Daddy's Home

Directed by Sean Anders and screenplay by Anders, Brian Burns, and John Morris from a story by Burns, Daddy’s Home is the story of a mild-mannered man who finds himself having to compete for the attention of his step-children once their father appears to try and put himself into their relationship. The film is a comedy that pits father against stepfather all to try and see who can be the best father. Starring Will Ferrell, Mark Wahlberg, Linda Cardellini, Bobby Cannavale, Hannibal Burress, and Thomas Haden Church. Daddy’s Home is a funny and exciting film from Sean Anders.

The film is a simple story of a man who works as an executive at a smooth-jazz radio station as he had been a stepfather to a couple of kids for years as he is trying whatever he can to help them when that all changes when his wife’s former husband arrives for a visit and all hell breaks loose. What happens is that it becomes this kind of mental competition and one-upmanship between two men who both want to become the best father to these two kids. The film’s screenplay by Sean Anders, Brian Burns, and John Morris doesn’t just explore the two different men in this scenario in the mild-mannered and sensitive Brad Whitaker (Will Ferrell) and the more macho and adventurous Dusty Mayron (Mark Wahlberg) in how they deal with each other but also in their idea of raising kids. Watching all of this is Brad’s wife Sara (Linda Cardellini) who married Dusty many years ago but divorced due to his immaturity and lack of commitment to family as she isn’t sure if Dusty is really there for noble reasons. Even though Brad finds Dusty intimidating physically and mentally, Dusty would see what Brad can bring to the table as it would force him to raise his gain but also deal with the challenges in being a full-time father.

Sean Anders’ direction is very straightforward in terms of the compositions he creates as well as emphasizing on a few stylish moments in the film such as a skateboarding sequence with the usage of the GoPro camera. Still, Anders just goes for something simple as the film is shot mainly in and around New Orleans as it does have a few wide shots though Anders would favor medium shots and close-ups to focus on the characters and the comedic moments. Some of these moments involve Brad trying to upstage Dusty by doing crazy stunts only for it to go wrong as it does deliver. Anders would wisely know not to emphasize too much on gags in order to focus on Brad and Dusty to get an understanding on fatherhood as it would it add a common goal for these two men. Notably a scene where Brad and Dusty help the latter’s son Dylan (Owen Wilder Vaccaro) in dealing with a bully as well as wanting to dance with Dusty’s daughter Megan (Scarlett Estevez) for an upcoming father-daughter dance at her school shows that these two men do bring the best in each other. Overall, Anders creates a charming and hilarious film about a stepfather competing with a father for the affection of their children.

Cinematographer Julio Macat does excellent work with the film’s cinematography as it’s straightforward for many of the daytime exterior/interior scenes with some lights for the scenes at night. Editors Eric Kissack and Brad Wilhite do nice work with the editing as it has elements of style with some of the rhythmic cuts to play into the humor as well as some of the gags. Production designer Clayton Hartley, with set decorator Jan Pascale and Elliott Glick, does fantastic work with the look of the home that Brad and Sara live with the children as well as the look of the few places they go to. Costume designer Carol Ramsey does terrific work with the costumes as it is mostly casual from the sweater vest look of Brad to the more rugged look of Dusty.

Visual effects supervisor Paul Linden does very good work with some of the film’s visual effects as it relate to a few of the big gags in the film as it relates to Brad trying to one-up Dusty. Sound editors Andrew DeCristofaro and Michael Payne does superb work with the sound as it if straightforward to play into the atmosphere of some of the locations including a basketball arena and other locations for the activities Brad does with the kids. The film’s music by Michael Andrews is wonderful for its mixture of jazz and light-hearted orchestral music to play into the film’s humor while music supervisors Dave Jordan and Jojo Villanueva create a fun soundtrack that features an array of music from the Pixies, AC/DC, Metallica, the Hives, Jay-Z, the Offspring, the Commodores, T.I. with Rihanna, the Temptations, and Leo Sayer.

The casting by Allison Jones is great as it feature some notable small roles and appearances from Paul Scheer as a basketball radio DJ, Chris Henchy as a smooth jazz DJ, Hannibal Burress as a handyman named Griff who would be at the house due to befriending Dusty, and Bobby Cannavale in a funny performance as Dr. Emilio Fernandez as the famed fertility doctor who checks on Brad as he also knows Dusty. Owen Wilder Vacarro and Scarlett Estevez are fantastic in their respective roles as Dylan and Megan Mayron as two kids who aren’t fond of Brad as they’re excited to have their father around as they go to both of them for advice. Thomas Haden Church is excellent as Brad’s boss Leo Holt who gives Brad some bad advice as well as tell some hilarious stories of his own failures in the marriages he had been in.

Linda Cardellini is brilliant as Sara Whitaker as Brad’s wife/Dusty’s ex-wife who isn’t initially fond of having Dusty around though she realizes that he is trying to prove to be a good father while wanting to have another child despite the fact Brad might not be able to. Mark Wahlberg is incredible as Dusty Mayron as a rugged guy who does all sorts of things that makes him popular as he tries to do whatever he can to win back his children by playing mind games with Brad while dealing with his own faults as a father. Finally, there’s Will Ferrell in a marvelous as Brad Whitaker as a radio executive who is trying to win over Dylan and Megan as well as understanding them where he feels threatened by Dusty forcing to try all sorts of things where it’s a manic and wild performance from Ferrell.

Daddy’s Home is a remarkable film from Sean Anders that features great performances from Will Ferrell and Mark Wahlberg. Along with its supporting cast, engaging story, and some very funny moments, it’s a film that isn’t just enjoyable for families but also a comedy that is edgy but also sensible for children. In the end, Daddy’s Home is an amazing film from Sean Anders.

© thevoid99 2017

Idiocracy

Originally Written and Posted at Epinions.com on 9/26/07 w/ Additional Edits & Revisions.

Directed by Mike Judge and written by Judge and Etan Cohen, Idiocracy tells the story of an Army serviceman and a prostitute who both take part in an army experiment where more than 500 years later, they arrive to see that their world has become dumber as the man finds himself to be the smartest person alive. A satire about culture and the de-evolution of the world, Judge's sophomore feature film shows his knack for humor as well as the wittiness of his debut feature. Starring Luke Wilson, Maya Rudolph, Dax Shepard, Terry Crews, Justin Long, and featuring appearances from Judge associates Stephen Root and David Herman. Idiocracy is a witty satire on the world that is ravaged by stupidity.

The film is a satirical comedy set 500 years from the present time where the world has gone completely stupid where an Army serviceman named Joe (Luke Wilson) and a hooker named Rita (Maya Rudolph) are both awaken from a top-secret Army experiment where they supposed to be frozen for a year inside two pods. Instead, a series of unfortunate circumstances has Joe and Rita be the smartest people on Earth as the English language has deteriorated into a mixture of hillbilly, slang, valley girl, and grunts while the world drinks a drink known as Brawndo that claims to have electrolytes. For Joe, he must use his average knowledge to save the world from further stupidity where he would encounter things such as TV shows like Ow! My Balls!, a film called Ass, all brought to you by Carl Jr.'s, Buttfuckers with its big-ass fries, and all sorts of dumb shit.

Mike Judge's concept of the world gone stupid is definitely an ambitious one in comparison to his debut film Office Space. Yet, the story about an average man finding himself in a world where he's the smartest man alive is definitely one that is both downright hilarious and shocking at the same time. The comedy that includes some extremely funny, lowbrow dialogue where people would say "I like money", "Shut up! I'm 'batin", 'You talk like a fag", and "I like money" in a drawl that can be described in a hybrid of Hillbilly, Valley Girl, inner-city slang, and grunts. Another factor that is funny is how corporations are handled where a Costco would end up taking an entire city or Starbucks offering hand-jobs along with other places. Plus, Carl's Jr. would have a slogan that says "Fuck you, I'm eating" and Fuddruckers' had its named changed to Buttfuckers.

The result is a highly original yet funny vision of the future. What's more shocking is that it's also true in some ways. The script that Judge and Etan Cohen creates is filled with hilarious scenes and such yet underneath it is some social commentary on pop culture and people's obsession with it. Now, there's nothing necessarily wrong with watching a guy getting kicked in the nuts or watching a bare-naked ass farting. The problem is that it gets old after a few minutes. Not to the people in this film where the #1 grossing movie for the past few years that also one several Oscars is a movie called Ass. 90 minutes of a bare-naked butt farting maybe funny to some but for someone that has intelligence might find it funny for a while but not for the rest of the film.

Judge's direction of dystopian with CGI-imagery of a town gone horribly bad. Architecture looking very messed up, mountains of trash, and the Washington monument looking very slanted. His vision of the future is actually horrifying to watch because it might actually come true. What happen to the scientists in that film? Well, they end up looking for the cure of hair loss and such. The idea of de-evolution through Judge's camera is very haunting as is the narration by Earl Mann is to remind the audience of how dumb the world has become. Even mentioning that Brawndo has ended up replacing all the food groups and such.

Despite the film's high concept and commentary, it is flawed due to a few pacing issues when things aren't being funny. Plus, some of the humor isn't as good as Office Space but what Judge does is truly original. Especially since his dystopian vision is starting to come true unfortunately. Even with pop culture. Today, people have no idea who Ingmar Bergman, Marcel Marceau, Robert Altman, Andy Warhol, or even Afrikka Bambatta (he's still alive as of 2014) are or what have they done. Hell, it's amazing that ten years ago, some movies have gotten dumber by the minute.

Instead of people going to see a movie like Grindhouse or maybe something intellectual as Talk to Me, they go see something as dumb as Wild Hogs or Are We Done Yet? Plus, how have we gone from Smells Like Teen Spirit to My Humps? There's a line that Rita says about Albert Einstein, "Do you think Einstein thought the whole world was full of dumb shits?" Joe replies, "Maybe that's why he build the atomic bomb". This is what Judge seems to say about intellectuals and their stance on the world and sadly, it's starting to come true.

Cinematographer Tim Suhrstedt brings a grainy yet saturated look to the film's cinematography to convey the bleakness of the film with its dark, shady colors and sepia imagery. Production designer Darren Gilford and art director William Ladd Skinner do amazing work in some of the film's set designs with dirty-looking buildings and places covered in trash. Costume designer Debra McGuire's futuristic clothing is inspiring and also cheesy with everyone wearing shiny-like t-shirts and baggy pants where the future has also lost it sense of fashion. Editor David Rennie brings a nice, intense look to the film including some of the dramatic reactions to the film's dystopian tone. Sound editor Michael J. Benavente also plays to the atmosphere in bringing noise of explosions and grunts that work very well. Visual effects supervisor Kent Johnson's look of the future is amazing, even a shot of a bridge that's already broken and such. Composer Theodore Shapiro brings a score that's dominated by country-like acoustic guitar to play up the film's humor as well as a mix of music featuring metal and reggae.

The film's cast is unique in playing up to the film's comedy. Small appearances from director Mike Judge as the Army officer Collins, Bottle Rocket's Robert Musgrave as an Army sergeant, rapper Scarface as Rita's pimp Upgrayed, Sara Rue as a bimbo attorney general, Danny Cochran as the idiotic Secretary of Education, and in the roles of the unfortunate yuppie couple in the film's intro, Darlene Hunt and Patrick Fischler are funny. Cameo appearances from Stephen Root, David Herman, Thomas Haden Church, and Justin Long are very funny along with Luke's older brother Andrew in a great cameo as the flame-throwing gladiator Beef Supreme. In the role of the U.S. president, Terry Crews gives a hilarious, energetic performance as President Camacho with his long, heavy-metal wig and exuberance that makes him one of the most overlooked comedy actors.

Dax Shepard is extremely funny as the dim-witted lawyer Frito Pendejo. His last name in Spanish means stupid, which is even funnier. With his hillbilly accent, Shepard makes every moment worth laughing about in how he responds to situations, talk, and all sorts of hijinks. He along with Crews are some of the film's best supporting performances. Maya Rudolph is also funny in her role as Rita, a hooker who finds her old job becoming too easy while becoming aware that she too, is smarter than everyone except Joe. Rudolph does great supporting work as she becomes the only person that Joe can really talk to. Luke Wilson is great in his role as Joe, an average guy who is thrust into a situation as he ends up being the smartest man alive. Wilson's mix of subtle humor and drama proved to be the right tone as his remains one of the most overlooked performances of 2006.

While not as strong or as funny as Mike Judge's debut film Office Space, Idiocracy is still one of the funniest and smartest comedies of 2006 thanks to some great performances from Luke Wilson, Maya Rudolph, Dax Shepard, and Terry Crews along with Judge's high-concept. Fans of Judge's work will no doubt enjoy the film's humor and satire but for a general audience. It might seem too much or rather from their point of view, "very pompous & faggy". Intellectuals might think the film isn't serious enough or rather way too serious yet it's a film that is a mirror in the ways of how people have been dumbed down lately by pop culture such. In the end, Idiocracy is a must-see for anyone who wants smart satire that is also downright hilarious.

Mike Judge Films: (Beavis & Butt-Head Do America) - (Office Space) - (Extract)

© thevoid99 2014

Killer Joe

Directed by William Friedkin and written by Tracy Letts from his play, Killer Joe is the story about a young drug dealer who is going through money troubles as he and his family hire a contract killer to his mother so that he can collect the insurance money. The film revolves around a family trying to get money from someone they despise only to make a deal with someone they shouldn’t have trusted. Starring Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Gina Gershon, and Juno Temple. Killer Joe is a grimy yet unsettling film from William Friedkin.

The film is a look into the troubled world of a very dysfunctional family living in West Dallas, Texas where a young drug dealer named Chris Smith (Emile Hirsch) is in deep debt as he owes a lot of money to loan sharks. The only way he can get the money is to have his mother killed so his younger sister Dottie (Juno Temple) can collect the insurance money worth $50,000 and he can split the money between himself, his sister, their father Ansel (Thomas Haden Church), and their stepmother Sharla (Gina Gershon). By hiring the detective/contract killer Joe Cooper (Matthew McConaughey), they hope the plan would work but since the Smith family has no money. Dottie becomes Joe’s retainer until the money is given to Dottie but things become complicated leading to all sorts of trouble. Notably as Joe has some specific rules for Chris and Ansel to follow along with some secrets that could ruin things.

Tracy Letts’ screenplay plays into the dysfunctional world of this family where Chris is a young dealer who is in trouble because of his mother as he owes a lot of money. Though Chris is a fuck-up, he is desperate to get out of debt as he turns to his father for help but Ansel doesn’t have the money to help him out as Chris ropes the family in on the solution of how they can get some big money. By hiring Joe Cooper to do the job, Chris is unaware of the implications that he has bargained for as well as the danger he’s putting Dottie in. Especially as she’s this young, child-like woman who is kind of eccentric but also a representation of innocence though she too doesn’t like her mother very much as she’s also on board with the idea of having her mother dead. Joe is intrigued by Dottie as he wants to do a lot for her but is also a man who is a complete professional in what he does.

While Ansel and Sharla are characters who are only on board because of the money, once things become complicated in relation to what happens after Joe does the job. Notably as secrets are unveiled as well as resentment towards Chris over the danger they’re being put through as Joe is a man that is given a task for what he does and he wants what he’s being paid for. There were rules that Ansel and Chris had to follow but Chris’ conflict over what is happening to Dottie makes him uneasy as he tries to cancel the hit only to be reminded of the trouble he’s in. It adds to not just the conflict that Chris is facing but also the damage of his actions as he realizes how far down he’s in as he put his family in danger and has to deal with the consequences from not just the loan sharks but Joe as well.

The direction of William Friedkin is definitely unsafe and discomforting in not just the way he portrays a family that are dysfunctional and selfish but also the world they’re in as they live in a trailer park in the West Dallas, Texas. While there’s some scenes shot in New Orleans, Friedkin makes West Dallas into this very vast yet grimy place where things are in decay while and it’s a world where people tend to live by their own rules. It’s also a place where Friedkin uses Texas something that is considered Gothic with its images of lighting and rain where it plays a sense of doom that is to come while some of the locations showcase a place that had lost some of its splendor.

It’s not just West Dallas that’s a character in the film but also some of the presentation that Friedkin goes for as he maintains something that is stylish but also has this air of suspense in some of the film’s darker moments. Even in scenes between Joe and Dottie where Joe is entranced by Dottie’s innocence as there’s also an element of creepiness that occurs from Joe. The violence in the film is quite brutal that includes a scene where Chris is beaten by a couple of hoods. Yet, that is tame compared to the film’s final sequence where Joe confronts Sharla and Ansel over the insurance money where it involves some moments that will push the limits of how much someone can take. Even as it would later be followed by a chilly climax to showcase not just some dark truths but also something that is inevitable about everything else. Overall, William Friedkin creates a truly visceral yet mesmerizing film about greed and loyalty that refuses to play nice.

Cinematographer Caleb Deschanel does excellent work with the cinematography from a more naturalistic setting for the exterior scenes in the day to some more stylish use of lights in some of the nighttime interior and exteriors scenes including moments in the rain. Editor Darrin Navarro does fantastic work with the editing to play up the sensation of the violence as well as using some rhythmic yet methodical cuts to play out the film‘s suspenseful moments. Production designer Franco-Giacomo Carbone and set decorator Alice Baker do superb work with the set pieces from the empty pool hall where Joe meets Chris and Ansel to the trailer home the Smith family lives in that includes Dottie’s very innocent room that is filled with posters of pop idols.

Costume designer Peggy A. Schnitzer does nice work with the film‘s clothes as it‘s mostly casual and grimy though the look of Joe is very dark with his boots and black cowboy hat. Sound designer Steve Boeddeker and sound editors Aaron Levy and Mace Matiosian do amazing work with the sound to play out the air of suspense in some of the film‘s locations along with some moments where the sound creates an atmosphere to create something that is very intense. The film’s music by Tyler Bates is terrific as it‘s very low-key with its use of ambient music to underplay the suspense and drama. Music supervisor C.C. Adcock creates a soundtrack that is offbeat as it ranges from country music, rockabilly, folk music, and some reggae as it includes contributions from Lee Hazelwood, Clarence Carter, Southern Culture on the Skids, and Reverend Horton Heat.

The casting by Denise Chamian is brilliant as it features some notable small roles from Danny Epper and Jeff Galpin as a couple of biker thugs who beat up Chris, Marc Macauley as the loan shark Digger that Chris owes money to, Sean O’Hara as the boyfriend of Chris’ mother Rex, and Julia Adams as Chris and Dottie’s mother Adele. Gina Gershon is excellent as Ansel’s wife Sharla who doesn’t really like Chris very much as she goes for the plan only for the money as she is also carrying a secret that would later impact things. Thomas Haden Church is superb as Ansel as a man who is unsure about getting involved with the scheme only to realize how beneficial it would be until he realizes the consequences it would bring.

Juno Temple is wonderful as Dottie as this very innocent young woman who is kind of an eccentric but also who is also quite girlish as she doesn’t seem to know what is really going on other than the fact that her mom is going to be killed. Emile Hirsch is amazing as Chris Smith as a young man in a lot of trouble as he tries to get himself out of trouble only to realize he’s made a deal that will bring in some serious consequences. Finally, there’s Matthew McConaughey in a performance for the ages as Joe Cooper where McConaughey is a man that is about his job while knowing what he can get in return as he’s also a man that’s in control but also instills a sense of order in what he does and what he wants as it’s definitely a performance full of terror and charisma.

Killer Joe is a phenomenal film from William Friedkin that features an unforgettable performance from Matthew McConaughey and a chilling screenplay from Tracy Letts. Along with a great ensemble that includes Emile Hirsch, Juno Temple, Thomas Haden Church, and Gina Gershon, it’s a film that doesn’t want to play nice while not being afraid to be ugly and dirty. For William Friedkin, the film is certainly his most captivating but also his most harrowing as it shows a master returning to form. In the end, Killer Joe is an outstanding film from William Friedkin.

William Friedkin Films: (Good Times) - (The Birthday Party) - (The Night They Raided Minsky’s) - (The Boys in the Band) - The French Connection - The Exorcist - Sorcerer - (Brink’s Job) - Cruising - (Deal of the Century) - To Live and Die in L.A. - (Rampage (1987 film)) - (The Guardian (1990 film)) - (Blue Chips) - (Jailbreakers) - (Jade) - (12 Angry Men (1997 TV film)) - (Rules of Engagement) - (The Hunted (2003 film)) - Bug (2006 film)

© thevoid99 2013

We Bought a Zoo

Based on the memoir by Benjamin Mee, We Bought a Zoo is the story about a widower and his two children starting over as the man buys a zoo in the hopes to revive it as well as do something that matters again. Directed by Cameron Crowe and screenplay by Crowe and Aline Brosh McKenna, the film is an exploration into how Mee did something impulsive while growing to care for his new world with his children. Starring Matt Damon, Scarlett Johansson, Thomas Haden Church, Elle Fanning, Patrick Fugit, Colin Ford, Maggie Elizabeth Jones, Angus Macfadyen, Carla Gallo, and John Michael Higgins. We Bought a Zoo is a superb yet engaging film from Cameron Crowe.

The film is essentially a dramatization into how Benjamin Mee (Matt Damon) impulsively buys a zoo as a way to start over after the death of his wife six months earlier and as a way to give his two kids a new life. There, he deals with the fact that the zoo needs to be renovated as it’s costing him a lot of money prompting those who work at the zoo to deal that he might leave and everything will be gone. For Mee who is an adventurer, he ponders whether to salvage what he’s lost or to save the zoo that he has bought and has grown to care for. It’s a film that explores a man who is dealing with grief and uncertainty where he does something impulsive in the hopes that it can help his children and also do something new with his life.

The screenplay by Cameron Crowe and Aline Brosh McKenna definitely explores this man’s impulsive decision as life after his wife’s death hasn’t been easy. He quits his job as an adventurous journalist before he’s about to be laid off while his 14-year old son Dylan (Colin Ford) just got expelled as he’s spending lot of his time drawing macabre images. For Benjamin, he has no idea what to do where he goes house-hunting with his 7-year old daughter Rosie (Maggie Elizabeth Jones) where they stumble upon a home with the zoo as it’s backyard. While Rosie is excited about living with a zoo, the moody Dylan isn’t as he becomes more withdrawn.

In buying this zoo, Mee has to deal with the fact that it’s been unused for 2 years as those who are at the zoo are the ones taking care for it as they’re paid by the state. Leading the staff is a young zookeeper named Kelly (Scarlett Johansson) who is baffled into why Mee would buy a zoo with no knowledge of how to run things or to take care of animals. Yet, Mee counts on Kelly and the staff to help him as well as the services of his older brother Duncan who is baffled into why Benjamin would do something like this. Still, there’s lots of trials and tribulations that occur that would push Benjamin to the breaking point as there’s those that doubt him and even Benjamin himself. Yet, it would take something for Benjamin to realize that he can’t give up though it would raise issues if he’s still doing the right thing.

The script does allow Mee to be flawed as even Mee himself knows he could screw things up. Yet, he is also dealing with the fact that his son has been moody where Dylan feels like he can’t do anything right as he is also trying to deal with the affections of Kelly’s cousin Lily (Elle Fanning). The script does allow Crowe and McKenna to explore the dynamics of family as well as the loss that Benjamin and Dylan are still dealing with. Notably as it relates to Benjamin’s concern for a Bengal tiger named Spar who is ailing where Kelly tells Benjamin that he has to do something or else things will get worse much to Benjamin’s frustrations.

Crowe’s direction has him trying to find a balance between something that is funny but also heartfelt and dramatic without going overboard. Though not everything is perfect, Crowe does allow the film to be told as it slowly tells Mee’s approach to become part of the world of the zoo where he learns how to talk to animals. The humor that Crowe provides is very light-hearted as it includes some very funny scenes involving the zoo’s carpenter Peter MacCready (Angus Macfadyen) who has a grudge towards strict zoo inspector Walter Ferris (John Michael Higgins). Crowe also keeps a lot of the compositions to be straightforward while employing some exotic imagery that is obviously a nod to the visual style of Terrence Malick.

Crowe also knows how to put his actors in a dramatic situation where he knows when it’s time for the heavy drama. The one aspect of the film that doesn’t work and that is unnecessary are scenes involving Mee seeing images of his late wife. It’s a dramatic crutch that really drags the film a bit as it includes an ending that is overdrawn. It’s Crowe feeling that he needs to establish more of Mee’s grief as a way to explain things when he doesn’t need to. Despite that flaw in the storyline, Crowe is able to keep things engaging as he does end up making a very enjoyable film that explores loss and the chance to start all over again.

Cinematographer Rodrigo Prieto does amazing work with the film‘s very colorful and lush photography for many of the film‘s daytime scenes while using some more low-key colors for the scenes at night and in the rain as well as the scenes inside the bar that the zoo staff hangs out at. Editor Mark Livolsi does terrific work with the editing to play out some of the humor and dramatic moments of the film. Production designer Clay A. Griffith, along with set decorator Wayne Shepherd and supervising art director Peter Borck, does great work with the sets from the look of the animal enclosures for the zoo as well as the look of Mee‘s home and the bar that the zoo staff hang out at.

Costume designer Deborah Lynn Scott does nice work with the costumes as it‘s mostly casual to play up the personalities of the characters. Sound editors Mildred Iatrou Morgan and Ai-Ling Lee do superb work with the sound to create the layer of sound work in some scenes including a key conversation between Mee and Kelly. The film’s music by Jon Thor Birgisson aka Jonsi is fantastic for it’s dreamy yet exotic score led by Birgisson’s vocals and serene musical accompaniment as it also includes a piece from his band Sigur Ros. The film’s soundtrack includes an array of music from Bob Dylan, Cat Stevens, Temple of the Dogs, Neil Young with Crazy Horse, Wilco, Echo and the Bunnymen, solo work from Pearl Jam members Eddie Vedder and Mike McCready, the Isley Brothers, Otis Rush, Bon Iver, and Tom Petty and the Heartbreakers that is just fun to listen to.

The casting by Gail Levin is brilliant for the ensemble that is created for the film as it features some memorable small roles from Kym Whitley as a Home Depot clerk that Benjamin and Rosie meets, Stephanie Szostak as Benjamin’s late wife Katherine, Peter Reigert as Benjamin’s old boss, J.B. Smoove as the real estate agent who sells Mee the house next to the zoo, and Carla Gallo as the zoo’s bookkeeper Rhonda. Patrick Fugit is very good as zoo’s craftsman Robin who helps Mee talk to animals as he has a pet monkey named Crystal. John Michael Higgins is terrific as the very snide inspector Walter Ferris who is a stickler for making sure things are in order as he annoys everyone. Angus Macfadyen is great as the very brash but helpful carpenter Peter MacCready who has a grudge towards Ferris as he is very loyal to the zoo.

Maggie Elizabeth Jones is a total delight as Rosie as she says some very funny things while being the one person in the film who has together as adores the zoo. Colin Ford is wonderful as the troubled Dylan who has a hard time dealing with his own issues as well as the presence of Lily as he has no idea how to talk to someone like her. Elle Fanning is amazing as Lily as a young farm girl who is intrigued by Dylan while doing whatever to help around the zoo and such. Thomas Haden Church is excellent as Mee’s brother Duncan who is baffled by what his younger brother is doing where he eventually helps out and realizes what can be done.

Scarlett Johansson is marvelous as Kelly as she is a zookeeper who knows what to do while admitting to having a very pathetic social life as she is just making sure things go well as it’s a very different role for Johansson. Notably as she doesn’t play a sexual being in favor of a real young woman as it’s definitely one of her great performances where she also has some superb chemistry with the film’s lead in Matt Damon. Damon’s performance is definitely fantastic for the way he plays up Benjamin Mee’s uncertainty as well as him impulsiveness where Damon gets to be funny but also dramatic as it’s a performance that really shows the kind of range and enthusiasm Damon has in a meaty role like this.

We Bought a Zoo is an excellent and heartwarming from Cameron Crowe. Featuring a wonderful ensemble cast led by Matt Damon and Scarlett Johansson, the film is definitely a film that the family could enjoy while not taking itself too seriously. While it does have its flaws, it is still a film that is compelling for the way it explores impulsive decisions and taking on something adventurous. In the end, We Bought a Zoo is a remarkable film from Cameron Crowe.

Cameron Crowe Films: (Say Anything) - (Singles) - (Jerry Maguire) - Almost Famous - (Vanilla Sky) - (Elizabethtown) - The Union - Pearl Jam 20 - Aloha

© thevoid99 2013

The Badge (2002 film)

Originally Written and Posted at Epinions.com on 11/9/03 w/ Additional Edits & Revisions.

The Badge is a crime drama about a divorced sheriff who investigates a murder of a transsexual prostitute who has some strange connection to the upcoming governor elections in Louisiana. Along the way, he finds himself at odds with a friend of the prostitute, his ex-wife, and authorities as he loses his badge and tries to do the right thing and uncover the truth. Written and directed by Robby Henson, The Badge is a decent crime film despite its slow pacing and unoriginal storylines. Still, with a cast led by Billy Bob Thornton, Patricia Arquette, William Devane, Sela Ward, Tom Bower, Hill Harper, Julie Hagerty, Thomas Haden Church, and Jena Malone, it’s still a very mediocre crime film.

After finding the body of a transsexual prostitute named Mona (Cindy Roubal), a local sheriff in Darl Hardwick (Billy Bob Thornton) investigates what happened as he as various locals including church leader Sister Felica (Julie Hagerty) and his deputy C.B. (Ray McKinnon) about the body. While continuing work, Darl's personal life is in shambles as he's already divorced from his district attorney wife Carla (Sela Ward) while barely having a relationship with his teenage-Goth daughter Ashley (Jena Malone). Carla wants to have higher authorities to handle the case while Darl manages to get the approval of a local judge (William Devane) to continue the investigation. Darl then meets a woman from New Orleans named Scarlett (Patricia Arquette), who is revealed to be Mona's wife. A conversation with the two is interrupted by Darl's father Bull (Tom Bower) who remains despondent over the loss of his badge as Darl wonders about the secret his father is hiding.

Scarlett decides to help Darl with the investigation as he believes something is wrong as he's convinced as it's to do with the upcoming governor election that the judge is running for against current governor Joe Breraton (Michael Arata) whom Carla is dating. Darl crashes the party the governor is having as his suspicions is raised as he asks for Carla's help who refuses to help him. With news of a new casino arriving that Sister Felicia has been protesting against, Darl gets in trouble as he's forced to give up his badge and to stay in his local parish so he can stop the investigation. After learning from his dad what is going on, Darl risks his probation to help Scarlett as they meet her friends David (Thomas Haden Church) and Gizmo (Hill Harper) as they all learn that Mona's death was all part of a conspiracy involving corruption within the government.

What makes The Badge frustrating is Robby Henson’s approach to try to make a crime drama fresh but in the process, finds itself messy in one too many subplots involved. The revealed murderer isn’t just a disappointment but the story as a whole is a mess since there’s no real background to the murder or the corruption other than the fact that these candidates wanted power. Henson’s direction is mediocre at best despite the fact he can shoot some excellent dramatic scenes that get overshadowed by its plot. The problem with the film is a lack of a narrative structure, which makes the whole film uninteresting due to its slow pacing.

On the performance front, Billy Bob Thornton is excellent as Darl as he brings out a man who is trying to do the right thing while trying to fix whatever mess in his life. Patricia Arquette is brilliant as well, since she not only plays an excellent stripper, but someone smart and demanding and she brings in some great chemistry with Thornton. William Devane is fun and sly as the villainous judge although at first, he doesn’t seem bad towards the middle of the film. As for the rest of the cast, well despite their excellent performances, it’s overall a total waste. Sela Ward is only in a few scenes in the film, often arguing with Thornton while Jena Malone is excellent as a Goth teen though her screen time throughout the film is a disappointing ten minutes. Thomas Haden Church, Hill Harper, Tom Bower, and Julie Hagerty are all underused in their roles and are just wasted throughout the entire film. In the end, The Badge is a disappointing crime drama despite a great but underused cast.

(C) thevoid99 2011

Sideways

Originally Written and Posted at Epinions.com on 11/7/04 w/ Additional Edits & Extensive Revisions.

Since his 1996 feature film debut for the abortion comedy Citizen Ruth, Nebraska filmmaker Alexander Payne brought a mix of Americana and irreverent offbeat humor to many of films often based on books that he and longtime co-writer Jim Taylor adapted into scripts. In 1999, Payne released a hilarious satire film entitled Election about a high school election gone insane that became a breakthrough for Payne as it won him loads of acclaim including the prestigious New Generation Award from the L.A. Film Critics Association. In 2002, Payne and Taylor released About Schmidt, based on the novel by Louis Bagley. A more harrowing film than his previous efforts, About Schmidt still contained its irreverent but restrained humor largely due to lead actor Jack Nicholson's surprisingly quiet, restrained performance as an old man dealing with age and his existence. The film was also a hit as Payne in 2004 re-emerged with Taylor once again for another adaptation, this time for the Rex Pickett novel entitled Sideways.

Sideways is a movie about a failed novelist named Miles and his out-of-work actor buddy Jack going on a one-week trip to North California to sow their wild oats while trying out new wines in various winery places. With Jack getting married in a week, Miles tries to give him a last week of freedom only to learn more of his own failures while the men deal with everything about themselves. Then after meeting a couple of women in a town in North California, Miles deals with his own failures while trying to find some sense of hope and good wine. Starring Paul Giamatti, Thomas Haden Church, Virginia Madsen, and Payne's real-life wife Sandra Oh. Sideways is one of the most original and heartfelt comedies of 2004.

Miles Raymond (Paul Giamatti) is an 8th grade English teacher trying to catch a break as a novelist as he drives from San Diego to L.A. to pick up his best friend Jack (Thomas Haden Church) for a week trip before Jack's wedding to Christine (Alysia Reiner). After meeting Christine's family, the two head to Northern California for a wine exhibit as they stop to spend the night at the home of Mile's mother (Marylouise Burke). Mile however, remains haunted by the fact that he's a failure and already failed in his marriage to Victoria (Jessica Hecht). Upon arriving to the California vineyard, they stop to examine wine as Miles expertly tries different wines as stop at a town near Los Olivos to stay.

After a meeting a waitress named Maya (Virginia Madsen), who knows Miles over his wine expertise, at a restaurant. Jack claims they're celebrating over the publication of Miles' upcoming novel which isn't true as they continue to go wine-tasting where they meet another expert in the free-spirited Stephanie (Sandra Oh), who is also a friend of Maya's. Jack becomes smitten with Stephanie as Miles and Jack go to dinner with Maya and Stephanie to discuss wine as Miles still mopes over his ex-wife. Later that night at Stephanie's house for more wine-tasting, Miles and Maya talk about the brilliance of wine as well as the fact that they're both dealing with failed marriages. With Jack spending more time with Stephanie, Miles tries to deal with his own issues as the two go golfing one day where Jack tries to get Miles out of his slump.

During a lunch with Maya and Stephanie where they meet Stephanie's daughter Siena (Natalie Carter), Miles finds himself smitten with Maya where things seem to go well until he accidentally reveals about Jack's upcoming wedding. Things get worse when Miles learns about his novel as he vents out where the day worsens over what he revealed to Maya about Jack. Jack's womanizing ways starts to get him in trouble after flirting with a waitress (Missy Doty) where he asks for Miles help to deal with her husband (M.C. Gainey) as Miles wonders if there's any kind of hope for him.

Where in previous films, Alexander Payne took the time to establish himself as a director with irreverent satires of Citizen Ruth and Election while blending comedy and drama for About Schmidt. In Sideways, Payne not only fulfills his potential but also now becomes the most leading American auteur filmmaker for his heartfelt view of humanity while finding its inane humor in the smallest of things. Payne brings a creatively intelligent film with stylized split-screens and wonderful images where he moves the camera into giving a wonderful yet complex view of America. With his longtime co-writer Jim Taylor, the film's script is filled with hilarious moments and lines along with great emphasis on wine tasting and the kind of wine that is good. This film will make thirsty for some wine but it's really an adult film with a nice balance of romance, drama, and restrained comedy where Payne and Taylor bring out their best work to date where they click with every funny and sad moment in the right places.

Helping Payne with his vision is cinematographer Phedon Papamichael who beautifully captures the wonderful world of California wine fields and the Californian towns, which has a sense of purity and color that is truly imaginative. With Payne's longtime editor Kevin Tent bringing in a nice, masterful editing style in tune with the multiple-screen shots in the film, the film moves nicely as it doesn't move too slow or too fast for Payne's subtle, sublime story. Helping out more in the visuals is Payne's longtime art team of production designer Jane Ann Stewart and art director T.K. Kirkpatrick for giving a nice detailed view of the Californian wine world with its tan-like colors and wooden images where the movie gives you that great feeling that you're in a winery while longtime costume designer helps give personality to the clothing for its characters.

Then there's the film's music from longtime Payne collaborator Rolfe Kent who brings a lovely jazz score filled with bouncy rhythms and touches of melancholia that serves as an accompaniment to the varied mood of Miles along with music from Bonnie Raitt and Luna.

Then there's the film memorable if small cast, which includes some nice performances from Marylouise Burke as Mile's mother, Jessica Hecht as Victoria, Alysia Reiner as Christine, and Missy Doty as Cammi. Still, the film revolves solely on its four main actors. Sandra Oh is vibrantly amazing as the free-spirited Stephanie with her whimsical expertise on wine and down-home sense of humor while being vivacious in her sexiness as she carries some great scenes with Thomas Haden Church while stealing the show in the scene where she breaks his nose. Virginia Madsen truly gives the greatest performance of her career as the soulful Maya with her love for wine and life. Madsen not only brings great chemistry with Paul Giamatti but a wonderful depth in their conversation scenes as Madsen glows in her understatedly, rich performance as she and Oh are both worthy for Supporting Actress nods in the Oscars.

Thomas Haden Church is hilarious and amazing as the chauvinist Jack with his selfish, egomaniacal ways and immature behaviors. Church is really the comedy of the movie by doing stupid things where he and Giamatti have great scenes despite their different personalities where Church also has depth where he's trying to protect Christine from his affairs with Stephanie. Church is just filled with depth in his comedy, as he also deserves some recognition for his performance. Paul Giamatti is the film's best performance for his complex mix of emotionally depressed and self-defeating in the role of Miles. Giamatti shows that his performance in 2003's American Splendor was no fluke where he uses his shadowy eyes and face to bring out every sense of sadness into his role. While he maybe the role of a loser (though Church is playing the bigger loser), Giamatti brings sympathy to his role despite his selfishness and self-loathing where he also carries a sense of charm and heart as this role is truly one of his best of his flourishing career.

Sideways is a tremendous film from Alexander Payne and company with great performances from Paul Giamatti, Thomas Haden Church, Virginia Madsen, and Sandra Oh. Thanks to Payne's subtle, restrained humor and warm drama filled with romance and life lessons, the film is one of the brightest pieces of American cinema as Payne now becomes a director with a vast imagination. While not as funny in some parts in comparison to previous films, Sideways works more in its mix while giving away some great emphasis on wine tasting. If there's a nice movie that you can laugh and be moved at while getting a fine taste of wine, Sideways is the movie to go see.

Alexander Payne Films: Citizen Ruth - Election - About Schmidt - Paris Je T'aime-14th Arrondissment - The Descendants - Nebraska - (Downsizing) - The Holdovers - (Tracy Flick Can't Win) - The Auteurs #5: Alexander Payne

(C) thevoid99 2011

Spider-Man 3

Originally Written and Posted at Epinions.com on 5/6/07 w/ Additional Edits.

Ever since Sam Raimi's film adaptation of the Spider-Man comic was released in 2002, the film was a smashing success as it proved that there's new life for film versions of comic books. Marvel's X-Men franchise and Hellboy both were big success though other comic book films like Daredevil, Fantastic Four, and The Punisher weren't well-received or beloved as other films. DC Comics even brought back old franchises of Batman and Superman with new films while in 2004, Sam Raimi released a new sequel to Spider-Man that drew rave reviews and huge box office. With the success of both films, it's no surprise that a third film would be made as Sam Raimi decides that this probably might be the last one for him.

Spider-Man 3 tells the story of Peter Parker's acceptance in being Spider-Man while finally gaining the love of his longtime sweetheart Mary Jane who accepts him both as Parker and as Spider-Man. Things seem to go right but until new villains arrive in the form of a man who has been revealed to be the real killer of his uncle while Harry Osborn has chosen to avenge his father in being the new Goblin. Making things worse is a new photographer vying for Parker's job while an alien lifeform has touched Peter's costume giving him newer, darker powers as well as changes to his personality. Based on the comic by Steve Dikto and Stan Lee, Spider-Man 3 is a more complex, darker story that reveals more of Parker's role in being himself and Spider-Man. With a screenplay written by Ivan Raimi, Sam Raimi, and Alvin Sargent, director Sam Raimi goes for more drama and action in this new film.

With an all-star cast that includes returning franchise players Tobey Maguire in the title role along with Kirsten Dunst, James Franco, Rosemary Harris, J.K. Simmons, Dylan Baker, Elizabeth Banks, Ted Raimi, and Bill Nunn. Joining the franchise for this third installment are Thomas Haden Church, Topher Grace, Theresa Russell, Bryce Dallas Howard, and James Cromwell. Oh, there's also the often-needed appearance from Bruce Campbell. Spider-Man 3 brings all the thrills, chills, action, and everything expect in a blockbuster. Only problem is, it brings in too much of all that with no cohesive story.

Peter Parker's life is on the upswing as he's found a balance in being himself and being Spider-Man.  He's got everything going well for him while his love life with Mary Jane Watson (Kirsten Dunst) is going great as she is about to star at a new Broadway play.  The only thing in Peter's life that hasn't been resolved is the strained friendship with Harry Osborn (James Franco) over the death of Harry's father and the revelation that Peter is Spider-Man.  Still overjoyed about his relationship with Mary Jane, Peter visit his Aunt May (Rosemary Harris) as she gives him the old engagement ring Uncle Ben (Cliff Robertson) gave her years ago.  Unfortunately, Peter's new happy life is briefly interrupted by Harry's attack as the new Green Goblin as well as a nearby meteor crash.

Peter's fight with Harry ends up having Harry unconscious as he suffers temporary amnesia where Peter feels like he's regained his old friend again.  Just as things are going well for Peter, Mary Jane is hit with bad reviews over her Broadway performance as she sinks into despair as Peter tries to comfort her.  When news that a convict named Flint Marko (Thomas Haden Church) has escaped and landed into an experimental sandpit, Peter learns from Captain Stacy (James Cromwell) about Marko who is revealed to be the man who killed his Uncle Ben.  Wanting revenge, Peter goes after Marko who is now the Sandman while dealing with a new young photographer named Eddie Brock (Topher Grace) who is after the staff photographer job at the Daily Bugle that Peter wants.

With Mary Jane's career going into a downward spiral and bothered by the presence of Peter's college classmate Gwen Stacy (Bryce Dallas Howard) whom Peter kissed as Spider-Man during a ceremony.  Meanwhile, a black substance appears into Peter's room where it changes Peter's attitude and makes his Spider-Man suit black as it plays into his new dark persona.  It would impact various relationships including Harry and Mary Jane as it would eventually tackle into Peter's state of mind as he fights not only the Sandman but another villain named Venom prompting Peter to get some unexpected help.

When films like comic book adaptations become franchises, sometimes they succeed in giving more time for character development and new adventures that will let the audience enjoy themselves. Then there's the idea where after one or two successful films, the next one has to be bigger and more appealing to a wider audience. For Spider-Man 3, it falls into the latter. While Sam Raimi does create what is expected in a blockbuster. Entertaining thrills and chills with lots of action, some romance, comedy, and such. The only problems is, he throws it all at once and overwhelms the audience. Even with a budget of $270 million plus a running time of nearly two-and-a-half hours, the result is a very bloated film.

One of those reasons is the script. The Raimi brothers plus Alvin Sargent clearly tried to put too many stories and subplot into one film. It starts out fine with the audience knowing what Peter Parker is up to, how happy he is and everything while having to deal with the new Goblin, Mary Jane's problem, and a separate scene involving Flint Marko.

Then, the film becomes episodic in some ways. Several scenes on their own are great to watch like the entire Bruce Campbell sequence as a French waiter with Peter's proposal plans is great on its own. Another group of scenes that was great is Peter Parker acting all super-cool with the black suit. The problems with those scenes is that it doesn't connect with the rest of the film. The script feels cramped with so many subplots, villains, and such. The story is lost with too many things. Even the theme of revenge, which is main moral purpose of the film, gets overwhelmed by the many stories that the writers tried to pull.

Then there's Raimi's direction. While Raimi is very good at capturing moments of drama, comedy, action, and all of that stuff. The problem is that he tries to give the audience everything they want. The result is a very inconsistent film that has a lot of great scenes and action. He just didn't know what to do with them. Even character favorites like Aunt May, Jonah Jameson, and Venom don't appear very much and have little to do. Then we have the new characters, with the exception of Flint Marko and Eddie Brock, that arrive and they're not really given much to do. Even Venom, who should've been in another movie with an entirely different story.

It's the excess that mars the film despite its emphasis to entertain. Still, Raimi does bring in a lot of fun to the film with references to previous Spider-Man movies. While fans of the previous films will enjoy that, they might feel that this third installment might not bring them enough closure or satisfaction. Though Raimi's intentions were good from the beginning, the result is clear that he tried to do too much.

Cinematographer Bill Pope brings some nice, stylish camera work that is just as intense than in previous films. Unfortunately, there's nothing new that hasn't been seen in those previous films. Though Pope has done good work and even better in the last film, he takes a step backwards and doesn't bring anything new. Production designers J. Michael Riva and Neil Spisak do fine work in creating some of the scenes but again, nothing new or exciting is created.

Costume designer James Acheson along with Katina Le Kerr create wonderful costumes with Acheson actually bringing something really cool to the black-suit Spider-Man wears along with new looks for the new Goblin. Editor Bob Murawski does some nice work on the editing in some sequences without going into the fast-cutting style that's in most blockbusters. Unfortunately, other sequences tend to drag which is really more Raimi's fault in his direction. Sound designer Paul N.J. Ottosson doesn’t bring anything new other than what's expected in a blockbuster film like this.

Visual effects supervisor Scott Stokdyk does create a lot of nice special effects with some great moments in the battle sequences. It's a highlight somewhat in the film but like the film itself, falls into the same trap of its excess. Taking over for Danny Elfman who scored the previous films is Christopher Young. While continuing to use the same themes that Elfman had created in the previous films. Young's score isn't very memorable as the ones Elfman had made. Though some of the jazz touches in a few of the scenes and show tunes are good, they don't work as a whole but only as individual moments.

The film's soundtrack again, is used for commercial purposes yet is more superior than previous films. With great cuts from Snow Patrol, the Killers, the Yeah Yeah Yeahs, Walkmen, and Flaming Lips, the soundtrack definitely leans towards indie music though cuts from bands like Jet and Beat Steaks aren't very good. A great track from the legendary Chubby Checker appears but doesn't fit in with the rest of the film.

Then there's the film's large cast. With small cameos from the likes of Raimi's own family like his kids plus brother Ted as Jameson's assistant Hoffman, Cliff Robertson in a brief flashback as Ben Parker, Bill Nunn as Robbie Robertson, and Stan Lee. The cameos are fun and nice to watch though one cameo from Willem Dafoe doesn't work this time around. While he had a nice cameo in the last film, Dafoe is mis-directed by giving a hammy performance that doesn't work.

Other small performances from Elya Baskin as Peter's landlord from the last film, Mageina Tovah as the cookie girl from that same film, and Elizabeth Banks as Miss Brandt are nice to watch, even in scenes where Tovah and Banks are being flirted by the bad Peter. Dylan Baker is good in a brief role as Parker's professor who studies what the symbiote does while Perla Haney-Jardine is good in her small role as Penny Marko.

While the talents of people like Rosemary Harris, J.K. Simmons, and Theresa Russell are wonderful to watch. They have the unfortunate of appearing in the film very briefly. Theresa Russell only has one scene as Flint's frustrated, protective wife who despises her husband and it's too short. J.K. Simmons, who was a joy to watch in the last movie, doesn't appear as much as audiences would've wanted. It's a shame since he is one of the film's comic relief and Simmons always gives a great performance. Sadly, there's not enough of him.

The same for Rosemary Harris who had a lot to do in the last one but only appears in five scenes. While she is great in being the wise, maternal figure that Peter needed, she's just not there enough and often has to pop up when the film has to call her. It's a shame that she's not used enough. One performance that is good yet feels out-of-place is Harry's butler played by John Paxton. While he has appeared briefly in previous films, he has more but brings a lot of confusion to audiences in why he's here. He's good but feels out-of-place and what he tells Harry does create a plot-hole that would affect the entire trilogy.

There is no doubt that Bryce Dallas Howard is a very good actress despite appearing in two very bad films by M. Night Shymalan. Howard is really given nothing to do but look pretty, act like she gets in trouble and become a new love interest. It's obvious comic book purists won't like the way Gwen Stacy is used since she is the only other female friend in Peter's age group that he has aside from Mary Jane. Howard, despite what she has to do isn’t given anything to do. Topher Grace fares better in his role as the arrogant, competitive Eddie Brock who is kind of Peter's opposite in terms of trying to get a good photo and such. Yet, when Brock loses everything, Grace shows depth in Brock's despair and later, his transformation where Grace really proves his range that he can play creepy characters.

Thomas Haden Church gives an excellent performance as Flint Marko/Sandman. While having a similar presence to what Alfred Molina have as Doc Ock in the previous film, Church managed to sell his complex performance as a man who runs into bad luck in his attempt to do the right thing. While Church managed to be interesting as Sandman, he does fell for the same kind of villainous trap that's been seen in other films. It's the script that fails him a bit later on though Church's performance is a standout. James Franco is good when he's being bad but when he's acting like all good, it doesn't work. Plus, he has a tendency to overact when he's being really emotional which makes his entire performance uneven.

Kirsten Dunst gives probably her best performance in the entire franchise. Probably because her character has to deal with realism and being the role of Spider-Man/Peter Parker's girlfriend. Dunst truly sells herself with a restraint and maturity that is very different from her previous roles. While she does have to be the same damsel-in-distress that she has done in other films, at least she got more to do.

Tobey Maguire is again, excellent in his performance as both Peter Parker and Spider-Man. Maguire sells the good boy performance while adding more flaws to the character as Parker acts over-confident and such. Yet, when McGuire starts to act bad, it's all done in comic gold. Maguire looks like he's having fun in playing bad and even when he's good, he's still having fun. Maguire gives a great performance though kind of fall shorts from the one he gave in the last one. The film's best performance is indeed, Bruce Campbell. Though it's only for less than 10 minutes, his entire sequence is truly one of the best. Campbell definitely sells himself with a bad French accent, waiting for Parker to give a signal and such. The man should be rewarded. He played Ash and Bubba Ho-Tep. This film is not about Spider-Man, it's about a guy named BBBBBBBRRRRRRRRRRRUUUUUUUUUUUUUCCCCCCCCCCEEEEEEEEEEEEE!!!!

While the film does bring in what is expected in high-octane entertainment, Spider-Man 3 falls very short of its expectations and in comparison to its predecessor, the weakest so far. While the film has a nice cast, some cool visual effects, action and such. The end result is a film that falls into the cliche of bigger is better mentality. While it's no doubt Sam Raimi is a great director, he definitely fumbles in trying to create a film for everyone which is impossible.  The overall result is a very bloated and excessive film that tries to please everyone only to leave everyone disappointed.

Related: The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Far from Home - Spider-Man: No Way Home - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)

Sam Raimi Films: The Evil Dead - (Crimewave) - Evil Dead II - (Darkman) - Army of Darkness - (The Quick & the Dead) - (A Simple Plan) - (For the Love of the Game) - (The Gift) - Spider-Man - Spider-Man 2 - (Drag Me to Hell) - (Oz the Great and Powerful) - Doctor Strange in the Multiverse of Madness

© thevoid99 2011