other forces wanting to take over. The film is an ensemble comedy-drama that follows a man who built his empire who installs his nun daughter to become his heir. Starring Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Scarlett Johansson, Hope Davis, Mathieu Almaric, Richard Ayoade, Jeffrey Wright, Rupert Friend, and Benedict Cumberbatch. The Phoenician Scheme is a whimsical and heartfelt film by Wes Anderson.

Set in the 1950s, the film follows a wealthy industrialist who has named his only daughter as his sole heir as the two along with a tutor traveling around the fictional European country of Phoenicia to deal with various investors over money, he skimmed over to salvage a project that he hopes would help Phoenicia. It is a film that explores a man who had been through many near-death experiences involving plane crashes and assassination attempts on his life where he decides to bring his eldest child into the fold even though she is about to become a nun as she is reluctant to take part in his criminal activities. Wes Anderson’s screenplay has a narrative that is straightforward with some strange yet surreal sequences that involves its protagonist Zsa-Zsa Korda (Benicio del Toro) often visiting the afterlife following every near-death experience. These events forces him to name his estranged daughter Liesl (Mia Threapleton) as his sole heir as he has 10 other sons who are all adolescent and unable to help Korda in his schemes. Joining them on this trip through Phoenicia is a Norwegian entomologist in Bjorn (Michael Cera) whom Korda hired as a tutor in his own increasing interest in insects.

The script also has a unique structure into the group of people that Korda has to meet to cover his losses that includes a consortium led by two American brothers in Leland (Tom Hanks) and Reagan (Bryan Cranston), the heir to Phoenicia in Prince Farouk (Riz Ahmed), a French nightclub owner in Marseille Bob (Mathieu Almaric), an American investor in Marty (Jeffrey Wright), Korda’s second-cousin Hilda (Scarlett Johansson), and his half-brother Uncle Nubar (Benedict Cumberbatch) whom Korda believes killed Liesl’s mother many years ago. Korda would endure a series of challenges and events upon his journey as it would play into a character arc of his own as a man that is constantly dealing with assassins trying to kill him and other things while he gets to know Liesl. Liesl would have an arc of her own while also revealing her own quirks such as the fact that she carries a dagger and smokes with a pipe. Notably as she gains a view of the world though remains committed to her faith and becoming a nun. Bjorn is a character that is full of intrigue as he is fascinated by Liesl while he is also ambiguous in the things he talks about while often surrounds himself with insects as they fascinate him. The film also has a subplot relating to a government agent led by Excaliber (Rupert Friend) who is tailing Korda and his activities in the hope of disrupting everything for Korda.

Anderson’s direction is entrancing as it does play into his stylish usage of symmetrical compositions and diligence to everything he captures on film. Shot on location at the Babelsberg Studio in Germany and in a 1:48:1 aspect ratio format that is an unconventional presentation that is atypical with a lot of films. Anderson does maintain some unique compositions in some of the wide shots he creates to play into the fictional country of Phoenicia as it is a country between Europe and the Middle East. Anderson does maintain some stylish framing in the way he puts his actors in a medium shot or a close-up along with some intricate tracking shots where characters would move from one room to another. Anderson’s presentation of the scenes set in the afterlife are shot in black-and-white as there is an element of surrealism where Korda meet some people including his first wife (Charlotte Gainsbourg), a young Liesl (Beatrice Campbell) and a few others as it plays into his own brush with death.

The film also plays into the ideas of faith as it relates to Liesl who often prays during her journey while the sequence in which Korda meets with Bob at his nightclub that is being robbed by Communist revolutionaries led by Sergio (Richard Ayoade) as Korda, Liesl, and Bjorn would meet them again as they are all Atheists. There is a humorous take in how Anderson presents Atheism as it would help play in both Korda and Liesl’s character arcs as it relates to faith. Notably the former whose encounters with the afterlife through his near-death experiences forces him to contend with his own existence. The film’s climax relates to the final meetings with those he counted upon to help him save the project as well as confront Uncle Nubar who is the last investor who is also ambiguous into answering Liesl’s own questions about her mother. It would be followed by a ridiculous fight scene as well as other outlandish things followed by an epilogue that plays into the fate of Phoenicia, its project, and those close to Korda. Overall, Anderson crafts an evocative and enchanting film about a business tycoon trying to make amends with his estranged empire to save his criminal empire.

Cinematographer Bruno Delbonnel does incredible work with the film’s cinematography with its stylish usage of lighting for interior scenes in the day and night as well as in the way some of the exterior scenes are lit including scenes at night such as a scene inside a crashed airplane with the usage of lamps and available light. Editor Barney Pilling, with additional work from Andrew Weisblum, does excellent work with the editing with its usage of jump-cuts, slow-motion shots, and other stylish cuts to play into the suspense, action, and humor also knowing when to have shots linger on for around a minute. Production designer Adam Stockhausen, with set decorator Anna Pinnock plus art directors Marc Bitz, Neneh Lucia, Anja Muller, Esther Schreiner, and Mariana Vasconcellos, does brilliant work with the look of the Korda estate, the unfinished train tunnel, and other places including interiors of the planes that Korda flies in as it is a highlight of the film. Costume designer Milena Canonero does amazing work with the costumes in the design of the suits that Korda and Bjorn wears as well as the nun outfit that Liesl wears and the clothes of some of the other characters including the sweatpants and shoes that Leland and Reagan wear.

Hair/makeup designer Heike Merker and prosthetics designer Mark Coulier do terrific work with the look of the characters in the hairstyles that Liesl and Bjorn have as well as the big beard that Uncle Nubar has. Special effects supervisor Gerd Nefzer, along with visual effects supervisors Craig Crawford and Steve Murgatroyd, does fantastic work with the look of some of the models and miniatures used in the film along with a few bits of visual effects as set dressing. Sound editors Wayne Lemmer and Christopher Scarabosio do superb work with the sound in the way planes sound from the inside as well as the sounds of certain objects including weapons. The film’s music by Alexandre Desplat is wonderful for its low-key piano-based orchestral score that plays into the suspense and drama with some soft percussive and a low-key string arrangement to play into some dangerous scenes. Music supervisor Randall Poster cultivated a soundtrack that features classical music pieces from Igor Stravinsky, Ludwig Van Beethoven, Johann Sebastian Bach, and Modest Mussorgsky as well as music from Gene Krupa and Dizzy Gillespie.

The film’s casting by Douglas Aibel is marvelous as it feature some notable small roles and appearances from Beatrice Campbell as a young Liesl, Donald Sumpter as a chairman that Excaliber works for, Alex Jennings as Korda’s butler, Jason Watkins as Korda’s attorney, Stephen Park as Korda’s pilot, and in the roles of Korda’s 10 adolescent sons in Edward Hyland, Ogden Dawson, Kit Rakusen, Milo James, Hector Bateman-Harden, Benjamin Lake, Gunes Taner, Gabriel Ryan, Mohamad Momo Ramadan, and Jonathan Wirtz. Other notable small roles as figures of people that Korda sees in the afterlife include Charlotte Gainsbourg as Korda’s first wife, Willem Dafoe as an attorney in Knave, F. Murray Abraham as a prophet, and Bill Murray as God. Hope Davis is fantastic as the Mother Superior who arrives in the film’s third function as Liesl’s mentor who learns about Liesl’s journey as well as getting to know Korda where she decides to join him in his own scheme for the good of Phoenicia.

Tom Hanks and Bryan Cranston are superb in their respective roles as the brothers Leland and Reagan as two American investors who are upset over their own financial loss as they would settle this dispute through a game of horse where Hanks and Cranston display their skills in the game. Riz Ahmed and Richard Ayoade are excellent in their respective roles as the Phoenician heir Prince Farouk and the guerilla leader Sergio with the former being an investor who believes that Korda will do good while the latter is a Communist revolutionary who decides to join Korda in the film’s third act in dealing with enemies of Korda. Rupert Friend and Mathieu Almaric are brilliant in their respective roles as the bureaucratic Excaliber and the nightclub owner Marseille Bob with the former being a government agent trying to disrupt Korda’s activities and the latter being another investor who has issues with what Korda wants only for his encounter with Sergio changes everything.

Jeffrey Wright and Scarlett Johansson are amazing in their respective roles as the American investor Marty and Cousin Hilda with the former being an investor who is also upset over what Korda wants while the latter is Korda’s second cousin who is unsure about wanting to marry Korda to save his business as she is also trying to handle things for herself. Benedict Cumberbatch is great as Uncle Nubar as Korda’s half-brother who is also an investor yet remains mysterious in his own dealings while is also unwilling to answer questions about the death of Liesl’s mother. Michael Cera is incredible as Bjorn as a Norwegian entomologist who is hired as a tutor for Korda while also being an administrative assistant where he is full of humor and intrigue as he is also someone that is fascinated by Liesl.

Mia Threapleton is tremendous in a break-out performance as Liesl as Korda’s estranged daughter who is becoming a nun as she is reluctant to join her father on a trip through Phoenicia where she gets to see many wonders of the world while also being someone who smokes a pipe and carries a dagger where she has quirks of her own like her father. Finally, there is Benicio del Toro in a phenomenal performance as Zsa-Zsa Korda as a business tycoon who has created schemes to swindle people out of money where he is ruthless in his pursuits until a series of near-death experiences forces him to make some changes in saving a project for the country of Phoenicia where he gains some insights about the ways of the world. It is a witty performance from del Toro who brings a lot of complexities of a man with irredeemable qualities, yet he puts in things that would make him redeemable during his journey as he also has some amazing low-key chemistry with Threapleton.

The Phoenician Scheme is a sensational film by Wes Anderson that features a great leading performance from Benicio del Toro and a major discovery in Mia Threapleton. Along with its ensemble cast, dazzling visuals, a sumptuous music soundtrack, and a story of redemption and meaning amidst bad decisions and near-death experiences. The film is an offbeat yet compelling film that does mark a newfound maturity from Anderson in its exploration of family dysfunction as well as characters trying to find redemption from their bad habits. In the end, The Phoenician Scheme is a phenomenal film by Wes Anderson.

Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison (2023 short) - The Auteurs #8: Wes Anderson

Wes Anderson Film Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) – (The Grand Budapest Hotel) – (Isle of Dogs) – (The French Dispatch) – (Asteroid City) – (The Wonderful Story of Henry Sugar) – (The Phoenician Scheme)

© thevoid99 2023

Rogue One: A Star Wars Story

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

George Lucas Films: THX 1138 - (American Graffiti)

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

© thevoid99 2017

Nightcrawler

Written and directed by Dan Gilroy, Nightcrawler is the story of a man who takes part in an underground world of freelance video journalism as his obsession with getting footage to the news eventually becomes uncontrollable. The film is an exploration into the world of news media and how a man tries to capture footage of crime and sell it to the highest bidder in the news world. Starring Jake Gyllenhaal, Rene Russo, Riz Ahmed, Ann Cusack, and Bill Paxton. Nightcrawler is a dark and gripping film from Dan Gilroy.

The news media is a world where it’s job is to cover the news to the world as news station will do whatever to present the news to the people. Some of which would often toe the line into what is right and wrong where some are willing to exploit moments of graphic violence just so they can boost ratings. The film is about the world of the news media where man takes part in the underground world of freelance video journalism as he brings a camera to shoot grisly footage of crime and deaths where he would sell his footage to a news station for money. Along the way, the man becomes ambitious in his operation where he goes to great lengths to get rich as well as get rid of competitors and such without any sense of moral ground. It’s a film that showcases where greed is the driving force as a man and a news director do whatever it takes to sell a story through the news media for ratings.

Dan Gilroy’s screenplay is very unique for the way Louis Bloom (Jake Gyllenhaal) is portrayed as this man who is just looking a way to make money as the film starts off him selling chain fences and whatever that he stole. Upon stumbling a van where two guys are filming footage of a car accident on the Los Angeles highway, Bloom gets the idea where he had to self-teach into getting footage the right way. While his early footage ends up being amateurish, he does impress a news station manager in Nina (Rene Russo) who needs Bloom’s footage to help boost her station’s sagging ratings. Helping Bloom is a young man named Rick (Riz Ahmed) who took the job to remember police codes and assist Bloom only for money. Yet, he is the film’s conscience as he wonders what he has gotten himself into as it plays into Bloom’s obsession to capture footage to sell. Even as Bloom begins this relationship with Nina that is very troubling where Nina realizes how much she needs him as it plays to Bloom’s own ambitions which becomes more troubling as the story progresses.

Gilroy’s direction is very engaging as he shoots the film largely in Los Angeles and its nearby cities where the city itself is a character that is often riddled with crime and places that are just disturbing. It’s as if Bloom is in the right place and at the right time where he would use his car to drive to the location of the event at fast speed and be there. Even if there’s cops at the scene or he arrives before the cops do as he does whatever it takes to get the footage. Especially if it means dragging a man’s body or enter a home that is already opened and capture what has happened. 

Much of the direction involve some medium shots and close-ups with some wide shots while many of the scenes involving Bloom capturing his footage showcases the use of digital video cameras where hand-held cameras become key as well as the way Bloom would shoot the footage. The footage would become more refined as the film progresses as well as the element of suspense and danger that involves Bloom capturing footage of a homicide where he also captured footage of the killers. The film then becomes this question of morality where both Bloom and Nina are driven by greed as things become darker and more questionable. Overall, Gilroy crafts a very eerie yet provocative film on a man’s obsession to sell news footage to the highest bidder.

Cinematographer Robert Elswit does phenomenal work with the film‘s cinematography from many of the scenes set at night as well as its approach to lighting which adds a dark layer to the tone of the film. Editor John Gilroy does excellent work with the editing with its stylish approach to jump-cuts and fast-cutting for the car chase scenes as well as the frenetic energy where Bloom goes after the story. Production designer Kevin Kavanaugh, with set decorator Meg Everist and art director Naaman Marshall, does fantastic work with the look of Bloom‘s quaint apartment as well as the news room where Nina works at.

Costume designer Amy Westcott does nice work with the costumes as it‘s mostly casual with the exception of the clothes the news team wears. Visual effects supervisor Connor Meechan does terrific work with some of the film‘s minimal visual effects that range from the accident scenes as well as some of the moments in the chase and action scenes. Sound editor Scott Martin Gershin does superb work with the sound to play into the chaos of the crime scenes as well as an eerie scene where Bloom enters the home which plays a key plot-point into the film. The film’s music by James Newton Howard is brilliant for its brooding electronic-based score with elements of guitars to play into the air of suspense and drama while music supervisors Nic Ratner and Brian Ross bring in a soundtrack of mostly low-key electronic music.

The casting by Mindy Marin is amazing as it features some notable small roles from Marco Rodriguez as a scrap yard owner, Michael Hyatt as a detective who is very suspicious about Bloom’s activities, Kevin Rahm as a news editor, Ann Cusack as a news producer, and Bill Paxton in an excellent performance as a videographer in Joe Loder who would offer Bloom a chance to join him as an act of solidarity. Riz Ahmed is great as Rick as this young man who works with Bloom for money as he starts to question Bloom’s own sense of moral as he is sort of the film’s conscience who is aware that some of the things they’re doing is wrong.

Rene Russo is fantastic as Nina as this news station director who is eager to show graphic footage to boost her station’s sagging ratings as she becomes aware of the power that Bloom has. Finally, there’s Jake Gyllenhaal in an incredible performance as Louis Bloom as this very determined man who is eager to make a fast buck through the footage he shoots as he is a man with grand ideas as it’s a role that is very dark to the point that is a very un-likeable yet charming person giving Gyllenhaal one of his finest performances to date.

Nightcrawler is a remarkable film from Dan Gilroy that features a great performance from Jake Gyllenhaal as well as strong supporting work from Rene Russo and Riz Ahmed. It’s a film that explores the world of greed and obsession in a cutthroat environment that is news media and their desire to show whatever to boost ratings and get the attention of the people at its most sickening. In the end, Nightcrawler is a sensationally dark and gripping film from Dan Gilroy.

© thevoid99 2014

Four Lions

Directed by Chris Norris and written by Norris, Jesse Armstrong, Sam Bain, and Simon Blackwell, Four Lions is a satirical film about four young Islamic men who become part of an Islamic terrorist group in Britain. During their attempts to become terrorists, the four men try to create chaos in Britain in hopes to become a huge threat. Starring Riz Ahmed, Kayvan Novak, Nigel Lindsay, Adeel Akhtar, Arsher Ali, Craig Parkinson, and Benedict Cumberbatch. Four Lions is a funny and captivating film from Chris Norris.

Omar (Riz Ahmed) is a security guard who wants to be part of Jihad terrorist group in Sheffield led by the White convert Barry (Nigel Lindsay) is also an ill-tempered local Islamic leader in Sheffield. Along with the dim-witted Waj (Kayvan Novak) and the willing Faisal (Adeel Akhtar), the four men try to figure out what to do as Omar gets a chance to go to Pakistan for Jihad training. With Waj joining him, the training doesn’t go well due to Waj’s incompetence and Omar accidentally firing a bazooka at a nearby terrorist camp. Upon their return home, Barry had already recruited a young man named Hassan (Arsher Ali) to the group as he suggests to blow up a Mosque so they can rile up angry Muslims to join their cause.

Omar isn’t sure about Barry’s plans as he reluctantly goes along with it until an idiotic neighbor (Julia Davis) dances with Hassan as she nearly compromises everything they do. With all of their tools needed to create explosives are nearly exposed, the five men decide to move everything where things go from bad to worse. Omar becomes more unsure as he tries to figure out what to do where he gets an idea to target the London Marathon. The men agree to go to London yet things become more complicated as it involves the police and a negotiator (Benedict Cumberbatch).

The film is essentially about four young men and a brash White Islamic convert all trying to create a terrorist plot in Britain in hopes that it would give rise to the Muslim cause against Western society. What happens to them is that a lot of things go wrong in their attempt as it involves a mix of men who really shouldn’t be terrorists as they’re either very stupid or just naïve to believe that they could make a difference. At the heart of the film is this young man who believes in the cause as he has a family and a nice job though he becomes more confused once things start to screw up even more.

The script succeeds in fleshing out characters and the situations they embark although there’s moments where a few scenes seem to meander at times due to the overflow of dialogue that is present. Yet, it’s the humor that makes the film very exciting as Chris Norris’ direction which is always very engaging with lots of wide shots of the Sheffield and London locations with Spain being the Pakistan location. The direction is very wild while mostly straightforward to emphasize what the men are doing as there’s intimate moments but also raucous moments. Particularly as it features moments where some parts of the film is shot on video cameras as if it’s a security camera or a night-vision camera where the police tries to uncover the plot. Overall, Norris creates a solid yet witty film about terrorism gone horribly wrong.

Cinematographer Lol Crawley does an excellent job with the film‘s photography from its colorful look for the Sheffield scenes to the grainy video camera work for the security and night-vision camera shots. Editor Billy Sneddon does a very good job with the editing as it’s mostly straightforward while having some wonderful rhythmic cuts for some of the funnier moments in the film. Production designer Dick Lunn, along with set decorator Duncan Wheeler and art director Julie Ann Horan, does some nice work on the set pieces such as the room where Barry creates his own video clips to express his plans to the world.

Costume designer Charlotte Walter does a fine job with the costumes as it‘s mostly casual with its mix of Muslim attire to complement the environment. Sound recordist Malcolm Hirst does a superb job with the sound to capture all of the chaos in the locations including its action scenes. Music supervisor Phil Canning does a brilliant job in creating a diverse soundtrack ranging from traditional Muslim music to modern Muslim music with its mix of hip-hop, classical, and rock to complement the modern world they live in.

The casting by Des Hamilton is wonderful as it features a great ensemble that includes Preeya Kalidas as Omar’s kindly wife, Julia Davis as dim-witted neighbor, Craig Parkinson as Omar’s good-hearted co-worker, and Benedict Cumberbatch in a very funny role as a negotiator who spouts very lewd comments about women’s body parts. Arsher Ali is very good as the hip-hop loving yet very naïve Hassan while Adeel Ahktar is excellent as the reluctant yet willing Faisal. Kayvan Novak is wonderful in a funny role as Waj who wants to impress the Jihad group despite not being very smart as he’s often confused about what to do. Nigel Lindsay is hilarious as the brash but unorganized leader Barry who tries to get things his way only to not fully realize what could be done. Finally, there’s Riz Ahmed in a superb performance as the determined yet conflicted Omar who wants to carry out his deed while being troubled by the countless screw-ups that is happening.

Four Lions is a funny and entertaining comedy from Chris Norris. While terrorism seems like an unlikely subject to be made fun of, Norris and his team is able to create something that is engaging as well as being satirical to what terrorists try to do. It’s also a very human film about what young Islamic men want to do in the belief that they’re fighting for something bigger though they endure countless screw-ups along the way. In the end, Four Lions is a stellar yet humorous film from Chris Norris.

© thevoid99 2011