Infinity Pool

 

Written and directed by Brandon Cronenberg, Infinity Pool is the story of a vacationing couple who spend their time at an island resort where they meet a mysterious woman who takes them to a world outside of the resort that is anything but idyllic. The film is a sci-fi horror film that explores a couple who enters a world that forces them to confront their own desires and such as well as issues relating to their marriage. Starring Mia Goth, Alexander Skarsgard, Cleopatra Coleman, Jalil Lespert, Amanda Brugel, and Thomas Krestchmann. Infinity Pool is a disturbing yet ravishing film from Brandon Cronenberg.

Set in a fictional European country where a couple is vacationing at an island resort isolated from a poor country, the film follows this couple who meets a woman who takes them to a world outside of the resort where things aren’t idyllic with the husband succumbing to vices and such beyond his control including actions where he is forced to watch a double be created for his execution. It is a film that explores this writer who is trying to create a second book until he meets this woman and her husband as they take part in decadence until an incident leaves the writer guilt-ridden until he learns about something that doesn’t allow him to be punished but it comes with a price. Brandon Cronenberg’s screenplay does have a straightforward narrative as it plays into a vacation that novelist James Foster (Alexander Skarsgard) and his wife Emily (Cleopatra Coleman) as they’re in this idyllic island but are unaware of what is outside of their resort until they meet actress Gabi Bauer (Mia Goth) and her architect husband Alban (Jalil Lespert) where they rent a car outside of the resort for a picnic where things get weird and later dark where James gets in trouble with everyone witnessing what happened.

What follows is an arrest for James over what happened as its police chief in Detective Thresh (Thomas Krestchmann) reveals that the penalty is death yet James is given an offer to have a double fill in for him with a hefty fee that would also allow him and Emily to watch the execution. What happens is a key moment in the film where James realizes what he can get away with his actions as he also learned that Gabi and Alban have also done the same thing with other rich tourists. Notably as they use their wealth to do things and create doubles to watch them be executed for their crimes as James would enjoy it at first but Emily is disgusted as she would leave the resort leaving James to be with the Bauers and their friends in acts of decadence that eventually would take a toll on him. Notably as guilt starts to emerge with the Bauers and their friends playing awful pranks that would become more gruesome.

Cronenberg’s direction definitely bears a lot of style in not just his approach to suspense, horror, and drama but also in dark humor in some places as well as bringing in elements of surrealism. Shot largely on location at the Amadria Park resort in Sibenik, Croatia with additional locations shot outside of Budapest, Hungary and bits in Toronto. Cronenberg creates something that does feel idyllic in this resort where there beaches are gorgeous and there’s plentiful of food while the tourists are largely protected except for a key moment when a citizen rides a vehicle on the beach is when James and Emily meet Gabi who claims to be a fan of James’ only novel. Cronenberg would employ some unique extreme close-ups that does play into James’ attraction towards Gabi including a scene at a beachside picnic outside of the resort where James is urinating offsite until Gabi comes behind him and does something to increase their attraction. There are also some unique wide and medium shots that Cronenberg creates that includes the very first meeting James have with the Bauers’ friends as their faces aren’t shown except for James and Gabi.

The direction also has Cronenberg play into these elements of violence and surrealism with the latter playing into these hallucinogenic moments where Gabi introduces James to a hallucinogen that would bring in strange visions and take part in orgies as he becomes attracted towards Gabi. Yet, the parties eventually become chaotic where the people James surrounds himself with are people of power who come to the island every year to commit horrible crimes and get away with it as this sense of immorality starts to come ahead. Notably in its third act where the violence is intense as it relates to James’ own revelations in not just his guilt but also the fact that he is part of a small circle that comes from money except that he is married to money. All of which makes him an easy target for Gabi and her friends to be part of a toxic world that allows themselves to get away with anything including death for a brief moment in time. Overall, Cronenberg crafts a harrowing yet intoxicating film about a novelist’s vacation into Hell filled with ideas of cheating death and getting away with all sorts of things due to his privilege.

Cinematographer Karim Hussein does incredible work with the film’s cinematography with its stylish usage of lights for some of the interior scenes at night including some of the hallucinogenic scenes while emphasizing on some natural lighting for some of the daytime exterior scenes. Editor James Vandewater does excellent work with the editing as it is stylized with some unique jump-cuts to play into some of the film’s surreal moments as well as its suspense along with straight cuts to help long shots linger for a few minutes. Production designer Zosia Mackenzie, with set decorator Rita Hetenyi plus art directors Clara Farkas and John O’Regan, does amazing work with the look of the home that the Bauers live in as well as the interiors in the resorts as well as the rooms where the doubles are made. Costume designer Maria Fater does fantastic work with the clothes that the characters wearing including some of the stylish clothes that Gabi wears that often shows her cleavage.

Hair designers Anna Cichon and Daniel Losco, along with makeup designers Rita Balla and Svetlana Gutic, do brilliant work with the look of the characters including some of the masks they would wear as well as some of the surreal moments in the film where makeup is prevalent. Special effects supervisor Paul Stephenson and visual effects supervisor Andy Robinson do terrific work with the visual effects for some of the surreal moments in the film along with some key violent moments in the film. Sound designers Rob Bertola and Alex Bullick, along with sound editor Jill Purdy, do superb work with the sound in creating unique sound textures in some of the surreal moments in the film as well as the sounds from natural locations as it is a highlight of the film.

The film’s music by Tim Hecker is phenomenal for its electronic-based score with elements of ambient textures as well as some brooding synthesizers as it adds to the film’s disturbing tone as it is a major highlight of the film while it also includes a soundtrack featuring music from Sook-Yin Lee & Adam Litovitz, Clinic, Derek & Brendan Fletcher, Timbre Timbre, Jim Williams, and the trio of Anand Chitragupth, Milind Chitragupth, and Sameer Anjaan.

The casting by Mark Bennett and Deirdre Bowen is wonderful as it feature some notable small roles from Kristof Kovacs as a young boy who takes part in the execution, Gergely Troscany as a posh local Gabi and her friends rob, Caroline Boulton as a posh actress in Bex, Jeffrey Ricketts as Bex’s husband Charles, John Ralston as the posh Dr. Bob Modan, Amanda Brugel as Dr. Modan’s wife Jennifer, and Thomas Krestchmann in a superb performance as a police detective in Thresh who allows James the chance to get away from his crimes through a fee as a way to not create any more trouble. Jalil Lespert is excellent as Gabi’s architect husband Alban as a man who likes to take part in debauchery as he also takes part in open relationships with others as he does a lot to enable James’ bad behavior. Cleopatra Coleman is amazing as James’ wife Emily as a woman who is troubled by her husband’s behavior as well as the presence of the Bauers as she doesn’t like what James can get away with due to the laws in this country prompting her to leave.

Alexander Skarsgard is incredible as James Foster as a novelist trying to come up with ideas for another book as he gets involved in a serious event that has him become guilty until he learns about a law that allows a double to fill in for his own execution. Skarsgard brings some humor into the role but also a lot of emotional weight as guilt starts to come in as well as the fact that he becomes a pawn in a world where the rich can get away with anything as long as they have money. Finally, there’s Mia Goth in an outstanding performance as Gabi Bauer as this actress who likes to goad James into doing bad things and get away with it but also seduce him. Goth’s performance is this wild firecracker who doesn’t just exude sex appeal but also charisma that allows herself to be front and center as well as do bad things and enjoy it as it is a career-defining performance for Goth.

Infinity Pool is a spectacular film from Brandon Cronenberg that features great performances from Alexander Skarsgard and Mia Goth. Along with its supporting cast, eerie music score, gorgeous yet hypnotic visuals, and a gripping story of guilt and privilege. It is a film that doesn’t play nice while also doing what it can to showcase what people could do in a foreign land and get away with it all because they have money and status. In the end, Infinity Pool is a tremendous film from Brandon Cronenberg.

Brandon Cronenberg Films: (Antiviral) – (Possessor)

© thevoid99 2023

Downfall (2004 film)

Based on the books Inside Hitler’s Bunker by Joachim Fest and Until the Final Hour by Traudl Junge and Melissa Muller, Der Untergang (Downfall) is the story of the final ten days of Adolf Hitler as he struggles to survive while hiding in his bunker with officers, close friends, and various others. Directed by Oliver Hirschbiegel and screenplay by Bernd Eichinger, the film follows these final ten days as it is told from the perspective of Hitler’s personal secretary in Traudl Junge who is played by Alexandra Maria Lara with Bruno Ganz in the role of Adolf Hitler. Also starring Corrina Harfouch, Ulrich Matthes, Juliane Kohler, Heino Ferch, Christian Berkel, Matthias Habich, and Thomas Krestchmann. Der Untergang is a riveting and chilling film from Oliver Hirschbiegel.

The film explores the final days in the life of Adolf Hitler who is hiding in his bunker in Berlin hoping for a way to push the Russians back and continue to pursue a future for Germany. Yet, he would endure news about betrayals, setbacks, and other things that would force him to come to terms that his future plans for Germany might not happen after all where those closest to him including his personal secretary Traudl Junge wonder what will happen. Bernd Eichinger’s screenplay opens with Junge’s first meeting with Hitler in late 1942 at a secret bunker in East Prussia where she is among the slew of women answering a job interview to be his personal secretary. There, she sees a kindness and patience in Hitler where it is surprising and then the film’s narrative shifts to late April of 1945 in Berlin where the Germans are being surrounded by the Russians. Much of the film’s narrative revolve around what is happening at Hitler’s bunker and the number of generals and officials dealing with dwindling forces and growing casualties.

The first act is set in the bunker and the government building nearby where everyone is trying to figure out what to do while Hitler’s longtime partner Eva Braun (Juliane Kohler) tries to raise up morale at one point in having a party to celebrate Hitler’s birthday. The first act would end when Hitler realizes the severity of his situation when his forces are unable to stop the Russians from coming where he just couldn’t believe that all hope is lost. Eichinger’s script doesn’t just follow Hitler coping with this impending sense of loss and anger but also showing sides of him that do showcase a sense of humanity in someone that was a monster. Even in how he would have his pet German Shepard eat a cyanide capsule rather than shooting it as well as scenes where he converses with Junge about his plans for the future and for Germany which he realizes will never happen.

During the course of the film, the number of politicians and military officers would betray Hitler thinking he’s lost his mind while some of them are trying to instill their own rule as it angers Hitler who becomes aware of how powerless he is. The film’s third act isn’t just about Hitler’s final day but also the aftermath as it relates to loyalty as well as the few individuals who cope with the end that includes a member of Hitler’s Youth club. Notably as it has Junge trying to get out of the chaos so that she can survive as would others who aren’t military personnel or members of the Nazi party. The third act also play into the idea of surrender with those preferring to end their lives rather than surrender to the Russians and others wanting to live and fight the Russians with some in the middle unsure of what to do.

Oliver Hirschbiegel’s direction opens and ends with footage from the 2002 documentary Im toten Winkel (Blind Spot: Hitler’s Secretary) by Andre Heller and Othmar Schmiderer about Junge who talks about her past as it would play into the life of this woman who would become Hitler’s personal secretary. Shot on various locations in Berlin, Munich, and St. Petersburg, Russia, the film is largely set into an area where it’s falling apart as there aren’t many wide shots in the film except for the many scenes outside of the bunker where a lot of violence is happening as well as people trying to flee Berlin from the Russians who are shooting artillery from afar. Much of Hirschbiegel’s direction takes place in the bunker with some scenes at a palace hall or other building for some parties as it is shot largely with hand-held cameras where characters run through the halls of the bunker. The scene where Hitler receives the bad news about his forces, a legendary scene that inspired many Internet parodies, is intense with its close-ups and medium shots in displaying the anger and hopelessness that Hitler is dealing with.

Hirschbiegel would also maintain this sense of claustrophobia inside the bunkers where everyone is feeling trapped and the need to go outside is very risky where the moments of peace is too brief. Even as there’s stories outside relating to those trying to fight off against the Russians while there’s scenes where there are individuals whose loyalty are being questioned as they’re not in the bunker. Hirschbiegel would slowly build up this air of doom that is coming as it relates to what will happen and its aftermath is filled with a lot more uncertainty. Even as the direction would loosen up to the point that it gets out of the bunker and in other places as well as areas outside of the bunker as it play into the fall of Nazi Germany from the eyes of the woman who had been one of Hitler’s closest allies. Overall, Hirschbiegel creates an entrancing yet eerie film about the final days of Adolf Hitler.

Cinematographer Rainer Klausmann does brilliant work with the film’s cinematography as it feature elements of natural lighting for some of the scenes in the daytime while emphasizing on low-key lights and moods for many of the scenes at the bunker. Editor Hans Funck does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the heavier moments in the drama. Production designer Bernd Lepel does amazing work with the interiors of the bunker as well as some of the places around the bunker including the rooms where a few of the officers would live in. Costume designer Claudia Bobsin does fantastic work with the costumes from the uniforms of the officers to the stylish dresses that the women wore in those times. Visual effects supervisor Thomas Zauner does terrific work with the visual effects as it is mainly bits of set dressing for many of the exteriors in the film. Sound designers Stefan Buch and Nico Krebs do superb work with the sound as it play into the atmosphere of war with sounds of artillery shells flying or alarms as it help create this sense of unease in the film. The film’s music by Stephan Zacharias is wonderful for its low-key orchestral score with elements of bombastic arrangements and somber themes to play into the drama.

The casting by An Dorthe Braker is incredible as it feature some notable small roles from Bettina Redlich as Hitler’s cook Constanze Manzilary, Ulrich Noethen as the smarmy Nazi party leader Heinrich Himmeler whom Hitler doesn’t like, Rolf Kanies as General Hans Krebs, Justus von Dohnanyi as Hitler’s chief adjutant General Wilhelm Burgdorf, Christian Hoening as Hitler’s physician Ernst-Robert Grawitz, Thorsten Krohn as Dr. Ludwig Stumpfhegger, and Gotz Otto as the SS officer Otto Gunsche who would watch over the burning of the bodies of Hitler and Braun. Birgit Minichmayr is terrific as one of Hitler’s secretaries Gerda Christian while Christian Berkel is superb as the SS doctor/physician Dr. Ernst-Gunther Schenck as a man trying to save the wounded and ailing whether they’re soldiers or regular people. Heino Ferch is excellent as Hitler’s chief architect Albert Speer who makes a brief visit to the bunker to talk to Hitler and Braun where he tries to raise their morale but also realizes what is coming. Thomas Krestchmann is fantastic as the SS officer Hermann Fegelein as a man that is Eva Braun’s brother-in-law who has been accused of desertion while not carrying out orders for Hitler.

Juliane Kohler is wonderful as Eva Braun as Hitler’s longtime lover who tries to raise morale at the bunker only to face the reality of what is about to happen. Corrina Harfouch is brilliant as Magda Goebbels as the wife of Joseph Goebbels who is loyal to Hitler as she is touched by a present he gives her as she faces the fact of what is to come. Ulrich Matthes is amazing as Joseph Goebbels as Hitler's propaganda official and right-hand man who also deals with the fall of Nazi Germany and what will happen to Hitler as he tries to maintain a dignity as well as make some decisions with his wife about the future of their children. Alexandra Maria Lara is remarkable as Traudl Junge as Hitler’s personal secretary who is trying to understand what is going on as well as ponder if she should survive as well as be Hitler’s most trusted person as she is willing to help him prepare for his impending death. Finally, there’s Bruno Ganz in a phenomenal performance as Adolf Hitler as the monstrous Nazi leader who does display a sensitivity and kindness to people who are loyal to him as well as show a frustration and anger when things don’t go his way where Ganz gives the performance of a lifetime in displaying a sense of humanity in one of the most evil figures of the 20th Century.

Der Untergang is a tremendous film from Oliver Hirschbiegel that features great performances from Bruno Ganz and Alexandra Maria Lara. It’s a film that explores a moment in time that shows one of the most vile figures of the 20th Century face his own doom with the people who are close to him watching it all happen. Especially as it showcases what was happening as it is told from someone who was there and managed to cope with her role in history. In the end, Der Untergang is a spectacular film from Oliver Hirschbiegel.

Oliver Hirschbiegel Films: (Das Experiment) – (The Invasion (2007 film)) – (Five Minutes of Heaven) – (Diana (2013 film)) – (13 Minutes)

© thevoid99 2018

The Young Victoria

Directed by Jean-Marc Vallee and written by Julian Fellowes, The Young Victoria is the story about the early life and reign of Queen Victoria in the 19th Century as she copes with her new role as Queen of Great Britain and her marriage to Prince Albert of Saxe-Coburg and Gotha. The film is a dramatized take on Queen Victoria’s early life as well as what she had to do in trying to maintain her duty as queen but also finding some self-being as a person as the role of Victoria is played by Emily Blunt. Also starring Rupert Friend, Paul Bettany, Mark Strong, Thomas Krestchmann, Julian Glover, Jesper Christensen, Jim Broadbent, and Miranda Richardson. The Young Victoria is an enchanting and engaging film from Jean-Marc Vallee.

The film is about the early life of Princess Victoria of Kent, who would later become Queen of Great Britain on June 20, 1837 at the age of 18, as she deals with the role she is to play where many around try to put their own interests towards her with some wanting her to fail. It’s a film that explores a woman being aware of the role she is to play as she also tries to assert her own ideas while there are many that are plotting against her with some wanting her to give up her claim to the throne. At the heart of the story is her relationship to her first-cousin Prince Albert of Saxe-Coburg and Gotha (Rupert Friend) who is sent by his uncle as a way to seduce her for political reasons but he falls for her and would end up being her greatest ally. Julian Fellowes’ screenplay does take some dramatic liberties such as an assassination attempt on Queen Victoria in 1840 as well as some of the details of her coronation and the age of Lord Melbourne (Paul Bettany) who was 40 years older than the queen.

Yet, it does remain faithful to the events that was happening while creating a story that is engaging about Queen Victoria’s understanding of her role but also being aware of what is going on around her. Early in the film, she is being forced by her mother in the Duchess of Kent (Miranda Richardson) and Sir John Conroy (Mark Strong) to sign away her powers while she is ill as she would refuse to. Especially as she has a strong devotion towards her uncle in King William IV (Jim Broadbent) who isn’t fond of her mother but wants to ensure that Victoria would have her place to rule Britain despite the opposition of so many. The character of Prince Albert is definitely a unique one as he is someone that knows the pressure of what Victoria is to endure where he would have ideas that would help her and Britain. Yet, she would take the advice of Lord Melbourne as her private secretary where things don’t go as she wants them to as she ponders every decision she makes as well as the people she wants around her.

Jean-Marc Vallee’s direction is very straightforward for not just capturing that period in time during King William IV’s final year but also into the glimpse of Queen Victoria’s life before she becomes queen. Though the first sequence that is presented is her coronation which would be shown again, it play into the many doubts that is looming once she becomes queen as Vallee’s direction would feature some wide and medium shots of the coronation in different perspectives. Much of the film is shot on various locations around Britain with some of it on actual palaces as well as some re-creation of the exteriors of Buckingham Palace as Vallee doesn’t go for anything stylistic but rather something simple and to the point. Even in the close-ups as it play into the anguish that Victoria endures where she would often vent her feelings through corresponding letters with Albert as it would strengthen their relationship. Vallee would also create moments that play into their growing relationship once they’re together with Albert knowing his place but also slowly do things to make sure that Victoria would be confident in her own decisions as queen. Overall, Vallee creates a riveting yet intoxicating film about the early life and reign of Queen Victoria.

Cinematographer Hagen Bogdanski does excellent work with the film’s cinematography from the natural look of the daytime interior/exterior scenes to the usage of lights for some of the scenes set at night. Editors Jill Bilcock and Mat Garner do brilliant work with the editing with its usage of jump-cuts and some stylized cuts to play into the rhythm of the film. Production designer Patrice Vermette, with set decorator Maggie Gray and supervising art director Paul Inglis, does amazing work with the look of the interiors of the palaces and dining halls as well as the design of the carriages in those times. Costume designer Sandy Powell does fantastic work with the costumes from the look of the gowns as well as the clothes that the men wore in those times.

Hair/makeup designer Jenny Shircore does terrific work with the design of the hairstyles and extensions they wore during the day as well as the look of the men. Sound designer Martin Pinsonnault does superb work with the sound as it play into the sparse elements of what goes on in the palace as well as the raucous sounds for some of the parties. The film’s music by Ilan Eshkeri is sublime for its low-key orchestral score that play into the drama while music supervisor Maureen Crowe creates a music soundtrack that largely consists of the music of the times including some classical pieces that Victoria and Albert have a fondness for.

The casting by Susie Figgis is incredible as it feature some notable small roles and appearances from Josef Altin as the man that tried to assassinate Queen Victoria, Genevieve O’Reilly as Lady Flora Hastings, Julian Glover as the Duke of Wellington, Michiel Huisman as Prince Albert’s brother Ernest, Michael Maloney as Sir Robert Peel who briefly replaces Lord Melbourne as prime minister, Rachel Stirling as the Duchess of Sutherland who is the queen’s lady-in-waiting during her early reign, and Jeanette Hain as the queen’s caretaker in Baroness Louise Lezhen. Other noteworthy small roles include Jesper Christensen as Baron Stockmar as an advisor to Prince Albert in how to woo Victoria while Thomas Krestchmann is superb as King Leopold I of Belgium who is hoping that Prince Albert succeeds in the hopes of a political alliance with Britain and Belgium. Harriet Walter is wonderful as Queen Adelaide as Victoria’s aunt who is one of the few people that Victoria can trust and turn to as she also feels that Albert has a very important role in helping Victoria. Jim Broadbent is fantastic as King William I as Victoria’s uncle who is aware of what is going on as he doesn’t like Victoria’s mother very much while worrying about Victoria once she becomes queen. Mark Strong is excellent as Sir John Conroy as a comptroller to Victoria’s mother who wants to maintain control and influence into Victoria as a man that wants power even though Victoria hates him.

Paul Bettany is brilliant as Lord Melbourne as the prime minister who becomes the queen’s advisor as someone with good intentions only to create some trouble in the queen’s early years as he would later find himself dealing with Albert for the queen’s attention in power. Miranda Richardson is amazing as the Duchess of Kent as the queen’s mother who would try to get her daughter to listen to Sir Conroy only to become estranged from her daughter until Albert would be the one to end the estrangement. Rupert Friend is marvelous as Prince Albert of Saxe-Coburg and Gotha as the man who would be Queen Victoria’s husband and greatest ally where Friend is quite restrained in his performance as someone who is just loyal and devoted to a woman he feels has a lot to offer to the world. Finally, there’s Emily Blunt in a radiant performance as the young Queen Victoria as a woman trying to deal with the role that is set upon her as well as wanting not to fail and do right for her country as it’s one of Blunt’s finest performances in displaying the anguish and determination of one of the greatest figures in history.

The Young Victoria is a remarkable film from Jean-Marc Vallee that features an incredible leading performance from Emily Blunt. Along with a great supporting cast, beautiful locations, rapturous images, and some fine technical work. It’s a film that chronicles the life of a woman in her early years as she would later become a definitive figure for Great Britain. In the end, The Young Victoria is a phenomenal film from Jean-Marc Vallee.

Jean-Marc Vallee Films: (Black List) - (Los Locos) - (Loser Love) - (C.R.A.Z.Y.) - (Café de Flore) - Dallas Buyers Club - Wild (2014 film) - Demolition (2015 film) - (Big Little Lies)

© thevoid99 2017

Blade II

Based on the Marvel comic book by Marv Wolfman and Gene Colan, Blade II is the story of a vampire hunter, with vampire powers, who is hired to fight off a new breed of vampires that is threatening a company of vampires trying to keep the peace with humans. Directed by Guillermo del Toro and screenplay by David S. Goyer, the film is the second part of a trilogy that would stand out from the films made in the original trilogy as Wesley Snipes reprises his role as the titular character. Also starring Ron Perlman, Leonor Valera, Norman Reedus, Luke Goss, Karel Roden, Thomas Krestchmann, Tony Curran, and Kris Kristofferson returning as Whistler. Blade II is an exciting action-thriller from Guillermo del Toro.

Two years after Whistler’s disappearance, Blade has finally found him in Eastern Europe where would battle various vampires to retrieve him. Though weakened, Whistler is able to recover in Blade’s secret workshop that includes Blade’s gadgets inventor Scud (Norman Reedus). On one particular night, the workshop is broken in as Blade would stop the two revealing to be Nyssa (Leonor Valera) and her associate Asad (Danny John-Jules). Nyssa is the daughter of vampire overlord Eli Damaskinos (Thomas Krestchmann) who wants to form a truce with Blade to stop a virus that is carried by a mysterious man (Luke Goss) who is a new breed of vampires that feeds on both humans and vampires. Blade reluctantly joins Damaskinos as Whistler and Scud would team up with Nyssa and her team that includes the cocky Reinhardt (Ron Perlman).

Going into a secret vampire club to find these new breeds called Reapers, they learn that they’re more powerful than vampires except when it comes to sunlight. Still, Blade wonders why the head of the Reapers didn’t kill Nyssa while Whistler captures a Reaper for Nyssa to examine. Realizing what it will take to kill the Reapers, Blade and the team go into another battle where more chilling discoveries are made into why Blade has been hired. Whistler also makes a discovery about the head Reaper and why he’s been coming forcing Blade and Whistler to fight against the enemy.

The film is a continuation of the Blade story where the half-human, half-vampire who hunts vampires is forced to make a truce with his enemy to stop a new breed of super vampires who feed on both humans and vampires. There, he discovers that not all vampires have ulterior motives while the head of this new breed of vampires has reasons that are far more personal than what is expected. While the story is formulaic in terms of what is expected in a comic-book action-thriller, screenwriter David S. Goyer does find ways to keep the suspense going as well as creating characters who are quite complex. Notably Blade as he still struggles with who he is while regaining Whistler, who was in near-death, only adds to the struggle. Still, the Whistler character is the guy that grounds Blade while the vampire Nyssa is aware of Blade’s secretive persona though she is able to get through him.

Goyer’s script also succeeds in finding humor in the story for some of the situations that occur. Notably in the way Blade would interact with foes and allies while it’s mostly very subtle. Still, it’s an action film as Goyer creates moments where it’s about the battles and the stakes in these fights that Blade would be a part of. The overall work Goyer does is superb as he creates a solid script that is a cut above the typical action, comic-book based films.

Guillermo del Toro’s direction is definitely engaging for the stylish approach he does for the film. Notably as he chooses to create a film where it has a different look and feel than its 1998 predecessor. While the film does have conventional ideas of action and fight scenes that is typical of martial-arts action-adventure with some suspense. One of the key elements that allows del Toro to do more is setting up the battle while taking his time to play with the film’s suspense and humorous moments. Notably in the former where there’s a lot of suspicion as del Toro slowly builds up the moment where Blade and Whistler think something isn’t right.

Another key element of del Toro’s direction is the way he creates an atmosphere to the setting that the characters encounter. Whether it’s the brooding moments in the sewers to fight off the army of Reapers or the world that Damaskinos lives in that is sleek yet ominous. It’s part of del Toro’s gift as a filmmaker where he pays attention to the set pieces and the objects that could play a key role in the story. The vast compositions and close-ups del Toro create is very engaging and vibrant for the mood that is set as well as the drama that unfolds. Overall, del Toro creates a very engrossing yet very entertaining film that does a whole lot more than what its genre expects.

Cinematographer Gabriel Beristain does excellent work with the stylish cinematography from the sepia-drenched nighttime interior and exterior settings for Damaskinos‘ halls as well as a dark-blue look for the chilling sewer scene. Editor Peter Amundson does superb work with the editing to maintain a leisured pace for the film while using swift cuts for some of the film‘s fights without being too fast. Production designer Carol Spier, along with art director Elinor Rose Galbraith and set decorators Jeffrey Kushon and Peter P. Nicolakakos, does brilliant work with the set pieces such as Blade‘s home base as well as the sleek look of Damaskinos‘ lab.

Costume designer Wendy Partridge does fabulous work with the costumes that include the sunlight-repellant leather Blade and the vampire team wear during the sewer sequence. Visual effects supervisor Nicholas Brooks does nice work with some of the film‘s visual effects including some of the animation for the Reapers mouth and their interior body parts though some of the movements in the fight scenes by the characters look wobbly at times. Sound designer Scott Martin Gershin and co-sound editor Mathew Waters do wonderful work with the sound from the sound of gunshots and sword clangs to the atmosphere of the club and sewer scenes.

The film’s score by Marco Beltrami is terrific for the mixture of sweeping orchestral bombast that is mixed with chugging rock music to play up the sense of excitement of the film. With additional music by Danny Saber and Buck Sanders, the score features bits of electronic music to play up some of the film‘s action scenes. Music supervisor Happy Walters provides a soundtrack that is a mix of hip-hop, rock, and electronic music as it includes collaborative tracks from Massive Attack/Mos Def, Redman/Gorillaz, Ice Cube/Paul Oakenfold, the Crystal Method, Bubba Sparxxx, the Roots/BT, Busta Rhymes & Silkk tha Shocker/Dub Pistols, and Cypress Hill/Roni Size. It’s an interesting yet engaging soundtrack as the film’s music is a real highlight.

The casting by Nancy Foy is outstanding for the ensemble that is created as it includes appearances from Santiago Segura as a vampire Blade meets early in the film and Karel Roden as Damaskinos’ lawyer who tries to conduct business for his boss. For the roles of Blade and Nyssa’s team, there’s fight choreographer Donnie Yen as the mute swordsman Snowman, Marit Velle Kile as the red-haired Verlaine, Tony Curran as the Scottish Priest, Daz Crawford as the hammer-wielding Lighthammer, Danny John-Jules as Nyssa’s friend Asad, and Matt Schulze as the brash Chupa. Luke Goss is very good as the Reaper leader Jared Nomak who is hell-bent on revenge while proving to be a tough opponent for Blade. Norman Reedus is terrific as Blade’s gadget-creating friend Scud who proves to be a resourceful aid for Blade.

Thomas Krestchmann is superb as vampire council head Eli Damaskinos who hires Blade to help him fight off the Reapers only to have far bigger motives that would make Blade suspicious. Leonor Valera is pretty solid as Damaskinos’ daughter Nyssa who aids Blade in fighting the Reapers while realizing what kind of a person he is when it comes to avoiding trouble. Ron Perlman is amazing as the vampire Reinhardt who despises Blade as Perlman gets to have some of the film’s funniest lines while never taking off his sunglasses. Kris Kristofferson is great as Blade’s mentor Whistler who gives Blade advice while being part of the team as he is aware that something isn’t right as Kristofferson also provides some wonderful one-liners.

Finally, there’s Wesley Snipes in a kick-ass performance as the titular character as he provides a calm performance of a man struggling with himself. Even as he teams up with vampires where Snipes also brings charm to his character while showing that he can seriously kick some ass.

Blade II is a marvelous and thrilling film from Guillermo del Toro that features great work from Wesley Snipes, Kris Kristofferson, and del Toro regular Ron Perlman. Of the three Blade films, this one is certainly the best in terms of its production value as well as David S. Goyer’s suspense-driven screenplay. While it may not live up to some of the films that Guillermo del Toro would do later on. It is still a great example of the kind of work he does where he will do more than just entertain by telling a story with characters that audiences can enjoy watching. In the end, Blade II is stellar yet fun action film from Guillermo del Toro.

Guillermo del Toro Films: Cronos - Mimic/Mimic (Director’s Cut) - The Devil's Backbone - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - Crimson Peak - The Shape of Water - Nightmare Alley (2021 film) - Pinocchio (2022 film)

Related: (Blade) - (Blade III) - (Blade (2024 film)) - The Auteurs #10: Guillermo del Toro

© thevoid99 2012

The Pianist

Originally Written and Posted at Epinions.com on 2/22/04 w/ Extensive Revisions & Edits.

Based on the memoirs of Wladyslaw Szpilman, The Pianist is a film about Szpilman's life where he tries survive the ghettos of Warsaw, Poland during Germany’s occupation in World War II. Throughout all the hardships, starvation, attempted attacks, and punishment, Szpilman’s story of survival and triumph is amazing, especially what was going on for Jews at the time of the Holocaust. Adapted into a script by Ronald Harwood and directed by Roman Polanski, The Pianist is an in-depth look into the Holocaust where Polanski portrays all the characters as human beings including the Jews, Poles, and the Nazis. With a cast led by Adrien Brody as Szpilman in his Oscar-winning performance, The Pianist is a gripping, harrowing tale of survival told by Roman Polanski.

Wladyslaw Szpilman is a Jewish pianist at a recital for a Polish radio broadcast in 1940 whose life is to change because of the ongoing violence following Germany's invasion of Poland. Living with his wealthy family that includes his parents (Frank Finlay & Maureen Lipman), sisters Regina & Halina (Julia Rayner & Jessica Kate Meyer), and brother Henryk (Ed Stopppard), they hope that they can endure once the British and French arrive to help. Instead, they're moved to ghettos as they had to endure the prejudices of German occupation. Wladyslaw tries to get things to help his family as he even bails out Henryk with help from a Jewish officer (Roy Smiles).

With the occupation of the ghettos becoming more trouble and hiding from the Germans, Wladslaw's life is changed when his family are taken to concentration camps as he is left alone in the ghettos. With an old friend in Jurek (Michal Zebrowski), Wladyslaw makes an escape seeking refuge in his friend Dorota (Emila Fox) who gives him a house to stay for two years. When Dorota has disappeared and no word about his family, Wladyslaw uses the piano to comfort him despite his health. Even as he tries to survive against the Germans as he becomes desperate for food one night where he meets a German officer named Hosenfeld (Thomas Krestchmann). Wladyslaw realizes he might be in trouble as he uses his only talent that would save him.

For a film that runs for two-and-a-half hours long might seem a long ordeal to watch for moviegoers. Thankfully for a master filmmaker like Polanski, the pacing and length of the film is attentive in its story not with just strong, intense dramatic moments but also elements of details of the cruelty that was going on at that time. The Oscar-award winning adapted screenplay by Ronald Harwood is filled with a linear and timeline structure that makes sure when did this happen what flaws the characters they have as they’re presented in a human light. It’s not just the Nazi Germans that Polanski wanted to portray as monsters that is already known but he also gives light that it was Polish people as well that were prejudice as well as Jews as they kill their own race just to survive. Polanski’s masterful direction definitely makes his movie not be another Schindler’s List but a film of its own, gripping power.

With Polanski trying to play this film, as true to the story, he makes sure the film doesn’t have an entirely bleak look. With a vast look from cinematographer Pawel Edelman, the film’s look shows elements of grayish colors to convey the bleaker, oppressive tone while there’s elements of sunlight in moments of despair but also in the film’s final moments, a sense of reflection from Wladyslaw Szpilman. In the scenes of battle and violence, they’re very intense with its effects as Polanski tries to play true to the time of the film and the weapons that were used. From the elements of detail in production design, costumes, art direction, and all elements of making a film look like 1940s Poland, Polanski indeed gets it right and with an immensely strong script, he got what he wanted.

The film’s cast is wonderfully used from the roles of Szpilman’s parents and siblings to the array of Warsaw residents including Emilia Fox’s enchanting performance as Dorota. While it’s a cast that includes many people, they all have their moments including the Nazi German soldiers and officers as they play up to the monstrous, vile tone of what they were. The biggest standout in the supporting roles easily is Thomas Kretschmann as Captain Hosenfeld. Kretschmann delivers a subtle performance as the German officer who spared Szpilman’s life with ease and intelligence as he proved that not all Germans were vile and evil.

The film’s central protagonist and probably the best performance overall in the film is Adrien Brody. Prior to this film, Brody was a talented, enigmatic actor who appeared in small indie films like Harrison’s Flowers, Six Ways to Sunday, Steven Soderbergh's King of the Hill and Love the Hard Way to big films like Spike Lee's Summer of Slam and Terrence Malick's The Thin Red Line. In this film, he delivers a gripping, heartbreaking performance as Wladyslaw Szpilman. Brody plays the role with ease and intelligence while not giving up any hope to the film’s character. Brody’s sympathetic performance is the heart of the film while he perfectly mimics the piano playing throughout the film that includes a lovely score from Wojciech Kilar and compositions from Frederic Chopin.

The Pianist is a welcoming return-to-form film from Roman Polanski after a period of films that didn't live up to his revered reputation. It is definitely one of Polanski's most heartbreaking and ambitious film of his career that features a towering performance from Adrien Brody. Audiences wanting a film that is different from a lot of World War II films or Holocaust-dramas will find this to be a very different yet personal take on one of the most harrowing periods in history. In the end, The Pianist is a gripping, harrowing film from Roman Polanski with a spellbinding performance from Adrien Brody.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2011