Directed by Matt Reeves and screenplay by Reeves and Mark Bomback from characters by Rick Jaffa and Amanda Silver from a premise by Pierre Boulle, War for the Planet of the Apes is about a group of apes who are in conflict with humans over the control of planet Earth as the leader of the apes copes with loss and uncertainty. The third film in the reboot series that follows the character of Caesar who is trying find peace for both apes and humans while also dealing with a group of apes who want him dead as the character is once again played by Andy Serkis. Also starring Woody Harrelson and Steve Zahn. War for the Planet of the Apes is a gripping yet somber film from Matt Reeves.
Set two years after events that lead to the start of a bloody war between apes and humans, the film revolves around a group of apes trying to find a new hiding place from a rogue army of humans lead by an extremist military figure who would attack its leader Caesar that lead to the death of his family prompting Caesar to go on a journey to find the colonel (Woody Harrelson) and kill him. The film is a revenge story of sorts yet it is really the study of an ape who had helped try to find a home and idea for other apes to follow as he struggles with an-ongoing conflict with humans while dealing with apes who have sided with the humans in this war that is raging on. The film’s screenplay by Matt Reeves and Mark Bomback follows the journey that Caesar takes part in where he wants to go on this journey for revenge by himself but longtime allies in Rocket (Terry Notary), the gorilla Luca (Michael Adamthwaite), and the orangutan Maurice (Karin Konoval) join him to find this vicious colonel.
Along the way, Caesar and his team would travel to find a fortress as they would encounter a lot of things including an orphaned girl they would later call Nova (Amiah Miller) and a talking chimpanzee who calls himself Bad Ape (Steve Zahn). The encounter with the two as well as a meeting with this colonel following his own capture would cause some serious revelations for Caesar as memories of his former friend-turned-foe in Koba (Toby Kebbell) would come into play. Upon meeting this colonel, Caesar learns that humans are suffering from the effects of the virus that killed them many years ago where the colonel sees it as de-evolution forcing him to go rogue from other forces as it’s not just apes he wants to kills but also humans carrying the virus.
Reeves’ direction definitely has this feel of a war film in terms of the grand presentation he creates in his approach to the battles as well as how the film opens with a patrol of human soldiers trekking through the woods to try and find this secret base. Shot largely on location in the Lower Mainland section of Vancouver with additional locations at the Kananaskis mountain range, Reeves does use wide shots of the locations as it play into the area where war is raging yet there is this element of guerilla warfare with the usage of close-ups and medium shots that add to the suspense. Even in the non-action scenes as it play into the apes interacting with each other through sign language as they cope with not just loss but also survival once they meet Nova through accidental means when Caesar commits an act that add to his own descent into hate where he would later be haunted by his actions. Reeves would use the moment of silence and sign language as a way for the apes to get a look into their surroundings as well as lament over their situation and Caesar’s thirst for revenge.
Once Caesar reaches the base that the colonel is stationed in as he deals with not just his own actions but also would become this martyr for the apes as he would endure the punishments of everyone. The film does have Biblical imagery as well as compositions that Reeves create that play into this idea of the Messiah yet Caesar isn’t interested in being a messianic figure. Even as he has to deal with this colonel where Reeves has the camera follow this man where he gives this monologue that says a lot about what he’s about and why he’s managed to alienate so many people yet he sees what he’s doing as a mission for the good of mankind. The film’s climax as it play into Caesar making a decision where he thinks about not just the apes but also this young girl he’s grown to care for as it would be in the center of a battle between humans with nature also playing its part. Overall, Reeves crafts a gripping yet wondrous film about an ape’s thirst for revenge for his family’s death forces him to come to terms with everything he’s done and face his own faults.
Cinematographer Michael Seresin does brilliant work with the film’s cinematography as it has this gorgeous exterior look of the daytime exteriors with its usage of snow and grey skies as well as the usage of lights for some of the interior scenes at night as well as the exterior scenes in the prison. Editors William Hoy and Stan Salfas do excellent work with the editing with its usage of rhythmic cuts as well as not deviating to rapid fast-paced cuts in order to let shots linger for a few more seconds to establish the action. Production designer James Chinlund, with set decorator Amanda Moss Serino and supervising art director Maya Shimoguchi, does amazing work with the look of some of the shantytowns for some of the humans as well as the station that the colonel is living in. Costume designer Melissa Bruning does nice work with the costumes as it is largely casual for the winter-time clothing that Nova wears as well as a vest that Bad Ape wears and the military clothing of the colonel and his men
Special effects supervisors Dan Cervin and Joel Whist, along with visual effects supervisors Daniel Barrett, Dan Lemmon, and Joe Letteri, do fantastic work with the visual effects including the motion-capture look of the apes as it is a highlight of the film. Sound designers Will Files and Douglas Murray do superb work with the sound in the way the apes would sound as well as the sounds of nature and other elements that help play into the action, suspense, and drama. The film’s music by Michael Giacchino is incredible for its rich orchestral score with its bombastic themes for the suspense and action as well as some low-key yet somber pieces for the dramatic moments while the only non-score piece played is a cover of the song Hey Joe performed by the Jimi Hendrix Experience.
The casting by Debra Zane is wonderful as it feature some notable small roles from Judy Greer, Max Lloyd-Jones, Devyn Dalton, and Sara Canning in their respective roles as members of Caesar’s family in his wife Cornelia, sons Blue-Eyes and Cornelius, and Blue-Eyes’ wife Lake along with Gabriel Chavarria as a soldier named Preacher who was spared by Caesar early in the film only to side further with the colonel. Other notable small roles and appearances include Toby Kebbell as the ghost of Caesar’s old ally in Koba, Ty Olsson as the gorilla Red who works for the colonel, Michael Adamthwaite as the gorilla Luca who is an ally of Caesar, and Aleks Paunovic as the albino gorilla Winter who reluctantly betrays Caesar out of fear for the colonel. The fantastic performances of Terry Notary, Karin Konoval, and Amiah Miller in their respective roles as the chimpanzee Rocket, the orangutan Maurice, and the mute human girl Nova display that air of humanity and compassion that Caesar is struggling to hold on to with Maurice being the film’s conscience.
Steve Zahn is excellent as Bad Ape as a chimpanzee who can speak as he is someone that’s been in hiding for years as he helps Caesar and his entourage with the location of the colonel’s base as he also expresses his own fears due to the loss he’s faced. Woody Harrelson is brilliant as the colonel as the leader of a rogue human army that is trying to wipe out apes but also humans who are starting not to speak as a way to ensure humanity’s dominance over apes as it’s a chilling yet riveting performance from Harrelson. Finally, there’s Andy Serkis in a phenomenal performance as Caesar as a chimpanzee who had been trying to find the apes a peaceful sanctuary as he copes with loss as well as uncertainty about his journey for revenge as Serkis displays so much emotion and gravitas by doing so little in his performance.
War of the Planet of the Apes is a spectacular film from Matt Reeves that features great performances from Andy Serkis and Woody Harrelson. Along with its ensemble cast, eerie visuals, top-notch visual effects, Michael Giacchino’s score, and its story of revenge and sacrifice. It’s a blockbuster film that offers a lot more than what big-budget action-adventure films offer as it provides a lot of commentary about loss, revenge, and survival as well as showing that love and compassion is the key to victory. In the end, War of the Planet of the Apes is a tremendous film from Matt Reeves.
Related: Rise of the Planet of the Apes - Dawn of the Planet of the Apes
© thevoid99 2019
Based on the characters created by George Lucas, Solo: A Star Wars Story is the story of the early life of Han Solo and his journey to become a smuggler and how he would meet those who would impact his life. Directed by Ron Howard and screenplay by Jonathan and Lawrence Kasdan, the film is an origin story of sorts on the man who would become this famed smuggler in his early years as he takes part in a major heist as the character is played by Alden Ehrenreich. Also starring Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, and Paul Bettany. Solo: A Star Wars Story is an exhilarating and adventurous film from Ron Howard.
The film is about a young man who is known for being a thief where he meets a smuggler and learns the trade where they all take part in a big job that will give him a big payday as well as a new way of life. It is simply an origin story of sorts of this man who would become the famous smuggler as he would later meet a Wookie named Chewbacca (Joonas Suotamo) who would become his best friend as they would find a trade that would make the money as well as defy the Imperial Empire. The film’s screenplay by Jonathan and Lawrence Kasdan definitely play into Han Solo’s origin as he started out as a young thief living in a planet with his girlfriend Qi’ra (Emilia Clarke) as they steal the extremely-valuable hyper fuel coaxium that is the source for hyperdrive speed for many ships. Solo is able to escape a gang and its boss for refusing to give the coaxium yet he is unable to help Qi’ra get out of the planet where he would sign up with the Imperial navy hoping to be a pilot.
Instead, he ends up on an infantry line three years later where he would meet the famed smuggler Tobias Beckett (Woody Harrelson) posing as an Imperial officer as he and his team that include his wife Val (Thandie Newton) and an alien named Rio Durant (voice of Jon Favreau). Beckett would take in Solo in his team along with Chewbacca whom Solo meets at a prison as they would learn the art of smuggling as they also have to deal with a band of marauders known as the Cloud Riders. Solo would learn that Beckett works for a crime boss named Dryden Vos (Paul Bettany) who is part of a famed crime syndicate known as Crimson Dawn where Solo also learns that Qi’ra is Vos’ lieutenant. With the help of another smuggler in Lando Calrissian (Donald Glover) and his droid L3-37 (voice of Phoebe Waller-Bridge), Solo, Chewbacca, Qi’ra, and Beckett would take on a mission to retrieve a large shipment of unrefined coaxium in the mining planet of Kessel. There, Solo learns about not just the art of smuggling but also the lesson of not to trust anyone as well as what it means to survive.
Ron Howard’s direction is grand which is expected in a big space-operatic adventure as it play into a galaxy that is under the rule of the empire but also the emergence of a rebellion happening. Shot largely at Pinewood Studios in London, England along with additional locations in Italy and the Canary Islands, the film does play into this world that is dystopian and troubling where it begins with Han and Qi’ra both being thieves in an act of survival as they’re forced to work for a crime boss. Howard’s usage of wide shots capture the scope of the world that Han Solo is in as well as the rule of the Imperial Empire as it watches over so much of the galaxy. Howard’s usage of medium shots and close-ups play into some of the drama and humor as it relates to character interaction including the scene where Solo meets Chewbacca for the very first time as it is unveiled in a humorous manner. It’s among some of the scenes including the exchanges between Solo and Chewbacca that add to the many nuances that is expected in their growing friendship.
Some of the humor is likely from the film’s original filmmakers in Phil Lord and Christopher Miller who were later fired from production with Howard taking over and re-shooting much of the film. Still, Howard does maintain that air of humor throughout the film as well as a sense of adventure though the tone does change a bit in the third act as it relate to what is at stake. Largely due to the twists and turns as it relates to Solo learning about the art of smuggling and what he has to do to survive as there are lessons that had to be learned. The tonal shifts is awkward along with some major revelations of who is leading the Crimson Dawn syndicate as well as the fact that even smugglers and marauders both have to play a side in this major conflict between the Imperial Empire and the rebellion that is to emerge. Yet, it would show where Solo’s loyalties lie but also what he has to do to stay alive in this conflict that he doesn’t want to be a part of. Overall, Howard creates a fun and thrilling film about the early adventures of a young smuggler and his furry friend.
Cinematographer Bradford Young does excellent work with the film’s cinematography as it play into the blue-grey look of some of the planets in the exteriors as well as some interior shading and the brightness in some scenes set in the snow or in a sandy island. Editor Pietro Scalia does terrific work with the editing as it is largely straightforward as it also include some rhythmic cuts to play into humor and action. Production designer Neil Lamont and senior art director Gary Tomkins do amazing work with the look of the spaceships and some of the places the characters go to including the mining colony and the interiors of the ship that would become the Millennium Falcon. Costume designers David Crossman and Glyn Dillon do fantastic work with the look of the costumes including the stylish and posh look of Qi’ra for her work with the Crimson Dawn as well as the capes that Lando wears.
Makeup designer Amanda Knight does brilliant work with the look of the characters such as Vos with his facial scars as well as the look of a few human characters while special creature make-up effects supervisor Neal Scanlan does incredible work with the look of the some of the aliens and creatures in the film. Special effects supervisor Dominic Tuohy and visual effects supervisor Rob Bredow do superb work with the special effects with its mixture of visual effects and old-school practical effects to create elements of realism into the world of space including a major sequence that would play into Solo’s legend. Sound designer Tim Nielsen and co-sound editor Matthew Wood do phenomenal work with the sound in creating sound effects in the ships and weapons as well as the atmosphere of the locations that the characters go to. The film’s music by John Powell is wonderful for its bombastic orchestral score that includes pieces by John Williams from the Star Wars films as it help play into the sense of adventure that the characters embark.
The casting by Nicole Abellera, Nina Gold, and Jeanne McCarthy do remarkable work with the casting as it include some notable small roles and performances from Anthony Daniels as a Wookie Chewbacca meets at the mining planet of Kessel, Clint Howard as a robot fight referee, Warwick Davis as a marauder, Linda Hunt as the voice of a known crime boss in Lady Proxima, Erin Kellyman as the marauders leader Enfys Nest, and Jon Favreau as the voice of Beckett’s alien pilot Rio Durant. Phoebe Waller-Bridge is terrific as the voice of Lando’s droid L3-37 as this droid that is very opinionated as well as being a skilled navigator while Joonas Suotamo is fantastic as the Wookie Chewbacca as this tall furry creature that would become Han Solo’s best friend as well as a creature of great strength. Thandie Newton is superb as Beckett’s wife Val as a smuggler who isn’t initially fond of Solo as she later realizes his value. Paul Bettany is excellent as Dryden Vos as crime lord who works for the Crimson Dawn syndicate that is in charge of the planned heist that Beckett is a part of as well as hoping to profit from this heist without doing much.
Donald Glover is brilliant as Lando Calrissian as Glover imbues many of the traits of the character as a smooth and charismatic smuggler that owns the Millennium Falcon as he also knows how to hustle and get things done. Emilia Clarke is wonderful as Qi’ra as Solo’s lover from the past as she has become Vos’ lieutenant as Clarke does some fine work though her character isn’t fully realized into her motivations as it’s one of the film’s weaker points. Woody Harrelson is amazing as Tobias Beckett as a famed smuggler who takes Solo into his team and show him the trade as well as what to do as a smuggler as it’s one of Harrelson’s finest performances as this grizzled man that has seen a lot but also reveals that the smuggling game is a devious game. Finally, there’s Alden Ehrenreich in an incredible performance as Han Solo as the younger version of the famed smuggler who learns the rope in being a smuggler as his motivation was to reunite with his lover as he later deals with the many attributes of survival while also being arrogant in what he can do where Ehrenreich imbues many of the qualities that the character is known for.
Solo: A Star Wars Story is a marvelous film from Ron Howard that features top-notch performances from Alden Ehrenreich, Woody Harrelson, Joonas Suotamo, and Donald Glover. Along with its supporting cast, dazzling visuals, John Powell’s score, and moments that are exciting and thrilling. It’s a film that manages to provide enough ideas of being entertaining as well as provide some ideas about one of cinema’s most beloved characters was doing before he became this legendary figure that audiences love. In the end, Solo: A Star Wars Film is a remarkable film from Ron Howard.
Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker
Anthology Series: Rogue One: A Star Wars Story - (Untitled Star Wars Anthology Film)
Related: The Star Wars Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas - Rush (2013 film)
George Lucas Films: THX 1138 – (American Graffiti)
© thevoid99 2018
Written and directed by Kelly Fremon Craig, The Edge of Seventeen is the story of a high schooler who confides to one of her teachers about wanting to kill herself as it relates to the complication of her life that includes her older brother dating her best friend. The film follows the life of a young woman dealing with growing pains as well as the many complications relating to loss and the uncertainty of being a teenage girl. Starring Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Kyra Sedgwick, Hayden Szeto, and Woody Harrelson. The Edge of Seventeen is a riveting and witty film from Kelly Fremon Craig.
The film follows a seventeen-year old high school student whose life has become troubling as she turns to one of her teachers where she has thoughts about killing herself. During this conversation with her teacher, she thinks about the events in her life that has shaped her including her tumultuous relationship with her older brother, the death of her father a few years before, and the fact her brother is now dating her best friend. Kelly Fremon Craig’s screenplay opens with the film’s protagonist Nadine Franklin (Hailee Steinfeld) driving to her school and then walk to the classroom of one of her teachers in Mr. Bruner (Woody Harrelson) as much of the film’s first two acts is about Nadine telling Mr. Bruner what’s been happening with her life. Much of it involves having to be in the shadow of her older brother Darian (Blake Jenner) who often gets his way since they were kids as the only friend she had is Krista (Haley Lu Richardson) who had always been there for Nadine.
During a sleepover one night when Nadine and Darian’s mother Mona (Kyra Sedgwick) is out of town, something happens that changes everything where Krista and Darian become a couple much to Nadine’s disgust. It play into Nadine’s own insecurities as she often feels like her brother always get what he wants and is often considered the favorite since their mother always calls on Darian. Nadine also copes with her own desires as she has a crush on an older classmate in Nick Mossman (Alexander Calvert) but has befriended another classmate in Erwin Kim (Hayden Szeto) who has feelings for her. Still, it raises a lot of confusion for Nadine who is dealing with so much including her relationship with her mother that is reaching its breaking point.
Craig’s direction is quite simple where it doesn’t rely a lot in style in favor of something more straightforward. Shot largely in Anaheim, California as Portland, Oregon with some scenes shot near Vancouver and Surrey, British Columbia in Canada, the film is set in a suburban world where everyone kind of knows each other but it’s a world where Nadine feels like she doesn’t really belong to. Even in moments where Craig would use wide shots to establish her own isolation when she breaks off her friendship with Krista as Craig would also use some medium shots to play into the growing confusion and anguish that Nadine is enduring. There are some close-ups in some scenes such as a moment where Nadine is thirteen dealing with the awkwardness of growing up as she sports a bad haircut. It’s among the few moments in the film where Craig displays some humor while much of the drama is low-key and restrained to play into Nadine’s own growing pains as she tells her story to Mr. Bruner. When the film returns to that opening scene where it would lead to the third act, some revelations occur about not just Nadine but also Mr. Bruner and Darian as the latter copes with being the man of the house. All of which play into Nadine’s search in finding herself as well as deal with the fact that there’s people who do care about her. Overall, Craig creates a compelling and heartfelt film about a seventeen year-old girl dealing with loneliness and herself.
Cinematographer Doug Emmet does excellent work with the film’s cinematography as it is largely straightforward in its autumn setting while using some lighting schemes for some of the scenes at night. Editor Tracey Wadmore-Smith does nice work with the editing as it is also straightforward with some stylish montage cuts to play into Nadine’s own troubles including the film’s opening sequence. Production designer William Arnold, with set decorator Ide Foyle and art director John Alvarez, does fantastic work with the look of Nadine’s home as well as the home she, Darian, and their mother live in as well as the home of Erwin.
Costume designer Carla Hetland does terrific work with the costumes as it is largely casual as well as the usage of color to play into the personality of the characters. Sound designer Kami Asgar and sound editor Erin Oakley do superb work with the sound as it is straightforward including the way things sound at a party or at the school cafeteria. The film’s music by Atli Orvarsson does wonderful work with the music with its mixture of folk and keyboard-based music to play into some of the film’s dramatic moments while music supervisor Jason Markey creates a fun mixture of music ranging from old-school music from Billy Joel, the Alan Parsons Project, Aimee Mann, Pixies, Beck, and Spandau Ballet to current music from Cut Copy, Miles Betterman, Santigold, Craig Austin, Cloves, Miike Snow, Valentino, Birdy, ASAP Ferg, Caribou, Two Door Cinema Club, Anderson Paak with Schoolboy Q, Phantogram, and the 1975.
The casting by Melissa Kostenbauder is marvelous as it feature some notable small roles from Lina Renna as the young Nadine, Ava Grace Cooper as the young Krista, Christian Michael Cooper as the young Darian, Eric Keenleyside as Darian and Nadine’s father Tom in the film’s flashbacks, Alexander Calvert as an older student named Nick that Nadine has a crush on, and Hayden Szeto in a terrific performance as Erwin Kim as a classmate that Nadine befriends as he tries to woo her awkwardly while listening to her problems. Kyra Sedgwick is fantastic as Nadine and Darian’s mother Mona as a woman that is very image-conscious as she is trying to be young and vibrant but copes with Nadine and her issues where she really doesn’t understand her. Blake Jenner is excellent as Darian as Nadine’s older brother who is the epitome of perfection as someone that is just trying to be a good person yet hides his own secret about the way things are going for the family.
Haley Lu Richardson is brilliant as Krista as Nadine’s best friend who finds herself falling for Darian as she finds herself torn in wanting to be there for Nadine but also finding someone in Darian that she likes being with. Woody Harrelson is incredible as Mr. Bruner as a teacher who listens to everything Nadine is going through as he is a man that knows that Nadine is a lot smarter than the students he’s taught while also being a very calm and observant man that knows a lot as well as provide some sensitivity in trying to help this young girl. Finally, there’s Hailee Steinfeld in a remarkable performance as Nadine as this seventeen-year old girl that is dealing with a lot in her life as she tries to cope with her loneliness as well as her own wants and needs where Steinfeld provide that air of energy and angst into the role of a teenager dealing with growing pains and her role in the world.
The Edge of Seventeen is a sensational film from Kelly Fremon Craig that features great performances from Hailee Steinfeld and Woody Harrelson. Along with its supporting cast, fun soundtrack, and an engaging story on growing pains and teenage identity, it’s a film that has elements of realism but enough entertaining moments to create something that audiences can connect with. In the end, The Edge of Seventeen is a phenomenal film from Kelly Fremon Craig.
© thevoid99 2018
Written and directed by Martin McDonagh, Three Billboards Outside Ebbing, Missouri is the story of a woman who rents three billboards to bring attention into why the local police haven’t made any effort into finding out who killed her daughter. It’s a film that explores a small town unraveled by a woman’s need for justice where its chief wants to help but is dealing with personal matters prompting his deputy to cause a lot of trouble. Starring Frances McDormand, Woody Harrelson, John Hawkes, Peter Dinklage, Abbie Cornish, and Sam Rockwell. Three Billboards Outside Ebbing, Missouri is a visceral and eerie film from Martin McDonagh.
A young woman had been raped and killed outside a small town in Missouri as her mother becomes consumed with guilt and rage as the investigation hasn’t gone anywhere prompting her to rent three billboards outside of the home that asks its local police chief why hasn’t there been any arrests. The film is about these three billboards which has caused a lot of trouble for this small town in Missouri as its police chief is dealing with the fact that he’s dying from cancer despite the fact that he does want to help. Yet, there are those who are angered by the billboards including a deputy who acts out by causing all sorts of trouble unaware of what he’s supposed to do for the town. Martin McDonagh’s screenplay doesn’t just explore this small town rocked by a murder only to be more unhinged when Mildred Hayes (Frances McDormand) decides to rent these three billboards outside of a town that is on her way home where it reads the following message in sequential form: “Raped while dying”, “And still no arrests”, and “How come, Chief Willoughby?”
While Chief Bill Willoughby (Woody Harrelson) is upset over the billboards, he does understand Mildred’s anger as he is still unable to get a break over the murder of Mildred’s daughter Angela (Kathryn Newton). Adding to his trouble is the fact that he’s diagnosed with cancer as he’s become more concerned with his wife Anne (Abbie Cornish) and his two daughters. Though he tries to continue his job as well as find any clues with Angela’s murder with Deputy Jason Dixon (Sam Rockwell) helping him despite the fact that he doesn’t like Mildred nor does he do what is right by the law as he is prejudiced and takes the law into his own hands. One of McDonagh’s key aspects of the script isn’t just the structure and this exploration for peace and justice in a small town. It’s also in the development of the characters as both Mildred and Chief Willoughby are individuals want some idea of justice as the first two acts revolve around both of them with the former being a single mother with a teenage son in Robbie (Lucas Hedges) as she also has a contentious relationship with her ex-husband Charlie (John Hawkes).
Then there’s Dixon who is this mama’s boy that is very hot-headed and eager to succeed in the force but is also a dimwit who prefers to read comic books and listen to music on his earphones than do his job. There are people in the force who would question why Willoughby would keep him on the job as it would be unveiled in the third act where it play into Dixon’s development as a character. Especially as he would find his true calling that would give him a sense of purpose as well as give some kind of hope and peace to Mildred and Chief Willoughby.
McDonagh’s direction is definitely evocative in terms of the imagery he creates where it is shot mainly in Sylvia, North Carolina as this small town of Ebbing, Missouri with its usage of mountains and routes with certain curves on the road. Yet, there is this one location of these three abandoned billboards that would be at the center of the film as they would appear constantly whether it’s in a wide shot or in a close-up. Since the billboards are below a hill where Mildred can see hit from her house, it is placed in an area outside of town where it would get a lot of attention where McDonagh’s would showcase how some would react to these billboards. Notably Chief Willoughby and Dixon who would see these billboards as it just add to their reaction whether it’s serious or comical. The humor in the film does have an aspect of darkness but also in the way Mildred deals with people including a local priest as she puts him in his place.
McDonagh would also use close-ups and medium shots to get an intimate look into the lives of the characters in the film as he would show what they’re like as Mildred is just a woman who works in a shop that is just consumed with grief and anger as she lives with her teenage son. Chief Willoughby lives in a farm with his family while living in the small town is Dixon with his mother as they all have different lives and personalities yet are part of this very diverse community that is coming apart by Mildred’s actions. Even in some of the moments that involve arson and violence with the latter coming from Dixon as he beats up a local advertising agent. It’s a gruesome scene but it play into the sense of loss that Dixon is dealing with and his inability to control himself as he would later find that control during a tense meeting with a man at a bar. It’s a moment that shows that despite many of Dixon’s flaws, there is still a man that is just trying to do good for his community. Even in a world where justice is hard to come by for a woman just wanting peace for her daughter and those who had suffered through this murder. Overall, McDonagh crafts a mesmerizing yet gripping film about a woman calling attention for justice for her daughter’s rape and murder.
Cinematographer Ben Davis does brilliant work with the film’s cinematography from the usage of low-key lights and such for many of the scenes set at night to a more naturalistic look for the interior/exterior scenes set in the day. Editor Jon Gregory does excellent work with the editing as it is straightforward with some rhythmic cuts to play into the drama and suspense. Production designer Inbal Weinberg, with set decorator Merissa Lombardo and art director Jesse Rosenthal, does fantastic work with the look of some of the locations including the police precinct building and the look of the billboards. Costume designer Melissa Toth does nice work with the costumes as it is mostly casual including the uniforms Chief Willoughby and his team wear.
Special makeup effects designer Leo Corey Castellano does terrific work with the look of a character late in the film as it play to escalation of tension in the film. Visual effects supervisor Tyler Gooden does wonderful work with the visual effects as it is mainly based on scenes involving fire. Sound editor Joakim Sundstrom does superb work with the sound with the way some of the scenes in the small town occurs as well as some of the film’s violent moments. The film’s music by Carter Burwell is incredible for its mixture of low-key orchestral music with some country textures to play into the location of where the film is set while music supervisor Karen Elliott provides a fun and offbeat soundtrack that include music from ABBA, the Four Tops, and a mixture of music genres ranging from folk, country, rock, and classical music.
The casting by Sarah Finn is marvelous as it feature some notable small roles from Amanda Warren as Mildred’s friend/co-worker Denise, Darrell Britt-Gibson as a billboard painter who helps Mildred in posting the ads, Kerry Condon as the advertising agent secretary Pamela, Clarke Peters as a man who would come at the film’s second half to take charge of the investigation, Nick Searcy as the local priest who tries to help Mildred only to get a lashing about what he does, Christopher Berry as a mysterious visitor of the town, Sandy Martin as Dixon’s mother who is also prejudiced, Zeljko Ivanek as the precinct desk sergeant Cedric Connolly, Samara Weaving as Charlie’s dim-witted 19-year old girlfriend Penelope, Riya May Atwood and Selah Atwood as Chief Willoughby’s daughters, and Kathryn Newton as Mildred’s daughter Angela in a lone flashback scene on the night she was to be killed. Caleb Landry Jones is terrific as the billboard advertising agent Red Welby who takes Mildred’s money to post the ads where he would later get himself into serious trouble with Dixon.
Lucas Hedges is superb as Mildred’s son Robbie who is dealing with the action of his mother as he considers moving in with his father as he also realizes the need for justice. Peter Dinklage is fantastic as James as a local who is a friend of Mildred as he would help get out of trouble during the film’s third act as a way to give her something she didn’t have in her marriage to Charlie. John Hawkes is excellent as Mildred’s ex-husband Charlie who had been abusive to her as he feels that her action with the billboards have done nothing but bring trouble. Abbie Cornish is brilliant as Willoughby’s wife Anne who is dealing with her husband’s illness as well as the impact of the billboards where she does meet with Mildred in a scene during the second act as it play into the injustice that everyone is dealing with.
Sam Rockwell is incredible as Jason Dixon as a police deputy that is this odd mixture of someone who is ignorant and is willing to do something stupid but there’s also a good person in there where Rockwell toes the line between being profane and being decent where he later goes through a transformation of sorts in the third act where he realizes what needs to be done. Woody Harrelson is remarkable as Chief Bill Willoughby as a local police chief who is the target of Mildred’s billboards as he is aware of what he needs to do but he’s also dealing with his own illness as it’s a role that displays some humility but also some dignity. Finally, there’s Frances McDormand in a phenomenal performance as Mildred Hayes as a woman who is consumed with grief and guilt over the loss of her daughter as she rents three billboards to get attention and justice for her daughter as it’s a role of anguish, rage, and humor in which McDormand just seizes every ounce of energy and anger into her role while displaying this I-don’t-give-a-fuck attitude about a world that is dark while clinging to some idea of hope.
Three Billboards Outside Ebbing, Missouri is a tremendous film from Martin McDonagh. Featuring a great ensemble cast, beautiful locations, an offbeat music soundtrack, and themes about justice and the need for action in a world that doesn’t get anything done. It’s a film that showcases what some will do in a call for action but also to make sense in a world of injustice where there are those that want to do what is right no matter how complicated the world can be. In the end, Three Billboards Outside Ebbing, Missouri is a magnificent film from Martin McDonagh.
Martin McDonagh Films: (Six Shooter) – In Bruges - Seven Psychopaths
© thevoid99 2017
Directed by Oren Moverman and written by Moverman and James Ellroy, Rampart is the story of a corrupt LAPD officer who finds himself in trouble as he tries to redeem himself during the Rampart scandal of 1997 for the Los Angeles Police Department. The film is a character study of a man dealing with his own actions as he tries to defend himself and save his career amidst a tumultuous period in the city of Los Angeles. Starring Woody Harrelson, Ice Cube, Ned Beatty, Robin Wright, Anne Heche, Cynthia Nixon, Brie Larson, Steve Buscemi, and Sigourney Weaver. Rampart is a compelling yet flawed film from Oren Moverman.
Set in 1999 Los Angeles during a dark period for the LAPD who is dealing with the Rampart scandal, the film is about a dirty and corrupt police scandal whose actions have finally caught up with him. Rather than quitting his job, officer Dave Brown (Woody Harrelson) tries to save his job and avoid any jail time but he becomes more troubling as even those who once bailed him out are unable to help him. Yet, Brown is also someone who is really a man that is just born to undo himself where he would eventually bring discomfort to authorities that want to help him as well as bring shame to his family. The film’s screenplay doesn’t just explore Brown and the things he does as a police officer but also a person who likes to take the law into his own hands. Sometimes it would be in the most gruesome way where he would be caught on tape beating someone who hit his car though Brown had every reason to beat up the guy.
While the script does paint Brown as a man who just hates everyone while doing all sorts of things. There are elements to him that try to show some goodness to him but his faults would often overwhelm everything as his own eldest daughter Helen (Brie Larson) really hates him. While the script does nice work in fleshing out Brown and his complexities, the script however doesn’t do much to get the story to move forward or really go anywhere. Especially as it relates to what Brown is trying to do but it tend to slow things down as he is given options that could’ve helped him. Whenever Brown is given these opportunities to redeem himself, the results become very frustrating as it play more into his character as someone that is just stubborn and not willing to see the bigger picture.
Moverman’s direction has some very intense moments in the way it showcases late 1990s Los Angeles as a world that is quite dangerous and unpredictable. Shot on location in some of the urban parts of Los Angeles as well as some of its downtown areas, the film does play into a world where a man is convinced that he is doing good for the city but is extremely corrupt in his actions. Moverman’s usage of close-ups and medium shots are engaging though there are some moments that aren’t very good. Notably a sequence where Brown meets two attorneys where the camera is constantly moving around to focus on one character in a repetitive pan where it is very annoying. It’s one of the aspects of the film that didn’t work while the script’s lack of a strong narrative does falter the pacing. Though Moverman’s usage of crane overhead shots and other stylistic moments are good, the film’s resolution is lacking in terms of any kind of redemption could be made for Brown as it ends up being unsatisfying despite Moverman’s observation on its protagonist. Overall, Moverman creates a intriguing but lackluster film about a dirty cop’s attempt to make things right.
Cinematographer Bobby Bukowski does excellent work with the film‘s cinematography from the stylish usage of lights and moods for many of the interior/exterior scenes set at night along with some grainy film stock for scenes set in the day. Editor Jay Rabinowitz does nice work with the editing as it does have some stylish jump-cuts and some unique rhythms for the suspense and drama though it does falter in that sequence where Brown is being interviewed by two attorneys. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does fantastic work with the look of the home that Brown lives in with this ex-wives (who are sisters) and the hotel rooms he would crash as well as the home of a lawyer he would sleep with.
Costume designer Catherine George does terrific work with the costumes as it is mostly casual along with the look of the police uniforms while the only character that plays into a sense of style is Helen. Sound designer Javier Bennassar does superb work with the sound in the way the police sirens and gunfire sounds along with the intimate moments at home and at the bars. The film’s music by Dickon Hinchliffe is brilliant for its somber-based score in the guitar and keyboards to play into the drama while music supervisor Jim Black creates a soundtrack that features a mixture of hip-hop, electronic, and Mexican music along with a song by Leonard Cohen.
The casting by Laura Rosenthal and Rachel Tenner is amazing as it features some notable small roles and appearances from Robert Wisdom as the Rampart station’s captain, Jon Foster and Jon Beranthal as a couple of fellow officers, Steve Buscemi as a district attorney official in Bill Blago, Stella Schnabel as Brown’s new partner early in the film who is perturbed by his actions, Sammy Boyarsky as Brown’s youngest daughter Margaret who questions about what her father has done, Audra McDonald as a one-night stand Brown would be with early in the film, and Ben Foster in a superb role as a homeless vet named the General who often hangs out at a fast food restaurant. Robin Wright is wonderful as the attorney Linda whom Brown would frequently sleep with while he is suspicious that she is spying on him. Ned Beatty is terrific as the former cop Hartshorn who tries to help Brown in any way including moments that would help him only to realize that Brown is his own worst enemy.
Cynthia Nixon and Anne Heche are excellent in their respective roles as the sisters Barbara and Catherine as two of Brown’s ex-wives who deal with the coverage of Brown’s activities with Nixon as the more calm of the two and Heche as the one who wants nothing to do with him. Brie Larson is fantastic as Brown’s eldest daughter who despises her father as she also feels humiliated and embarrassed by his actions where she also copes with his own hatred for everyone. Sigourney Weaver is brilliant as the assistant DA Joan Confrey who wants Brown to reveal all of his activities as well as give the man a chance to do what is right. Ice Cube is incredible as the investigator Kyle Timkins who works for the DA’s office as he also tries to implore Brown to do the right thing while revealing what is at stake. Finally, there’s Woody Harrelson in a phenomenal performance as Dave Brown as a dirty LAPD officer who finds himself a big target during one of the lowest points of the LAPD where Harrelson brings a very menacing performance as a man with very little care for the world where he is also his own worst enemy as well as be selfish to the point that he brings shame to his own family including his own daughters.
Rampart is a stellar yet flawed film from Oren Moverman. While it features a great cast led by Woody Harrelson along with Dick Hinchliffe’s score, it’s a film that had all of the tools to be an intriguing character study but it lacks a very cohesive narrative to keep things going. In the end, Rampart is a fine but underwhelming film from Oren Moverman.
Oren Moverman Films: The Messenger - (Time Out of Mind) - (The Dinner (2017 film))
© thevoid99 2016
Directed by Michael Cimino and written by Charles Leavitt, The Sunchaser is the story of a 16-year old juvenile delinquent, who is suffering from abdominal cancer as he kidnaps a rich doctor and takes him to the Navajo region in the hopes to cure him. The film is an exploration into a man dealing with his lifestyle as he struggles with the role he plays in helping this young man. Starring Woody Harrelson, Jon Seda, Talisa Soto, Alexandra Tydings, and Anne Bancroft. The Sunchaser is a visually-striking but messy film from Michael Cimino.
The film revolves two different men at different points in their life where they go into a journey to the Navajo Nation in the American Southwest. During this journey, a self-absorbed doctor and an angry 16-year old criminal go through changes in the journey as the former is taken hostage by the latter who believes that there’s a sacred mountain that can cure him of the abdominal cancer he’s suffering from as he has very little time to live. While the film does have some very interesting insight into the world of the Navajo and what this young half-Navajo man believes as he takes this rich doctor to the Navajo world. It’s a film that has an interesting concept but doesn’t really do enough to flesh out the characters nor bring any weight to what is at stake.
Charles Leavitt’s script does create some moments in the lead characters in Dr. Michael Reynolds (Woody Harrelson) and Brandon “Blue” Monroe (Jon Seda) where the two eventually bond. The way their relationship starts off from antagonistic to more friendly isn’t as developed where Dr. Reynolds is often more concerned with his reputation as he’s about to get a prestigious job offer so he can buy his wife their dream home. Yet, he would eventually care for Blue despite Blue’s constant threats and antagonism as he also carries a gun. In the course of the narrative as the two become more friendly with one another, Dr. Reynolds reveals into why he’s been so hesitant to be very helpful as it relates to a traumatic experience he had as a kid as Blue would remind him of his brother. The way some of the narrative and character development shift does have some earnest moments but it often feels too rushed or to clumsily scripted.
The direction of Michael Cimino has a lot of the attributes that he’s known in terms of vast visuals with the way he shoots the American Southwest in its canyons, mountains, and deserts. Many of which are just powerful yet he isn’t able to get the story to be more engaging as some of the drama that occurs gets repetitive at times in the way Dr. Reynolds and Blue often spar over their differences. Some of it would feel awkward such as a pivotal scene where Blue tells Dr. Reynolds the story of the Sunchaser while holding a gun to his head as Dr. Reynolds would have these flashbacks about his traumatic moment with his brother. It’s a scene that showcased some of the messiness of the film as there’s scenes where Cimino tries to inject some humor and drama as the latter show scenes of Dr. Reynolds’ wife waiting for word on her husband.
While Cimino is much more free in shooting in the deserts and mountains, it is clear that he wants to infuse a lot of mysticism as it concerns the world of the Navajo. Yet, he is unable to balance that with the drama where he wants to do so much with the story and make it feel personal and important. Even in its third act where the two men reach their destination as the mixture of beautiful imagery and mythology seems to play this idea of Americana that Cimino felt was lost. Yet, it’s a moment in the film that showcases not just what Cimino wasn’t able to do make the story feel whole but also in the fact that it’s a film that struggles with its identity in what it wants to be. Overall, Cimino creates an uneven film that isn’t sure what it wanted to say about two men going into a mystical journey.
Cinematographer Douglas Milsome does excellent work with the film‘s cinematography from the look of some of the interiors such as the bar Dr. Reynolds and Blue stop at to many of the beautiful images of the canyons and mountains they encounter. Editor Joe d’Augustine does nice work with the editing from the usage of stylish cuts as well as the flashback montages and rhythmic cutting for the action. Production designer Victoria Paul, with art directors Lee Mayman and Edward L. Rubin and set decorator Jackie Carr, does terrific work with the look of the bars and hospitals Dr. Reynolds and Blue go into as well as the posh home of Dr. Reynolds.
Costume designer Christine Peters does some fine work with the costumes from the street clothes of Blue to the look of the Navajo people he and Dr. Reynolds encounter. Sound designer Brian Best does superb work with the sound from the layers of sounds in the way helicopters and highway patrol officers try to find the two men as well as some of stuff that occurs in some of the film‘s locations. The film’s music by Maurice Jarre is good for some of the serene orchestral moments yet some of its bombast tends to drown out some of the drama as some of the placement of the music doesn’t work while the soundtrack includes some hip-hop, R&B, rock, and gospel.
The casting by Terry Liebing is wonderful for the ensemble that is created as it features some notable appearances from Andrea Roth as a head nurse, Carmen Dell’Orefice as Dr. Reynolds’ mother, Brooke Ashley as his young daughter, Christopher Kennedy Masterson as his brother in the flashback, John Christian Graas as the young Dr. Reynolds, Victor Aaron as the mysterious medicine man Webster Skyhorse, and Talisa Soto as his granddaughter. Alexandra Tydings is pretty good as Dr. Reynolds’ wife Victoria while Matt Mulhern is alright as Dr. Reynolds’ colleague who often has him wanting to advance his career. Anne Bancroft is fantastic as the eccentric Dr. Renata Baumbauer as a free-spirited woman Dr. Reynolds and Blue meets as she would convey a lot of strange ideas that would frustrate the former and amaze the latter.
Jon Seda is superb as Blue despite the fact that he was too old to play a 16-year old yet he manages to convey the sense of anger and determination of a dying young man who believes in this mystical mountain that he wants to go to. Finally, there’s Woody Harrelson in an excellent performance as Dr. Michael Reynolds as a man who is kidnapped by Blue as he comes to term with his own loss as well as the position he’s in as he tries to help Blue and also regain the courage and care that he has as a doctor and as a man.
The Sunchaser is a very troubled and disappointing film from Michael Cimino. Despite some majestic scenes and the performances of Woody Harrelson and Jon Seda, it’s a film that falls very short due to its script and inconsistency with what it wanted to be. In the end, The Sunchaser is a lukewarm and underwhelming film from Michael Cimino.
Michael Cimino Films: Thunderbolt & Lightfoot - The Deer Hunter - Heaven‘s Gate - Year of the Dragon - The Sicilian - Desperate Hours (1990 film) - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino
© thevoid99 2014
Based on The Hunger Games trilogy by Suzanne Collins, The Hunger Games: Catching Fire is the follow-up to the 2012 film where Katinss Everdeen becomes a political target as a rebellion is emerging where she and Peeta Mellark are forced to play the next Hunger Games against previous winners. Directed by Francis Lawrence and screenplay by Michael Arndt and Simon Beaufoy, the film is an exploration of a young woman trying to comprehend her feelings while dealing with a target in her back as Jennifer Lawrence returns as Katniss with Josh Hutcherson as Peeta. Also starring Donald Sutherland, Liam Hemsworth, Stanley Tucci, Elizabeth Banks, Woody Harrelson, Lenny Kravitz, Jeffrey Wright, Amanda Plummer, Jena Malone, Sam Claflin, Toby Jones, and Philip Seymour Hoffman. The Hunger Games: Catching Fire is a rapturous yet chilling film from Francis Lawrence.
In the second part of the trilogy where Katniss Everdeen becomes this unlikely beacon of hope for a futuristic, dystopian America. The second part is about Katniss becoming a political target against leader President Snow (Donald Sutherland) who tries to get Katniss to be in his side in order to quiet down this emerging rebellion. Instead, Katniss and Peeta’s plans to pretend to be this couple as a distraction doesn’t work until the new game maker Plutarch Heavensbee (Philip Seymour Hoffman) makes a plan to get all surviving victors of previous Hunger Games to take part in the 75th game where the rules are much more different as is the competition. With Peeta volunteering in place of his mentor Haymitch (Woody Harrelson), the two agree to protect each other during the game with the help of a few allies. It’s a film that plays into a world where things become more chaotic as this young woman is becoming a symbol of hope but she is overwhelmed by memories of the past games as well as her feelings for Peeta and her longtime beau Gale Hawthorne (Liam Hemsworth).
The screenplay by Michael Arndt and Simon Beaufoy definitely has a much broader structure where the first act is about Katniss and Peeta going on a tour on several districts in order to quiet down this rebellion and pretend to be a couple for the cameras. Yet, it becomes far more troubling when the rebellion starts to grow forcing President Snow and Heavensbee to make plans about how to quiet things down. The second act is about the planning of the 75th Hunger Games as tributes from previous game have to play and kill each other bringing more trouble for Katniss and her family. The third act is the game itself where Katniss and Peeta have to find allies in order to survive as there’s something far more that is happening. Even as Katniss is unsure of who to trust with the exception of Peeta as it gets more complicated.
Katniss is much more troubled in this film than in the first one as nightmares, confused feelings for both Gale and Peeta, and the need to protect her family has overwhelmed her. Even as the game itself becomes far more brutal not just physically but mentally as well where Peeta has to ground her as he also wants to protect her though he is also falling for Katniss. It’s not just Katniss and Peeta that are given more to do as their team that includes Haymitch and their publicist Effie Trinket (Elizabeth Banks) are more fleshed out as the latter starts to show more emotion as it becomes clear on how much she cares for both Katniss and Peeta. Then there’s some of the other tributes the two have to face as it ranges from all sorts of individuals where many of them are very strange that includes the very smart and eccentric duo Beetee (Jeffrey Wright) and Wiress (Amanda Plummer), the very charming and powerful Finnick Odair (Sam Claflin), and the very unpredictable yet vicious Johanna Mason (Jena Malone). Yet, they know what this game is about Katniss and Peeta are reluctant to team with them since they all agree that the real enemy is President Snow.
The direction of Francis Lawrence is really spectacular in not just the world that he creates but also in fleshing out the story. Especially as he maintains some simple and some stylistic compositions for the scenes at the Victors village where Peeta and Katniss live with Katniss’ family but also the other districts that is seeped in this dystopia where a rebellion is emerging. The use of wide shots and medium shots for the locations set in parts of the American South including Atlanta plays into a world that is quite troubling and chaotic. Even in contrast to the world where President Snow and the rich live where it’s extravagant and quite artificial. The scenes where the pre-show games showcase a sense of disconnect between the rich and the tributes that are to play the game as Lawrence maintains something that is simple and to the point.
For the film’s third act in the games, Lawrence definitely goes for something that is far more sprawling in the way the games are. Especially as he aims for something that is more controlled as opposed to the shaky-cam approach of the first film. While there are some intense moments of danger, it is presented with some crane and steadicam shots in order to get an idea of what is out there where the camera work is much tighter. Even as there is an air of unpredictability about what is happening where the film ends on a somewhat abrupt note. Yet, it plays to what is to come for Katniss who is a key part of a growing rebellion that is emerging. Overall, Lawrence creates very sensational and engaging film about a young woman dealing with her role as a beacon of hope.
Cinematographer Jo Willems does fantastic work with the film‘s photography from some of the naturalistic look of some of the exterior scenes in the forests and at the dome of the game but also some stylish lights for the interior scenes including the parties and games presentation. Editor Alan Edward Bell does excellent work with the editing by maintaining a steady yet stylistic approach to the cutting with some rhythmic cuts for the film‘s action while slowing things down in its dramatic moments. Production designer Philip Messina, with set decorator Larry Dias and supervising art director John Collins, does amazing work with the set pieces from the look of the Victors‘ village as well as the game dome where everyone else has to kill each other.
Costume designer Trish Sommerville does brilliant work with the costumes from the lavish costumes the tributes have to wear in the pre-game shows as well as the suits they have to wear during the game. Visual effects supervisors Janek Sirrs and Mark Varisco do terrific work with some of the visual effects such as the creatures the characters have to deal with in the game as well as some of the exteriors of the Capital. Sound designer Jeremy Peirson does superb work with the sound from the way gunfire is heard to some of the moments that occur in the games with its mixture of intimate forest scenes and sounds of cannons. The film’s music by James Newton Howard is incredible for its sense of orchestral bombast that plays out in much of the film as well as some serene moments for some of the dramatic moments in the film.
The casting by Debra Zane is just outstanding for the ensemble that is created for the film as it includes some small but notable appearances from recurring characters such as Toby Jones as the Hunger Games reporter, Paula Malcolmson as Katniss’ mom, Willow Shields as Katniss’ sister Prim, Stanley Tucci as the Hunger Games broadcaster Caesar Flickerman, and Lenny Kravitz as Katniss’ dress designer Cinna. Other notable small roles as previous winners include Meta Golding as the teeth-baring Enobaria, Bruno Gunn as the massive Brutus, Alan Ritchson and Stephanie Leigh Schlund as the skillful siblings Gloss and Cashmere, Stef Dawson as Finnick’s wife Annie who was supposed to compete but only to be spared by Mags and Lynn Cohen as the aging yet silent winner Mags whom Finnick cares as she was his mentor and friend. Amanda Plummer is terrific as the very eccentric but smart Wiress while Jeffrey Wright is superb as the brainy Beetee who tries to find a way to beat the game.
Woody Harrelson is amazing as Katniss and Peeta’s mentor Haymitch Abernathy as he tries to get them ready for the games while Elizabeth Banks is delightful as Effie Trinket as their publicist who becomes aware of the reality that is occurring as she grows more fonder of Katniss and Peeta. Philip Seymour Hoffman is excellent as the game maker Plutarch Heavensbee as a man who is eager to ensure that the games will go smoothly as planned as he concocted the idea of doing something radical for the games. Donald Sutherland is brilliant as President Snow as this slimy individual who wants to suppress this rebellion while trying to force Katniss into doing things so that he wouldn’t kill her and her family. Sam Claflin is fantastic as the very charming and skillful Finnick Odair who raises suspicions from Katniss yet proves to be a formidable ally who is aware that something bigger is happening.
Jena Malone is just astounding as Johanna Mason as this very sarcastic and vicious loner who is very unpredictable and cunning yet becomes this unlikely wildcard ally that Katniss needs as Malone just steals the film from everyone. Liam Hemsworth is pretty good as Gale Hawthorne as Katniss’ beau who tries to deal with Katniss’ relationship with Peeta while dealing with the chaos that is happening where he gets beaten by authorities only to be saved by Katniss, Haymitch, and Peeta. Josh Hutcherson is excellent as Peeta who decides to participate in the games for Haymitch despite his chances as he also tries to ensure that Katniss stays alive while deal with his feelings for her. Finally, there’s Jennifer Lawrence as Katniss Everdeen where Lawrence is just phenomenal in displaying Katniss’ internal conflicts and her confusion for both Peeta and Gale as she also deals with nightmares as well as the fact that she is this symbol of hope against President Snow where Lawrence just adds that weight to make Katniss one of the great characters in film.
The Hunger Games: Catching Fire is a marvelous film from Francis Lawrence that features a truly exquisite leading performance from Jennifer Lawrence. Along with some notable supporting performances from Josh Hutcherson, Jena Malone, Woody Harrelson, Sam Claflin, Philip Seymour Hoffman, Elizabeth Banks, and Donald Sutherland. The film is definitely something much more than just the typical young-adults blockbuster as it takes time to explore rebellion and a young woman dealing with the role that she has to take. In the end, The Hunger Games: Catching Fire is an extraordinary film from Francis Lawrence.
The Hunger Games Films: The Hunger Games - (The Hunger Games: Mockingjay Pt. 1) - (The Hunger Games Mockingjay Pt. 2)
Francis Lawrence Films: (Constantine) - (I Am Legend) - (Water for Elephants)
© thevoid99 2013
Originally Written and Posted at Epinions.com on 1/12/07 w/ Additional Edits & Revisions.
Based on the novel Philip K. Dick, A Scanner Darkly is the story about an undercover narcotics agent whose drug addiction has him unsure of his true identity as he is still investigating a series of drug-related crimes that he might be involved in. Written for the screen and directed by Richard Linklater, the film is a mixture of sci-fi and animation as it is presented with the surrealistic roto-scoping animated style that Linklater had done with 2001's Waking Life. Starring Keanu Reeves, Robert Downey Jr., Winona Ryder, Woody Harrelson, and Rory Cochrane. A Scanner Darkly is a compelling yet provocative thriller from Richard Linklater
The film is set in 1994 in California where the war on drugs has been lost as drug addicts have become infatuated with a mysterious drug known as Substance D. Yet, it's effects have already become troubling as an addict named Charlie Freck (Rory Cochrane) is losing touch with reality as a narcotics agent named Fred (Keanu Reeves) is part of an undercover unit trying to investigate a series of drug-related crimes. Fred is also an addict as he often hangs out with a coke addict named Donna Hawthorne (Winona Ryder) and their friends Barris (Robert Downey Jr.) and Luckman (Woody Harrelson) who are also addicts. With Fred trying to find the drug dealer Bob Arctor, Fred is unaware of who he really is as things become more complicated during the investigation as paranoia ensues for those involved. Even as Fred and his circle of friends are becoming troubled where Fred's investigation starts to falter as he reports to his superior who later reveals his true identity to confirm the failure on the war on drugs.
While the film is really faithful to the novel and text of Philip K. Dick, it's not a perfect film largely due to the film's complex, high-brow plot where the themes of reality vs. fiction and the dark side of drugs definitely take on an intellectual level that audiences might not understand. That may be the film's flaw despite Linklater's observant, eerie direction which gives the film a strange, graphic-novel look and a sci-fi feel though it's set in 1994. Really, Linklater managed to be faithful to Dick's novel by using a lot of the dialogue from the book which is very provocative in its subject of drugs and paranoia. Still, the film is really about a man who becomes confused at his own identity in the role in the war against drugs while being surveyed in a world where he's being watched.
While Linklater's direction and script was unique in its faithfulness, Linklater and head animator Bob Sabiston created a look where a graphic novel comes to life with eerie, colorful animation from the rotoscoping technique. The animation is wonderfully superb to convey the paranoia and darkness of the world due to drugs with some hilarious moments that included Robert Downey Jr. being a bug. It's also a bit more adult due to language and some nudity where it adds a look of realism and surrealism. The result gives the animation and the entire film a hypnotic look where the film isn't boring despite its complex and confusing plot. The result is truly some of those most imaginable animation ever captured on film.
Cinematographer Shane F. Kelly does some wonderful photography and lighting designs to help give the sheer look of the animation which highlights the film's atmosphere. Production designer Bruce Curtis and set decorator Joaquin A. Morin do wonderful work in creating the messy, technological look of Bob's home as well as the eerie computer world of Fred's. Costume designer Kari Perkins definitely adds to the look of the 90s with baggy shorts and shirts plus flowing dresses for Winona Ryder. Longtime editor Sandra Adair does a wonderful job in bringing a nice pace to the suspense and rhythm that plays to the film's paranoia. Sound designers Justin Hennard and Tom Hammond plus Skip Lievsay do excellent work in the film's sound to the shifts of personalities and everything that goes on the world of Fred/Bob. Visual effects supervisor Richard Gordoa also does some great work in the animation from the shift of changes, notably in the scramble suits.
Music composer Graham Reynolds brings a plaintive, suspenseful score that is filled with harrowing arrangements in the orchestra while a lot of the music features the work of Radiohead. The cuts Radiohead bring are remixes to convey the sci-fi suspense of the film while a then-new track from Radiohead singer Thom Yorke appears from his album The Eraser.
The film's cast is filled with notable small performances from Angela Rawna and Chamblee Ferguson as the two psychiatrists who interrogate Fred, Lisa Marie Newmyer as Connie, Melody Chase as Bob's wife and the voices of Mark Turner as Hank and Sean Allen as Fred. Linklater regular Rory Cochrane gives a funny yet harrowing performance as Charlie Freck with his shaking and paranoia that conveys the sense of addiction at its worst. Cochrane really shines in a scene that is accompanied by a narration given by the voice of the late Philip K. Dick to play to the film's intellectual take on death. Woody Harrelson is very funny as the temperamental, cautious Ernie Luckman who is the antagonist of sorts against Barris. Harrelson brings a lot of laid-back humor and stoner realism as he is the perfect foil for Robert Downey Jr. Downey meanwhile, is hilarious in his role as the intellectual, jabbering James Barris as he steals every scene he's in. Downey also brings an intellectual complexity as a man who could be an informant or a suspect who's forced to tell things.
After an absence from films, Winona Ryder returns in what has to be her best performance since 1999's Girl, Interrupted. Ryder brings a layered performance as a fellow addict who is hiding something about her cocaine addiction while trying to understand the behavior of Bob Arctor. It's a different role from Ryder as she adds a fragility mixed in with a sexiness that hasn't been seen in a longtime as it is great to see her in a movie. Keanu Reeves gives an excellent yet understated performance as the dual role of Bob Arctor and Fred. Reeves brings the right touch of a man unaware of who he is and what role he serves. Reeves brings a surprising complexity as someone who is burnt out and tired where he only realizes that he's a pawn in the war against drugs. It's a fine performance from Reeves who, under the right director, can actually bring in a performance that is worth noting.
While not as superb as other Linklater films or Philip K. Dick adaptations like Blade Runner, A Scanner Darkly is still an intriguing yet hypnotic film from Richard Linklater and company. With a great cast, the film does have a lot of humor and performances that audiences can enjoy thought might be put off by some of the film's intellectual dialogue. Still, this is a film that should be worth noting as a nice introduction to the complex work of Philip K. Dick. In the end, A Scanner Darkly is an intense yet eerie film from Richard Linklater.
Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boy - Waking Life - Tape - School of Rock - Before Sunset - Bad News Bears (2005 film) - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2
© thevoid99 2013
Directed by Oliver Stone, Natural Born Killers is the story of a two lovers who become mass murderers as they are glorified by the mass media as a TV show host hopes to exploit them during their prison stay. Screenplay from Stone, Dave Veloz, and Richard Rutowski from an original story by Quentin Tarantino, the film is an exploration into the world of violence showcased through a media hungry for violence in a culture obsessed with serial killers and mass murders. Starring Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tom Sizemore, and Tommy Lee Jones. Natural Born Killers is an insane yet exhilarating film from Oliver Stone.
Serial killers Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis) are on a trip around the American Southwest as they’re on a killing spree. Spurred by traumatic childhood events and living in troubled homes, the two meet one day as they fall in love and later kill Mallory’s parents. Following them in their road of terror is TV journalist Wayne Gale whose TV show American Maniacs has made them cult heroes. Also after them is a psychopathic detective named Jack Scagnetti (Tom Sizemore) who has been obsessed with Mallory. While lost in the desert, Mickey and Mallory meet up with a Navajo Indian named Warren Red Cloud (Russell Means) and his grandson (Jeremiah Bitsui) who is aware of the demons the two carries.
During a ceremony where Mickey and Mallory are asleep, Mickey has a nightmare where he wakes up and accidentally kills Red Cloud. Guilty over what happened and bitten by snakes, Mickey and Mallory try to get some snakebite antidote where they’re suddenly captured by Scagnetti and police officers as it’s captured by a Japanese news crew. One year later, Mickey and Mallory at Batonga Penitentiary run by Warden Dwight McClusky (Tommy Lee Jones) who had put them in different cells as they’re both set to be transferred to a mental hospital. Wayne Gale is also at the prison to set up a TV interview with Mickey for his show while McClusky and Scagnetti are conspiring to kill them during the transfer.
On the night of Wayne Gale’s interview with Mickey Knox where Mickey reveals his reasons for being a killer as a riot is incited and all hell breaks loose. Gale and his crew capture the riots as Mickey hopes to retrieve Mallory who is being visited by Scagnetti as lots of mayhem occur. With McClusky trying to subdue control, it all leads to a showdown between Mickey, Mallory, and Wayne Gale against McClusky and his guards as it’s presented live on TV.
The film is essentially the story of a young couple who become serial killers as they’re being exploited by a TV journalist who wants to give the public an appetite for chaos and mayhem. Eventually, things come to ahead in prison where the couple deal with a psychotic detective, a crazed warden, and the TV journalist as it leads to all sorts of things in a prison riot. The film is really more of an exploration into how the media is willing to exploit death just for the sake of ratings with no sense of remorse for anyone including the killers themselves. It is a satirical reflection of what was happening in the 1990s when sensational TV became part of the norm as the public become obsessed with serial killers and courtroom television.
The screenplay by Oliver Stone, Dave Veloz, and Richard Rutowski is essentially multi-layered as it doesn’t exactly play to a conventional narrative structure. The film opens with Mickey and Mallory at a diner and later killing a few people in the process just to establish what kind of people they are. While they maybe killers who are deeply in love with each other, they do have some sense of compassion and will always leave someone alive to tell the story. Plus, they’re people who come from very unhappy homes as Mickey is abused by his father and watched his father die. Mallory comes from a family where her father (Rodney Dangerfield) molests her and a mother (Edie McClurg) who doesn’t really do anything. Both Mickey and Mallory kill as they’re both trying to deal with ill of the world as they’re also carrying demons around them.
The moment they meet Warren Red Cloud becomes a key plot point where they meet someone who knows what they’re about as he offers them shelter and a chance to be free from their demons but an accident will have them carry the guilt of killing someone who was really a good person. This moment would become the catalyst for their downfall as the film is sort of told in a non-linear fashion where the reports about their killings are shown through Wayne Gale’s TV show. Wayne Gale is a very important character to the film as he’s a man that represents the media as a whole. Here is someone who is willing to exploit the world of serial killing on his TV show as he finds Mickey and Mallory Knox as the perfect patsies for what he needs in his quest for big ratings. Gale is a character that is slightly over-the-top as he definitely becomes a lot crazier in the third act.
Then there’s characters like Jack Scagnetti and Dwight McClusky who are men who definitely despise serial killers. Scagnetti is a detective whose mother was killed by Charles Whitman as he has a very sick obsession towards Mallory. McClusky is a man that simply likes to maintain control in his prison and doesn’t really care who he has in his prison as he treats them like animals with no sense of remorse or compassion. For Mickey and Mallory, McClusky and Scagnetti are just people that represent true evil while Wayne Gale is also another manifestation of evil in something that isn’t even manmade.
Stone’s direction is definitely hyper-stylized and extravagant as he goes all-out with the film. The overall presentation isn’t meant to be realistic but rather surrealistic as it features scenes with film screen backdrops to create a road movie of sorts that is far removed from reality. There’s also lots of moments in locations set in Southwest America where they are in a real world but it feels very abstract as Stone would often create moments where the camera work is off and he puts in strange visual tricks. The sequence where Mickey meets Mallory for the first time is presented in a farcical TV sitcom as it would also include bits of strange hand-drawn animated sequences. Since the film is also a satire on the media’s sensational reporting on killing, Stone would create scenes that is presented in a documentary-like fashion where TV is king as people often celebrate the antics of Mickey and Mallory.
While Stone does manage to keep things a bit straightforward in the third act, he definitely goes all-out and more for the film’s climatic riot. Particularly as he aims for a cinema verite style where he uses TV cameras and such to capture what is going on. The violence throughout the film is graphic and unsettling (much more so in its unrated director’s cut) as Stone amps it up in the riot where there’s more people killed and the violence is almost uncontrollable. The film’s ending definitely reveals how much the world was obsessed with violence and chaos as it’s a moment where Stone taking a shot at the exploitation of violence. Overall, Stone creates a truly dazzling yet provocative film that explores the world of media and its fascination with serial killers.
Cinematographer Robert Richardson does incredible work with the cinematography where he infuses all sorts of visual styles from grainy camera work, flashy lighting schemes, black-and-white, and other array of lighting styles to play up the surreal world that Stone wanted. Editors Hank Corwin and Brian Berdan do amazing work with the editing by going into an array of various cutting styles from jump-cuts, dissolves, and other methods to maintain something that is unconventional in its approach to pacing. Production designer Victor Kempster, along with art directors Alan Tomkins and Margery Zweizig and set decorator Merideth Boswell, does brilliant work with the sets from the backdrops that are created to some of the sets such as the supermarket that Mickey and Mallory go to find some snake antidote.
Costume designer Richard Hornhung does terrific work with the costumes from the stylish clothes that Mickey and Mallory wear in their road trip to the bloody convict suits they wear during the riot. Sound editors Wylie Stateman and Michael D. Wilhoit, along with sound designers Scott Michael Gershin and David Kneupper, do superb work with the sound to capture the chaos of the prison as well as the moments in the locations the characters encounter.
Music supervisor Budd Carr creates a truly dazzling music soundtrack in collaboration with its producer Trent Reznor of Nine Inch Nails. Along with some music from NIN including the song Burn, the soundtrack features an array of music from Leonard Cohen, L7, Patti Smith, Jane’s Addiction, Dr. Dre, Tha Dogg Pound, Patsy Cline, Bob Dylan, Cowboy Junkies, Duane Eddy, Peter Gabriel and Nusrat Fateh Ali Khan, Lard, and other artists in a collage of pieces. Additional contributions that isn’t in the album soundtrack includes Marilyn Manson, Rage Against the Machine, the Specials, the Shangri-Las, and a few others as it’s definitely one of the great film soundtracks of the 1990s.
The casting by Risa Bramon Garcia, Billy Hopkins, and Heidi Levitt is fantastic for the ensemble that is created. In some small but notable appearances, there’s Adrien Brody as a cameraman, Arliss Howard as a mysterious convict, James Gammon as a redneck at the diner, Mark Harmon and Corey Everson as TV actors playing Mickey and Mallory, O-Lan Jones as a diner waitress, Steven Wright as a criminal psychiatrist that Gale interviews, and Balthazar Getty as a gas station attendant who has sex with Mallory. Other noteworthy small roles include Pruitt Taylor Vince, Joe Grifasi, and Louis Lombardi as prison guards, Sean Stone as Mallory’s little brother Kevin, Jeremiah Bitsui as the Indian’s grandson, Edie McClurg as Mallory’s mother, and Rodney Dangerfield in a shocking performance as Mallory’s abusive father.
Russell Means is excellent in a small but crucial role as the Navajo Indian that Mickey and Mallory meet who would become the one person that they see is the personification of everything that is good. Tom Sizemore is great as the psychotic detective Jack Scagnetti who has a sick obsession with killers as he hopes to become a legend in killing Mickey and Mallory. Tommy Lee Jones is superb as the cartoonish Warden Dwight McClusky where Jones brings an intensity to a madman who hates Mickey and Mallory where he tries to be this terrifying authority figure. Robert Downey Jr. is amazing as Wayne Gale where Downey sports an Australian accent as a man just hell-bent on getting the story of a lifetime where he gets more than he bargains for.
Finally, there’s the duo of Woody Harrelson and Juliette Lewis in their respective roles as Mickey and Mallory Knox. Harrelson provides a cool yet darkly-humor approach to his character as well as a charisma that is just intoxicating to watch. Lewis is more angelic in her persona but also far more aggressive as she too brings some humor to her character. Together, they make one hell of a combo as they radiate chemistry when they’re in love or when they’re fighting as they make Mickey and Mallory Knox some of the coolest characters on film.
Natural Born Killers is a sick, twisted, extravagant, and ugly film from Oliver Stone yet it’s a whole lot of fun to watch. Thanks to some amazing technical work, a kick-ass soundtrack, and outstanding performances from Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones, and Tom Sizemore. It’s truly a film that really captures the insanity of 1990s-media obsession with murder. It’s also a film that isn’t for the faint of heart as well as something that shouldn’t be taken seriously. In the end, Natural Born Killers is a fucked-up yet sensational wild ride from Oliver Stone.
Oliver Stone Films: (Seizure) - (The Hand) - (Salvador) - (Platoon) - (Wall Street) - (Talk Radio) - (Born on the 4th of July) - (The Doors) - (JFK) - (Heaven & Earth) - (Nixon) - (U Turn) - (Any Given Sunday) - (Persona Non Grata) - (Comandante) - (Looking for Fidel) - (Alexander) - (World Trade Center) - (W.) - (South of the Border) - (Wall Street: Money Never Sleeps) - (Savages (2012 film)) - (Snowden)
Related: Natural Born Killers OST
© thevoid99 2012
