Set a decade after a global economic collapse similar to the Apocalypse, the film follows a loner who encounters a trio of thieves who stole his car as he goes after them with the help of the thieves’ younger brother who had been left for dead following a robbery. It’s a film that plays into a man who is driving through the Australian desert as he is just passing through as his world collapse when his car is stolen as he becomes hell-bent on getting it back as he takes this slow-witted young man with him despite being wounded and guilty by association. David Michod’s screenplay has a straightforward narrative while it also plays up into the ambiguity into why this man named Eric (Guy Pearce) wants his car back as he finds the wounded Reynolds (Robert Pattinson) to accompany him.
Yet, they journey into a world of lawlessness where American currency is worth more than Australian currency while the military is the police of sorts as everything is done with some secrecy where people hide from criminals or the military. For Eric, none of that matters as he’s already lost so much since the economic collapse as he just wants his car back while not giving a fuck who he has to kill. Even if he has to drag Reynolds into the fray though Reynolds prove to be more useful than Eric realizes as it plays into Eric’s own humanity which he seemed to have lost. Especially as Reynolds is just someone who is innocent but knows his way to get around the lawless environment to help Eric.
Michod’s direction definitely echoes aspects of the western as it is shot on various locations at the South Flinders Ranges in Australia as well as areas nearby the town of Maree. Michod plays this world where people live remotely or hide in their houses as if things are dangerous yet it begins with Eric stopping at a bar where there aren’t many people as there’s a shot of a truck tumbling following an accident with Eric on the foreground taking a sip while the truck is in the background tumbling. It plays into the lawless nature of the film where the three men steal Eric’s car as sees it from afar as he also notices the truck which he takes and goes after them in a chase but there is this air of psychology into how Eric tries to approach these men but it doesn’t go well prompting him to play into the world of lawlessness. It is in this moment where he finds the wounded Reynolds as he asks for his help but Reynolds is in need of medical care. Yet, having access to guns and health care isn’t easy as the former requires money while the latter requires secrecy as it’s something Eric has to cope with. Michod maintains some unique compositions including a lot of gorgeous wide and medium shots in not just capturing the scope of the locations but also in how unsettling it is in this post-apocalyptic setting. There are these intimate moments in Michod’s approach to the close-ups and medium shots in the way it develops Eric’s relationship with Reynolds as first it starts off with Eric treating Reynolds with indifference and only using him to get to his destination.
Yet, Reynolds is someone that isn’t treated with respect at first but his innocence in the things he talks about but also his survival instincts does make Eric care for him following a skirmish involving a few military officers whom Reynolds, his brother, and the other thieves were stealing from. It does play into something that would happen in the second as Michod doesn’t stray from the brutality of the violence as it adds to the eerie nature of the environment the characters are in. Notably as Eric has been de-sensitized by the world due to the fact that he is someone that is carrying his own demons as it does bring a lot of reason into why he wants his car back. The film’s climax is violent but it’s more about Eric helping Reynolds confront his brother as well as bring some order back to the world of lawlessness. Overall, Michod crafts a chilling yet mesmerizing film about a loner who accompanies a young man to confront a trio of thieves who stole his car.
Cinematographer Natasha Braier does brilliant work with the film’s cinematography with its usage of natural lighting for many of the daytime exterior scenes including some shots in the morning and in the evening as well as the usage of low-key colorful lights for some scenes at night. Editor Peter Sciberras does excellent work with the editing as it is straightforward with some rhythmic cuts to play into some of the suspenseful moments in the film. Production designer Josephine Ford, with set decorator Jennifer Drake and art director Tuesday Stone, does amazing work with the look of the motels, houses, and places that Eric and Reynolds venture into in their dilapidated state as it adds to the dreary look of the film. Costume designer Cappi Ireland does nice work with the costumes as it is largely straightforward and casual to play into the hot area of Australia.
Hair/makeup supervisor Fiona Rees-Jones does terrific work with the look of the characters to help play into the grimy look as well as usage of mist to play to their reaction with their hot surroundings. Special effects supervisor Angelo Sahin and visual effects supervisor Dave Morley do fantastic work with the some of the special effects such as the truck tumbling scene as well as some of the violent moments in the film. Sound designer Sam Petty does superb work with the sound in capturing the atmosphere of the locations including some of the quieter moments as it adds to the film’s eerie tone. The film’s music by Antony Partos is incredible with its mixture of ambient and brooding electronic textures to play into the suspense while music supervisor Jemma Burns provides a soundtrack that adds to the film’s tone with music from Colin Stetson, Tortoise, the Ink Spots, Frances-Marie Uitti, and an offbeat track from Keri Hilson.
The casting by Kirsty McGregor is wonderful as it feature some notable small roles from Nash Edgerton as a soldier who confronts Eric, Samuel F. Lee as a gun-toting acrobat, Anthony Hayes as a brutal soldier, David Field and Tawanda Manyimo as two of the thieves who steal Eric’s car, Susan Prior as a reclusive doctor named Dorothy who also shelters lost dogs, Gillian Jones as an aging opium den owner known as Grandma, and Scoot McNairy in a terrific performance as Reynolds’ older brother Henry who leads the gang of thieves as he also abandons Reynolds.
Finally, there’s the duo of Robert Pattinson and Guy Pearce in phenomenal performances in their respective roles as Reynolds and Eric. Pattinson brings this air of innocence as a young man wounded during a robbery and left for dead as he deals with what happened to him but is also someone that has some strong survival instincts despite his lack of social skills. Pearce has this air of chilling restraint as someone that just wants to drive through the desert only to have his car stolen as he’s a man willing to get it back by any means necessary. Pattinson and Pearce do have this amazing rapport as two men trying to reach their destination but also confront those that had wronged them as well as made them feel worthless in a lawless world.
The Rover is an incredible film from David Michod that features great performances from Guy Pearce and Robert Pattinson. Along with its gorgeous cinematography, eerie music score, unsettling tone, and its modern yet visceral approach to the western, the film is definitely a film that isn’t afraid to be grimy and violent while also playing into two men who feel rejected by this dark world only to stand up for some kind of principle that the world had lost. In the end, The Rover is a sensational film from David Michod.
David Michod Films: Animal Kingdom - (War Machine) – (The King (2019 film))
© thevoid99 2021
Based on the newspaper article Oh Blimey! by Jon Ronson, Frank is the story of a young wannabe musician who joins an avant-garde band whose singer who wears a big fake head. Directed by Lenny Abrahamson and screenplay by Jon Ronson and Peter Straughn, the film is a fictionalized story about the cult artist Frank Sidebottom who was a persona of the late comedian Chris Sievey as the explores a young man joining this band as he is eager to succeed much to the ire of his bandmates as the titular character is played by Michael Fassbender. Also starring Domhnall Gleeson, Maggie Gyllenhaal, Carla Azar, Francois Civil, and Scoot McNairy. Frank is an offbeat but truly whimsical film from Lenny Abrahamson.
The film revolves a young wannabe musician who aspires to make musician where he joins this strange avant-garde band as its singer is a guy who wears a paper-mache head. For Jon (Domhnall Gleeson), he sees a chance to unleash his ideas as the vocalist Frank is inspired much to the chagrin of their bandmates including its theremin player Clara (Maggie Gyllenhaal). Once Jon exposes their attempts to make music to the public which leads to a big gig at the South by Southwest festival, things would eventually unravel despite Frank’s enthusiasm to be seen by everyone. It’s a film that plays into the world of music and how some are just willing to play music for fun and not really care about fame and riches. Then there’s others like Jon who believes that people would want to hear the music and is willing to make it thinking he would succeed.
The film’s screenplay definitely plays into this conflict between the concept of fame and art as the script definitely display allusions into how some musical geniuses aren’t able to cope with being famous. Though Jon is a person with good intentions who joins the band by accident when their previous keyboard player tries to drown himself on a beach. He is a person that really wants to make it in the world of music as he has lots of ideas but Clara and other bandmates think it’s mediocre. Frank sees promise in Jon’s ideas as does the band’s manager Don (Scoot McNairy) though he warns Jon about using Frank’s genius to get himself ahead. It plays into this idea about these musical geniuses who are very gifted but extremely trouble as Frank is someone who never takes off his mask as it relates to ideas of mental illness. Even as the script features references to the real Chris Sievey as well as other eccentric but troubled geniuses as Daniel Johnston, Captain Beefheart, and Syd Barrett.
Lenny Abrahamson’s direction has this strange mix of being very offbeat and whimsical but also has a sense of charm in its approach to humor and drama. Much of it plays into the idea of this band known as Soronprfbs as they’re very strange in not just their music but also in the fact that they have this singer and personalities who really can’t keep it together. Abrahamson’s presentation to the scenes set in England, Ireland, and parts of New Mexico and Austin, Texas are simple yet there is this energy that is just engaging to watch. Especially in a scene where Frank and the band are trying to create songs as Abrahamson maintains an intimacy in those scenes. Even in the close-ups to showcase some of the sense of passion in the music as well as the tension between Clara and Jon over Frank. The musical performances are quite lively as Abrahamson captures something that feels real but also chaotic as the film’s third act in the U.S. plays into that chaos. Especially in that sense of realism where playing a place like South by Southwest might not be for everyone as Frank’s enthusiasm might actually hide something far more drastic that Jon doesn’t seem to understand. Overall, Abrahamson creates a very captivating yet very witty film about a young musician who finds himself under the wing of an eccentric yet troubled musical genius.
Cinematographer James Mathers does excellent work with the film‘s cinematography from the low-key lighting for some of the nighttime scenes in Ireland to the sunny look of the scenes in the U.S. Editor Nathan Nugent does fantastic work with the editing as it has a sense of style with some jump-cuts and a few montage sequences to showcase the band in creative mode. Production designer Richard Bullock, along with set decorators Marcia Calosio and Jenny Oman and art directors Tamara Conboy and Kevin Pierce, does brilliant work with the look of the home in Ireland they would live in to record and create as well as the tour van and the places in America.
Costume designer Suzie Harman does terrific work with the costumes from some of the offbeat clothing that Clara wears as well as some of her bandmates while the look of Frank and Jon are much more straightforward. Frank head model Robert Allsop does amazing work with the design of the head and some of the things that the character needed. Visual effects supervisor Ed Bruce does nice work with the minimal visual effects that often involve crowd scenes at South by Southwest. Sound designer Steve Fanagan does superb work with the sound to capture the way some instruments are recorded as well as the level of noise in the music. The film’s music by Stephen Rennicks is incredible for its very light-hearted and offbeat score that features a lot of xylophones and keyboards while the original music of Soronprfbs is exhilarating and wild.
The casting by Fiona Weir is remarkable as it features some notable small roles from Hayley Derryberry and Lauren Poole as two fans of the group from South by Southwest, Rosalind Adler as a German mother that Frank charms in Ireland, and Shane O’Brien as the keyboard player that Jon would replace. Francois Civil is terrific as the band’s French bassist/guitarist Baraque who barely speaks a word of English while Carla Azar, of the experimental rock band Autolux, is superb as the very quiet drummer Nana. Scoot McNairy is excellent as the band’s manager Don as this man who is in awe of Frank but is also just as troubled as he represents the conflict of getting Frank exposure but also protecting him.
Maggie Gyllenhaal is fantastic as the band’s very fiery theremin/keyboard player Clara who is a real firecracker that is very protective of Frank as she despises Jon for putting Frank in danger. Domhnall Gleeson is brilliant as Jon as this well-meaning aspiring musician/songwriter that wants to create good music as he befriends Frank only to realize that his ambitions might be too much for Frank. Finally, there’s Michael Fassbender in a tremendous performance as the titular character as he spends the film wearing this big paper-mache mask as Fassbender’s voice and body language is really the heart of the performance as well as displaying the sense of torment and insecurities as someone that is gifted but very troubled.
Frank is a phenomenal film from Lenny Abrahamson that features an incredible performance from Michael Fassbender as the titular role plus strong supporting performances from Domhnall Gleeson and Maggie Gyllenhaal. It’s a strange yet endearing film that isn’t afraid to be weird but also display some of the most compelling aspects of mental illness as it relates to gifted but troubled geniuses. In the end, Frank is a sensational film from Lenny Abrahamson.
Lenny Abrahamson Films: (Adam & Paul) - (Garage (2007 film)) - (What Richard Did) - Room (2015 film)
© thevoid99 2014
Directed by David Fincher and written by Gillian Flynn that is based on her novel, Gone Girl is the story of a man who becomes part of a media circus as he is a suspect in the disappearance of his wife. The film is an exploration into the world of marriage as well as revelations about that world where a man is being questioned about her whereabouts. Starring Ben Affleck, Rosamund Pike, Carrie Coon, Kim Dickens, Tyler Perry, Patrick Fugit, Emily Ratajkowski, Missi Pyle, Scoot McNairy, and Neil Patrick Harris. Gone Girl is a chilling and evocative film from David Fincher.
It’s the day of the fifth anniversary of a couple when a husband learns his wife has suddenly disappeared as he is later questioned into her whereabouts. That is sort of what the film is about as it’s really more of a study of marriage as it’s being viewed under a microscope by the media, a small community in Missouri, and the authorities. It’s a story that is told from many different perspectives as the life of Nick Dunne (Ben Affleck) starts to unravel due to not just his behavior in having to do with his wife’s disappearance but also about himself. Especially as it relates to the events in how Nick met Amy Elliot (Rosamund Pike) where they fell in love and got married until their marriage unraveled due to financial issues as well as the move from New York City to a small town in Missouri so that Nick could take care of his ailing mother. Once things about Nick’s life begins to emerge in the wake of the search for Amy, a media circus would come in to pick apart every piece of his life.
Gillian Flynn’s screenplay isn’t just this very intriguing study of marriage but also into a world where it plays into the ways a marriage can disintegrate as it’s told from not just Nick’s perspective but also through Amy from her own diary. While much of the mystery and speculation covers much of the film’s first act and parts of second act where it plays into any kind of suspicion of whether Nick had something to do with Amy’s disappearance. Especially as Nick is known to be frustrated with the marriage as it was later revealed that he was having an affair with a college student (Emily Ratajkowski) which only made him look worse in front of the media and the authorities led by Detective Rhonda Boney (Kim Dickens) and her partner Officer Jim Gilpin (Patrick Fugit). With only his twin sister Margo (Carrie Coon) on his side where they get the services of notorious defense attorney Tanner Bolt (Tyler Perry).
Much of the story’s approach to knowing what is going on showcases a world where many questions come into play about not just if Nick really did anything to Amy but also what might have drove Amy to antagonize Nick. While the script does manage to make the film be about Nick and Amy, the supporting characters in Boney, Margo, and Bolt are very compelling as Boney is just someone who is an authority figure that wants to give Nick a fair chance while Bolt is a complex individual who may be involved in Nick’s case for publicity but knows how to help him amidst the storm of controversy from the media. Then there’s Margo as she is the film’s conscience as she is someone who admittedly never liked Amy as she also scolds Nick for his affair yet is willing to defend him despite all of the shit they would go through. Adding to the genius of the film’s script is its dialogue where a lot of it has a sense of rhythm where it can play into many clues but also has some moments that are very funny which gives the film a sense of black comedy to something that is already dark.
David Fincher’s direction is truly intoxicating in the way he can create something set in a mundane small town in Missouri yet make it feel like it’s a world where there is a lot to be said. Not just in some of the compositions he creates but also in its mood where it starts off like any typical day where Nick takes out the garbage in suburbia and then drives to a bar to chat with his sister on the day of his fifth wedding anniversary. Then the film takes on a very dark mood while it gets inter-cut with these flashbacks of how Nick and Amy met where the latter is the daughter of a couple of authors who has created a series of children’s books based on Amy. Much of these flashbacks in New York City showcased a time where they were happy and quite playful but once the money starts to go away and they were forced to move to Missouri where Nick could be close to his family. Things do get dark as much of Fincher’s approach to drama does become intensified with his approach to intimate compositions and framing devices.
Once the film progresses into the second and third act, there is an element of satire in the way Fincher explores the world of the media as it showcases his offbeat approach to dark humor. Notably as such media figures like Ellen Abbott (Missi Pyle) is played for laughs as someone who has this belief that she is a crusader and is willing to smear Nick’s name without any real evidence. There’s also moments where Fincher manages to use the humor as it plays into how Nick had to present himself to the media. Still, there are elements where it is very dark as it relates to Amy’s disappearance as well as contents in her diary as it raises questions into her own past.
Especially with a former boyfriend named Desi Collings (Neil Patrick Harris) whom Amy had filed a restraining order against as he had been stalking her. It adds to the many ambiguities about the truth where it becomes more complicated as the film progresses towards its finale where it returns to that exploration into marriage. A marriage that raised many questions into why Nick and Amy even got married in the first place as the question about marriage starts to come into play. Overall, Fincher creates a very brooding yet intoxicating film about a man dealing with the disappearance of his wife.
Cinematographer Jeff Cronenweth does brilliant work with the film‘s cinematography with its unique approach to lighting as well as creating something that feels a bit discolored in its look for many of the film‘s locations as well as the way lights are presented in certain scenes as well as the TV footage. Editor Kirk Baxter does amazing work with the editing with its approach to jump-cuts and montages that plays off into the rhythms of suspense as well as some dramatic montages and some of the film‘s funnier moments. Production designer Donald Graham Burt, with supervising art director Sue Chan and set decorators Douglas A. Mowat and Gena Vasquez, does fantastic work with the look of the suburban home that Nick and Amy lives as well as the chaotic look of his father‘s home as well as the home of Margo.
Costume designer Trish Summerville does nice work with the costumes from the stylish underwear that Amy wears as well as the suits that Nick would wear in his interviews as much of it is casual in playing to the other characters. Sound designer Ren Klyce does excellent work with the sound to create some effective sound work to play into the air of suspense as well as scenes where dialogue is inaudible as well as in some of the bits of music on location that is played. The film’s music by Trent Reznor and Atticus Ross is incredible as it’s one of the film’s highlights as it’s approach to dark ambient music with dissonant guitars and electronics add to some of its melancholic tone along with some somber pieces driven by piano and ambient textures as it’s one of their best film scores.
The casting by Laray Mayfield is great as it features some notable small performances from Kathleen Rose Perkins as a search volunteer who takes a selfie with Nick, Boyd Holbrook and Lola Kirke as a young couple Amy meets in her days away from New York City, Cyd Strittmatter as Nick and Margo’s ailing mother, Leonard Kelly-Young as Nick and Margo’s elderly father, David Clennon and Lisa Banes as Amy’s parents who take the lead to find Amy as they would confront Nick about the marriage, Sela Ward as the TV host Sharon Scheiber who interviews Nick in his attempt to prove his innocence, Emily Ratajkowski as the young college student in whom Nick had an affair with, and Scoot McNairy as a former boyfriend of Amy’s whom Nick meets where they share some surprising revelations.
Missi Pyle is very funny as the sleazy TV host Ellen Abbott who tries to discredit Nick’s name and devolve herself into tabloid TV while Casey Wilson is wonderful as Nick and Amy’s dim-witted neighbor Noelle who claims to be Amy’s friend as she would provide a key aspect to the investigation. Patrick Fugit is excellent as Officer Jim Gilpin who assists Boney in the investigation as he gets to say some funny lines throughout the film as he’s suspicious of Nick. Kim Dickens is fantastic as Detective Rhonda Boney who leads the investigation as she would uncover some key clues about the case such as credit card bills and Amy’s diary while wondering about Amy and who she is. Neil Patrick Harris is superb as Amy’s former boyfriend Desi Collings whom Nick wanted to talk to as he’s a very strange figure that implies a sense of creepiness about the way he is around Amy which would explain the restraining order.
Tyler Perry is amazing as Tanner Bolt as this defense attorney who is a master in making his clients look good as Perry brings in a lot of charisma and charm as well in how to instruct Nick in doing interviews. Carrie Coon is brilliant as Nick’s twin sister Margo who is the film’s conscious as she tries to prove Nick’s innocence despite some of his flaws while she is also a target of the media where she is accused of having an incestuous relationship with her brother among other many lies. Ben Affleck is phenomenal as Nick Dunne as a writer turned community college professor who deals with the accusations of his wife’s appearance as well as realizing in how much of a fuck-up he is in his marriage as it’s a role where Affleck plays the cuckold as well as someone who can look good for the camera. Finally, there’s Rosamund Pike in an outstanding performance as Amy Elliott as this woman who had everything until financial difficulties has her becoming troubled in her marriage as it’s a role full of complexities and many layers that are just astonishing to watch as it’s a real break-out role for the actress.
Gone Girl is a tremendously dark yet powerful film from David Fincher that features amazing performances from Ben Affleck and Rosamund Pike. Along with a strong supporting cast that includes Tyler Perry, Carrie Coon, and Kim Dickens plus some great technical work and an incredible score from Trent Reznor and Atticus Ross. The film is definitely a suspense-drama that is full of intricate layers and compelling themes on marriage thanks in part to its writer Gillian Flynn. In the end, Gone Girl is a magnificent film from David Fincher.
David Fincher Films: Alien 3 - Se7en - The Game - Fight Club - Panic Room - Zodiac - The Curious Case of Benjamin Button - The Social Network - The Girl with the Dragon Tattoo (2011 film)
Related: The 15 Essential Videos of David Fincher - The Auteurs #61: David Fincher
© thevoid99 2014
Based on the book The Master of Disguise by Tony Mendez and Joshuah Bearman’s article The Great Escape, Argo is the story of a CIA operative who leads a rescue of six American diplomats who are hiding at the home of a Canadian ambassador during the 1979 Iranian Revolution. Directed by Ben Affleck and screenplay by Chris Terrio, the film is about how a CIA operative, a Hollywood makeup artist, and a film producer create a fake movie in order to use it as a disguise to get Americans out of Iran during a tumultuous period. Starring Ben Affleck, Bryan Cranston, Alan Arkin, and John Goodman. Argo is a thrilling yet engaging film from Ben Affleck.
Set during the Iranian Revolution of 1979 where the people of Iran took over the American embassy and held many Americans hostage for 444 days. The film is about six American diplomats who were able to escape during the fall of the embassy where they hid at the home of the Canadian ambassador. It would take the actions of a CIA operative in Tony Mendez (Ben Affleck) who decides to create a fake movie with help of a famed makeup artist John Chambers (John Goodman) and film producer Lester Siegel (Alan Arkin). There, Mendez would create a ruse so that he would get the six Americans out of the country though they’re aware that they’re under surveillance from the Iranian government. It’s a film that plays into this true story that is known as Canadian Caper though there are things that screenwriter Chris Terrio does to play with some of the true events in order to make the story more dramatic.
Despite some of the dramatic liberties that was taken to tell the story, Terrio does manage to make the screenplay not just be some suspense film about getting six Americans out of Iran by having them pretend to be a Canadian film crew. There’s also some humor about how Mendez goes into Hollywood to try and find a story to sell to the Iranian government as if it would be a movie that the country would approve. They would find it in the form of a cheesy sci-fi adventure called Argo where the film’s title would have a certain punch line that is often said “Argo fuck yourself”. It’s among one of the highlights of the film that helps balance a lot of the suspense and intrigue that goes on where the narrative has a straightforward structure where it moves back-and-forth to Mendez’ time in Istanbul and Iran as well as what is happening in Washington D.C.
The script doesn’t just succeed in its narrative and approach to suspense but also in the characters themselves as Tony Mendez is this CIA operative who knows a lot more than some of his superiors about how to get people out as he is also someone with a wife and son whom he doesn’t see often but always talks to. When he presents his ideas to his superiors, they’re skeptical but realize there’s very little options as the people he’s trying to get out of the country are also wary of Mendez’s idea. Even as there’s people in the American embassy trying to find pictures of the missing six through hordes of shredded paper while there’s an Iranian maid named Sahar (Sheila Vand) who is suspicious about them as she works for the Canadian ambassador Ken Taylor (Victor Garber). Still, it all plays to the fact that these Americans have to pretend to be Canadians and play that part before the Iranian government find out about their true identities.
Ben Affleck’s direction is quite straightforward for much of the presentation though he opens the film with a comic-book like presentation about Iran’s troubled history with the U.S. that led to the 1979 Iranian Revolution with a mixture of old news footage and pictures of these times. Notably as he also mixes footage of the embassy takeover on that day with what is happening inside as it becomes chaotic as the film then shifts into Mendez coming into the picture when the CIA is running out of options as Affleck maintains something is quite engaging intense where the camera is constantly moving in its tracking and handheld shots to present the CIA in panic mode as they’re trying to figure things out. Affleck does lighten things up for the scenes in Hollywood where he isn’t afraid to add humor and silliness to the story while he creates a very strange montage where it showcases the uprising in Iran with actors reading the script to the fake sci-fi story.
While much of the film is shot in Los Angeles with portions shot in Washington DC and in Istanbul as some of the locations in Los Angeles and Istanbul play the role of Tehran, Iran. Affleck does create some shot-for-shot recreations of some of the events that took place during the Iranian Revolution of 1979 where some of those images are terrifying. Notably as Affleck maintains an air of chills and claustrophobia to a scene where he and the American diplomats step outside to pretend to be the film crew where they nearly get into trouble. It adds to the suspense as well as the scenes that goes on in the American embassy where there’s other hostages as well as moments such as the failed Operation Eagle Claw mission that would complicate things until Mendez makes the decision that would impact everything. Overall, Affleck creates a very gripping yet powerful film about the Canadian Caper story.
Cinematographer Rodrigo Prieto does amazing work with the film‘s cinematography where it has an air of grain to create something real but also to add some style in some of the locations such as the scenes in Iran to play up that sense of terror. Editor William Goldenberg does brilliant work with the film‘s editing with its use of montages as well as rhythmic cuts to play into the film‘s suspense and terror as well as some of its humorous moments. Production designer Sharon Seymour, with set decorator Jan Pascale and art director Peter Borck, do fantastic work with the set pieces from the look of the embassy and the Canadian ambassador‘s home as well as the look of 1979 Tehran in its air of unrest.
Costume designer Jacqueline West does excellent work with the costumes where it‘s mostly low-key and casual to play up the look of late 1970s while creating some silly costumes for the film‘s sci-fi convention scene. Visual effects supervisors Lubo Hristov and Don Lee do terrific work with some of the visual look in the way Tehran looked from afar as well as some minimal background moments. Sound editors Erik Aadahl and Ethan Van der Ryn do superb work with the sound such as the film‘s embassy riot scene as well as the sense of terror that occurs with its sound of helicopters and angry crowds to play into that air of unrest. The film’s music by Alexandre Desplat is phenomenal for its orchestral-driven score to play into the film‘s suspense and drama while infusing it with some Middle Eastern vocal music and such while the film‘s soundtrack by music supervisor Linda Cohen features a lot of the music of that period from acts like the Rolling Stones, Dire Straits, Van Halen, and Led Zeppelin.
The casting by Lora Kennedy is just great for the cast that is assembled as it features some small appearances from Taylor Schilling as Tony’s wife Christine, Page Leong as Ken Taylor’s wife, Adrienne Barbeau as Siegel’s ex-wife, Chris Messina as the CIA official Malinov, Zeljko Ivanek as one of Mendez’s superiors in Robert Pender, Sheila Vand as the Taylors’ maid Sahar, Richard Kind as a Hollywood producer, Kyle Chandler as White House Chief of Staff Hamilton Jordan, Bob Gunton as Secretary of State Cyrus Vance, and Philip Baker Hall as the CIA head Stansfield Turner. Bryan Cranston is superb as Tony’s main superior Jack O’Donnell who helps ensure the secrecy of the mission as well as be his contact at home. Victor Garber is excellent as Canadian ambassador Ken Taylor who keeps the six Americans at his house while figuring out how to be quietly involved without causing troubles with the Iranians.
In the roles of the six American hostages, there’s Tate Donovan as Robert Anders, Rory Cochrane as Lee Schatz, Scoot McNairy and Kerry Bishe as Joe and Cathy Stafford, and Christopher Denham and Clea DuVall as Mark and Cora Lijek as they all give fantastic performances as six Americans living in terror. Alan Arkin is brilliant as the very engaging producer Lester Siegel who always knows how to talk bullshit to people in order to get what he wants as helps out Mendez. John Goodman is marvelous as the legendary makeup artist John Chambers who helps Mendez get the project started as it’s a performance full of humor and bravado. Finally, there’s Ben Affleck in a remarkable performance as Tony Mendez as a CIA operative who is keen on making sure that he gets the Americans out of Iran while dealing with the chaos in the country as well as the fact that he is also putting his ass on the line as well.
Argo is an incredible film from Ben Affleck about the Canadian Caper rescue. Thanks to a great ensemble cast that includes Bryan Cranston, Alan Arkin, and John Goodman as well a captivating story about what happened. It is a film that is certainly a small piece of American history that is well-told while giving some credit to what the Canadians did despite some skimming over some details in the true accounts of what happened. In the end, Argo is an extraordinary film from Ben Affleck.
Ben Affleck Films: (Gone Baby Gone) - The Town - (Live By Night) - Air (2023 film)
© thevoid99 2013
Directed by Gus Van Sant and screenplay by Matt Damon and John Krasinski from a story by Dave Eggers, Promised Land is the story of two corporate business officials who arrive at a small town in order to buy drilling rights from local residents only to deal with an environmentalist. The film is the story about the world of fracking as well as the battle between small towns and big businesses. Starring Matt Damon, Frances McDormand, John Krasinski, Rosemarie Dewitt, and Hal Holbrook. Promised Land is an interesting but lackluster film from Gus Van Sant.
Steve Butler (Matt Damon) is a consultant from a natural gas company called Global as he goes to a Pennsylvanian small town in the hopes to win over the locals so they can give them natural gas and still maintain their farmland. With the help of fellow consultant Sue Thomason (Frances McDormand), the two arrive to the town where they meet with a few locals to talk about what they do where things seemed fine at first. Even as Butler convinces a local official (Ken Strunk) about the prospects of natural gas and how it could help the town. During a town meeting, a retired schoolteacher in Frank Yates (Hal Holbrook) asks many question as he knows a lot about what Butler is doing though Butler tries to assure the locals that he has the right intentions.
After the disastrous meeting, Butler and Thomason try to figure out how to win back the town when an environmentalist named Dustin Noble (John Krasinski) arrives to reveal to the town about the dangers of fracking claiming he’s lost his family’s farm to fracking. For Butler, Noble’s arrival raises complications as they’re also competing for the affections of a local schoolteacher named Alice (Rosemarie Dewitt). Butler and Thomason continue to talk to a few people where they win over some as they want to hold a fair to win the town back. Still, Butler tries to deal with Noble’s presence as he eventually makes a discovery that would change everything including Butler’s view on the world.
The film is the story about a corporate consultant who hopes to help a small farming community in Pennsylvania by bringing natural gas in the hopes that everyone can make money and keep their farm. Yet, questions about fracking are raised as an environmentalist arrives to complicate matters forcing the corporate consultant to do whatever it takes to win over the people. While the subject of fracking is interesting since it plays to a lot of what is happening in the world of farming in America. The film also reveals the dangers where despite this interesting subject, the story starts to fall apart a bit towards the second half and its third act due to some preachy moments and a twist that causes the story to lose some steam.
The screenplay that Matt Damon and John Krasinski creates does raise a lot of interesting questions about fracking where they do their best to make the subject accessible without dumbing it down. The story eventually becomes the archetype of the little man vs. the big corporation where things do eventually become complicated. Steve Butler and Sue Thomason aren’t bad people as they’re just corporate officials with good intentions that just wants to help out farmers. They just find themselves in big trouble when questions are raised about what they do. When the Dustin Noble character arrives to the scene, he is this strange environmentalist who reveals the dangers of fracking where he would irk both Butler and Thomason for the fact that they’re confusing the people.
The subplot involving Butler and Noble trying to win the affections of the Alice character doesn’t work entire despite the fact that Alice is still a compelling character. It does reveal more about who Butler is as he came from a small farming town where he does reconnect with his roots while the people he meets know he’s just a good person. Though the script does play into conventions, it still is engaging until the third act where there’s a big twist revealed that is later followed by some heavy-handed moments that just makes the story fall apart.
Gus Van Sant’s direction is pretty good for the way he presents the world of Pennsylvanian farming and its small towns. Notably as he employs a lot of aerial shots of the locations as well as a few stylistic wide shots. Yet, the direction doesn’t really do a lot to make the story more engaging that it should be. Van Sant does put in some interesting framing in the way he presents the actors as well as few scenes that are stylized. Notably some scenes in the bar where Van Sant employs some moments of humor as well as a dramatic scene where Butler talks to a suspicious farmer (Scoot McNairy). Still, the direction doesn’t do enough to give it a more stylistic flair or to help bring the script more to life as it ends up being sort of pedestrian. Overall, Van Sant creates a film that is decent but ends up falling apart due to its third act where it becomes very preachy.
Cinematographer Linus Sandgren does excellent work with the photography to display the beauty of the Pennsylvanian farmland in its daytime exteriors while utilizing more low-key lighting schemes for the scenes at night in its exterior and interior settings. Editor Billy Rich does nice work with the editing where a lot of the cutting is straightforward though there‘s a few stylistic moments such as a split-screen conversation between Butler and Thomason as well a other stylized cuts. Production designer Daniel B. Clancy, along with set decorator Rebecca Brown and art director Gregory A. Weimerskirch, does terrific work with the set pieces from the look of the bar Butler attends to the motel he and Thomason stay at.
Costume designer Juliet Polcsa does good work with the costumes as a lot of it is very casual to maintain that world of small-town life. Sound editor Robert Jackson, along with mixers Leslie Shatz and Felix Andrews, does wonderful work with the sound to capture the atmosphere of the bars and town meetings along with the intimacy of farm life. The film’s music by Danny Elfman is superb as the music is very low-key in its orchestral setting where there‘s not bombast but serene while music supervisor Brian Reitzell provides a soundtrack that is mostly filled with country music including a few cuts by Emmylou Harris.
The casting by Francine Maisler is great as it features some notable small appearances from Lucas Black as an eager young farmer, Scoot McNairy as a suspicious young farmer, Terry Kinney as Butler‘s boss, and Ken Strunk as local town official Gerry Richards. Hal Holbrook is brilliant in a small yet effective supporting role as a retired teacher/farmer who raises questions about fracking while knowing that Butler means well. Rosemarie DeWitt is wonderful as Alice as this teacher who is charmed by both Butler and Noble as she reveals to Butler about her own farm life.
John Krasinski is terrific as the very eager Dustin Noble as he is this environmentalist who is very likeable and charming in the way he presents his case while being the great sore eye to Butler. Frances McDormand is excellent as the no-nonsense Sue Thomason who helps Butler out while embracing the world of small town life as she tries to deal with Noble. Finally, there’s Matt Damon in a superb performance as Steve Butler as this corporate official who tries to win over the town only to deal with this young environmentalist as he tries to do whatever to assure the town that he’s just trying to help them.
Promised Land is a fine but lackluster film from Gus Van Sant. Despite an interesting subject matter and a stellar cast, it’s a film that falls apart due to some of its preachiness as well as a messy third act that includes a ludicrous twist. For fans of Gus Van Sant, this film is definitely one of his weakest though it does have moments that does show his unique visual flair. In the end, Promised Land is a very underwhelming film from Gus Van Sant.
Gus Van Sant Films: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - To Die For - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Milk - Restless
The Videos & Shorts of Gus Van Sant - The Auteurs #4: Gus Van Sant
© thevoid99 2013
Based on the novel Cogan’s Trade by George V. Higgins, Killing Them Softly is the story of an enforcer who is hired to track down a few criminals who had stolen money from a mob protected card game. With the help of a few people, the enforcer has to find these criminals just as the criminal economy is going into collapse. Written for the screen and directed by Andrew Dominik, the film is an exploration into the underworld and its connection with the financial collapse of 2008 during a transition of power from George W. Bush to Barack Obama. Starring Brad Pitt, Scoot McNairy, Ben Mendelsohn, Richard Jenkins, James Gandolfini, Ray Liotta, and Sam Shepard. Killing Them Softly is a dark yet harrowing crime film from Andrew Dominik.
What happens when a couple of young, idiotic criminals decide to rob a protected Mob card game for their boss and it attracts the attention of a mob enforcer? That’s the simple premise of the film as it is about this enforcer trying to find out who robbed this card game and who is responsible for letting all of this happen. Leading the story is this enforcer Jackie Cogan (Brad Pitt) who is hired by a mob mouthpiece named Driver (Richard Jenkins) to find the two men (Scoot McNairy and Ben Mendelsohn) who robbed this game as everyone else is already looking at Markie Trattman (Ray Liotta) who had robbed his own card game years ago. Trouble is already brewing as the enforcer hires a hitman named Mickey (James Gandolfini) to deal with the situation but he’s falling apart as the 2008 financial collapse starts to affect everyone.
Andrew Dominik’s screenplay is about a world where at a time when things are definitely falling apart as the world of the mob isn’t going so well due to the recession as everyone needs money. One of which is this mob boss who asks one of his men to rob a card game as he brings in his heroin-addicted friend to do the job and steal the money. The job goes well but it ends up creating a whole lot of trouble as Jackie Cogan is hired to handle the situation only to realize that the few people he’s hired to handle things are incapable. Notably this aging hitman who is dealing with a divorce, financial troubles, legal issues, and all sorts of things as it becomes clear that Cogan has to do things himself. Of course, situations arise as it becomes more complicated due to the recession.
Behind this story of a mob enforcer trying to get rid of trouble is this financial collapse where mobsters are having money trouble. They can’t pay to maintain their lifestyle. The jobs they’re hired to do has them taking money for very little and they’re dealing with the idea that there’s no money around. Throughout the film, there’s TV footage of George W. Bush trying to calm the people about the financial situation while there’s an election happening. For these mob guys, it starts to affect them as they live outside of the law as they’re struggling to keep things secretive while they’re being hit by this heist that is ruining them.
Dominik’s direction is very engaging in how he creates a film that isn’t just a dark, gritty crime film set in 2008 New Orleans. It’s also a film that is about a world that is outside of the typical American lifestyle that most people live in. Through a lot of eerie compositions in medium shots, slow dolly tracks, and other intimate camera movements. Dominik creates something that is more low-key but also filled with a lot of dark humor considering that one of the robbers is a complete dumbass too fucked-up on dope. There is also a sense of nostalgia in the way Mickey talks about when times were simpler and things were good as he is definitely falling apart on all levels and the economic troubles has now affected him.
It’s not just this dark backdrop of political and social commentary that makes the film so intriguing but also the way the mob conducts their life in a secretive way. Because a robbery like this has happened before and a man like Trattman is clearly the target. Panic is already happening as everyone is pointing the fingers at him even though he did nothing wrong. Still, it could’ve been prevented as it forces this enforcer to just handle things. There is never a moment in the film where it’s all sunshine and rainbows as the setting in 2008 New Orleans just adds to the bleak tone of the film. Then comes the ending where it revels not just in cynicism but also a grim reality that is faced in the aftermath of this financial collapse where times are about to change. Overall, Dominik creates a very fascinating yet unsettling crime film that explores a world coming undone by changing times.
Cinematographer Greig Fraser does excellent work with the film‘s very bleak look from the usage of grayish colors in the daytime scenes to more exotic yet low-key lighting schemes for the scenes at night. Editors Brian A. Kates and John Paul Horstmann do nice work with the editing to play out the suspense while a lot of it is more methodical though some parts of the film lag a bit. Production/costume designer Patricia Norris and set decorator Leslie Morales do wonderful work with the set pieces such as the card game room and ruined houses while Norris also provides the costumes where a lot of it just casual.
Visual effects supervisor Dottie Sparling does terrific work with the few visual effects such as some of the slow-motion killing scenes in the film. Sound designer Leslie Shatz and sound editors Robert Jackson and Thomas O’Neill Younkman do great work with the sound from the way the radio and televisions belt out the political speeches in the background to some of the more chilling scenes in some of the film‘s violent moments. Music supervisor Rachel Fox creates a superb soundtrack that features a wide array of music from Barrett Strong, Johnny Cash, the Velvet Underground, Petula Clark, and all sorts of genres from pop, hip-hop, and ambient music.
The casting by Francine Maisler is brilliant for the ensemble that is created as it features some noteworthy small roles from Sam Shepard as a veteran enforcer named Dillon, Slaine as a hoodlum named Kenny Gill, Max Casella as a hood named Barry Carpio, and Vincent Curatola as a crooked mob boss who organizes the heist. Ray Liotta is excellent as Markie Trattman who finds himself in big trouble over the heist as people begin to distrust him. James Gandolfini is great as the hitman Mickey who arrives to do a job only to drink a lot and dwell on the old times when things were great. Ben Mendelsohn is superb as the dim-witted heroin-addicted thug Russell who can be professional but also very stupid as he is considered a liability. Scoot McNairy is wonderful as the more professional but naïve Frankie who realizes the kind of trouble that is happening as he tries to deal with the implications he’s facing.
Richard Jenkins is amazing as Driver who is the conscience of sorts in the film as a mob mouthpiece who only talks to Cogan about the targets and what to do as well as being someone who knows that things are changing in the world. Finally, there’s Brad Pitt in a chilling performance as Jackie Cogan where Pitt displays a restraint to a man who likes to get things done only to realize that there’s problems as he has to do things himself where Pitt adds a dark tone to his role as well as cynicism that is more surprising for a character that isn’t likeable at times.
Killing Them Softly is an ominous yet intoxicating crime-drama from Andrew Dominik that features marvelous performances from Brad Pitt, Richard Jenkins, and James Gandolfini. While it is a very unconventional film that explores a world falling apart by changing times and an economic recession. It’s a film that does carry a lot of commentary about the way the underworld works as well as how they can be affected by the world outside. In the end, Killing Them Softly is a remarkable film from Andrew Dominik.
Andrew Dominik Films: Chopper - The Assassination of Jesse James by the Coward Robert Ford - One More Time with Feeling - This Much I Know to Be True - Blonde (2022 film)
© thevoid99 2012
