Set in 1925 Montana, the film revolves around a rancher whose brother marries a local restauranteur whose son is known for acting a bit effeminate and talk with a bit of a lisp as he becomes uncomfortable with their presence as he becomes intimidating towards them. It is a film that explores a world where men and women have their place in the world but there is this sense of change where the definition of what men and women are begin to blur. Jane Campion’s screenplay is broken into a few chapters as it play into the relationship between the Burbank brothers in Phil (Benedict Cumberbatch) and his younger brother George (Jesse Plemons) as the latter is an educated while the former prefers to maintain his lifestyle tending to the ranch as he has no interested in bathing nor show any kind of weakness. During a cattle drive where they stop at a nearby town at a restaurant run by Rose (Kirsten Dunst) whose son Peter (Kodi Smit-McPhee) is a waiter where his lanky and effeminate presentation amuses Phil who would later mock Peter.
The first act is about the relationship between the brothers as well as George’s yearning to marry Rose as he would do so much to Phil’s annoyance as her presence would cause tension just as Rose is trying to bring a few changes as well as invite Phil and George’s parents and the governor (Keith Carradine) and his wife (Alison Bruce) for a dinner. The second act is about Peter’s arrival to the ranch following his time in college where he’s studying medicine and surgery where he tries to stay away from Phil and his ranchers but also makes a discovery about Phil that would change their relationship in the film’s second half. It is where this theme of masculinity come into play as Phil would become open to show Peter the ideas of being a rancher that Peter takes great interest in. Yet, Rose becomes uneasy about it as she turns to alcohol to cope as she would do something that only anger both Phil and Peter.
Campion’s direction is definitely intoxicating for the presentation she creates as it is set in the American West that is Montana though it is shot on the Maniototo plains in the Central Otago region in New Zealand with several interiors shot on sound stages in Auckland. Campion’s direction is often filled with gazing wide shots of these locations where they are major characters in the film as it play into this world that is untouched by modern society which suits Phil and the world he cares about. Campion would also use medium shots and close-ups to get a look into some of the attention to detail in the locations including a small flower in the field or something is symbolic. Most notably in a shrine for Phil’s mentor named Bronco Henry as he would tell stories about his exploits as it serves as this idea of what Phil wants to maintain with his cowhands who are also this embodiment of intense masculinity. Even as there is that moment where Phil notices some flowers made out of paper that Peter had created and burns it up as a form of intimidation and mocking.
There are also these shots that play into the tension between Rose and Phil such as a scene of the latter trying to play a piano piece with Phil on the floor above play that same piece with his banjo as a form of intimidation. Campion also play up the tension during a key scene where Phil and his cowhands are on the river with Phil at another location in the forest by himself where Peter makes this major discovery. This revelation for the second half is where Phil realizes that he and Peter are a lot alike in the way they see things but also that Peter is a lot stronger than both Phil and Rose would believe as Peter is fascinated by the idea of what it’s like to be a cowboy. For Rose, it’s a terrifying idea as she becomes more troubled and fearful as it adds some chaos in the film’s third act. It is Peter’s actions in the third act in what he’s learned from Phil is key to this unexpected bond between these two men who don’t feel like they belong in the modern world despite the things that Peter is studying yet he’s more intrigued by a world that is much simpler and uncompromising. Overall, Campion crafts a ravishing yet captivating film about a tough rancher’s encounter with his new sister-in-law and her effeminate son.
Cinematographer Ari Wegner does incredible work with the film’s cinematography as its emphasis on natural lighting for many of the exteriors including some scenes in the forests are just gorgeous to watch while many of the nighttime interior scenes are used with available light to help set a mood. Editor Peter Sciberras does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the drama as well as some of the dramatic tension that occurs within the film. Production designer Grant Major, with supervising art director Mark Robins plus set decorators Gareth Edwards and Amber Richards, does amazing work with the look of the ranch and its interiors with how spacious the dining room is as well as Phil’s room that he shared with George and some of the exteriors including the stable where Phil keeps a lot of Bronco Henry’s possessions. Costume designer Kirsty Cameron does fantastic work with the costumes from the golden dress Rose wears to a dinner with the governor and others to the more rough-clothing and chaps that Phil and his cowhands wear.
Hair and makeup designer Noriko Watanabe does terrific work with the look of the characters from the dirty look of Phil as well as the hairstyle of the women during those times. Special effects supervisor Brendan Durey and visual effects supervisor Jason Hawkins do nice work with some of the effects as it relates to some of the horse riding and a few bits of set dressing for some scenes. Sound editor Robert Mackenzie and sound designer Dave Whitehead do brilliant work with the sound in the way cows and horses sound from afar as well as other sparse moments including the comb that Peter carries along with musical instruments as it is a highlight of the film. The film’s music by Jonny Greenwood is phenomenal as its usage of discordant strings, eerie piano pieces, and lush orchestral string pieces add to the drama as it is a major highlight of the film while music supervisor Andrew Kotatko bring in a few classical and folk pieces that are performed in the film.
The casting by Nikki Barrett, Tina Cleary, Carmen Cuba, and Nina Gold is remarkable as it feature some notable small roles from Alice Englert as a young hooker who dances with a cowhand, Adam Beach as a Native American that wants to buy one of Phil’s rawhide, Maeson Stone Skuccedal as the Native American’s son, Sean Keenan and George Mason as a couple of Phil’s cowhands, Alice Bruce as the governor’s wife who is eager to meet Phil, Keith Carradine as the governor who is fascinated by Phil’s workmanship, Peter Carroll and Frances Conroy as Phil and George’s parents who are eager to see Rose in welcoming her to the family, Genevieve Lemon as the housekeeper Mrs. Lewis who kind of runs the ranch while telling Rose on a few house rules, and Thomasin McKenzie in a fantastic small role as the young maid Lola who works at the house and help Rose in a few things. Jesse Plemons is marvelous as George Burbank as Phil’s younger brother who is a more educated and kinder person than Phil as he would marry Rose as a way to have his own life instead of being intimidated by his brother.
Kirsten Dunst is incredible as Rose Gordon as a restauranteur who is intimidated by Phil as she is troubled by his presence that drives her to drink while becomes protective of Peter when he starts to befriend Phil where she does something that would upset them both. Kodi Smit-McPhee is phenomenal as Peter Gordon as a young man who has this effeminate presentation to him in the fact that he’s also very skinny yet Smit-McPhee makes Peter a far more intriguing individual who would do things that Rose would not approve of but Phil might’ve as well as show that he’s willing to learn as it play into his own ideas of life lessons. Finally, there’s Benedict Cumberbatch in a magnificent performance as Phil Burbank as a rancher who is more content with doing work with the ranch and living a rough and tumble lifestyle as he is wary at Rose believing she is being disruptive but takes a liking towards Peter in the film’s second half as there is this ambiguity and complexity to Cumberbatch’s performance that can be chilling but also has this air of sensitivity that is definitely a career-defining performance for Cumberbatch.
The Power of the Dog is an outstanding film from Jane Campion that features phenomenal performances from Benedict Cumberbatch, Kodi Smit-McPhee, and Kirsten Dunst. Along with its ensemble cast, gorgeous locations, ravishing visuals, Jonny Greenwood’s unsettling score, a chilling soundtrack, and its themes on masculinity in an ever-changing world. It is a film that doesn’t play by the conventions of what it means to be a man or how to be one in a world that is removed from conventional society but rather to take an identity and own it no matter how hard society can hit. In the end, The Power of the Dog is a tremendous film from Jane Campion.
Jane Campion Films: Sweetie - An Angel at My Table - The Piano - The Portrait of a Lady - Holy Smoke! - In the Cut - Bright Star - Top of the Lake (Season 1) - (Top of the Lake-China Girl) – The Auteurs #25: Jane Campion
© thevoid99 2022
Based on the DC comic series by Robert Kanigher and Ross Andru, Suicide Squad is the story of a group of supervillains who are tasked to stop a major threat to the world in exchange for reduced prison sentences. Written for the screen and directed by David Ayer, the film is an unconventional superhero film of sorts where it is focused on the bad guys who are given the chance to do good while dealing with their own faults as individuals. Starring Will Smith, Margot Robbie, Jared Leto, Jai Courtney, Joel Kinnaman, Cara Delevingne, Jay Hernandez, Adewale Akinnuoye-Agbaje, Adam Beach, Karen Fukuhara, Scott Eastwood, Ike Barinholtz, Jim Parrack, and Viola Davis. Suicide Squad is an intriguing but extremely messy film from David Ayer.
Following some catastrophic events around the world, the film revolves around an intelligence officer who wants to create a task force filled with supervillains to stop any major threat available as they would team up with a military officer to kill an evil witch-goddess known as the Enchantress who has inhabited the body of an archeologist named Dr. June Moone (Cara Delevingne). It’s a film that has some of worst of the worst that include a hitman, a pyromaniac, a mutant, a bank robber, and a former psychiatrist who later became the girlfriend of the Joker (Jared Leto). They’re given the chance to do good and save the world in exchange for a reduced prison sentence as they reluctantly do the job with Colonel Rick Flag (Joel Kinnaman) leading the team. It’s a concept that has a nice idea but writer/director David Ayer unfortunately doesn’t go all the way with its execution.
While he does manage to establish who are the members of this team known as the Suicide Squad in Floyd Lawton/Deadshot (Will Smith), Dr. Harleen Quinzel/Harley Quinn (Margot Robbie), George “Digger” Harkness/Captain Boomerang (Jai Courtney), Chato Santana/El Diablo (Jay Hernandez), and Waylon Jones/Killer Croc (Adewale Akinnuoye-Agbaje). Some of these characters are either underwritten or under-utilized while the script falters very highly as Ayer tried to cram so much into the story but never finds a way to create a balance for everyone involved. Even the stakes in trying to stop the Enchantress and her brother Incubus (Alain Chanonine) doesn’t have much weight or motivation for the Suicide Squad to stop other than death if they don’t do the job. The character of Amanda Waller (Viola Davis) is a mysterious individual who holds the fate of the entire squad as she is an antihero that is unique as she is one of the most interesting characters in the film.
The story about Harley Quinn’s relationship with the Joker is definitely not given more to be engaged into as it’s really one of several subplots in the film as the character of the Joker is someone who isn’t really used for the main plot other than to try and retrieve Harley back into his life. It’s a storyline that could’ve been fleshed out more but it’s often seen in flashbacks where there is little of the Joker in the main storyline. Another issue in the film revolves another member of the Suicide Squad in Christopher Weiss/Slipknot (Adam Beach) where he’s only in the film for a few minutes and doesn’t really do anything.
Ayer’s direction is where the film really suffers as it not only tries to cram so much into a two-hour film but also do it with some constraints to appeal to a wide audience. While Ayer would create some exciting sequences that does help tell the story and is filled with a lot of action. It tries too hard to be all things where it does have moments that are funny and moments that are exciting but it never finds that balance to bend all type of genres where it is very messy. Though there’s some good compositions that Ayer makes in the medium and wide shots to establish the locations as well as some close-ups. It is all very stylized and sometimes it would be style over substance where Ayer is doing whatever he can to try and make it enthralling. Yet, the emphasis largely on visual effects and wanting to create something big tends to overwhelm the story as it kind of loses of focus on what it wanted to be. Another aspect of the film that is problematic is that underneath all of these storylines, sprawling action scenes, and comedy is that there is a good film somewhere.
It’s obvious that given that this is a studio film that Ayer must have consulted with the executives at Warner Brothers in giving them what they want. Yet, this interference from people who aren’t involved in the process of filmmaking are the last group of people who understand what an audience wants. Sometimes, it’s best to not give them what they want as this film unfortunately tries to do so many things but giving the character of the Joker a small amount of time in the film as well as not providing a backstory for Killer Croc and a volunteer in Tatsu Yamashiro/Katana (Karen Fukuhara) definitely would baffle the audience. The climax is also kind of lacking in something bigger as it ends up being very conventional as it never really has the chance to become something of its own in favor of trying to be like every other superhero film. Overall, Ayer creates a decent but extremely inconsistent and underwhelming film about a group of bad guys teaming up to save the world.
Cinematographer Roman Vasyanov does some nice work with the cinematography with its array of colors and lighting schemes for much of the scenes set at night as well as the usage of desaturated colors for some of the daytime scenes. Editor John Gilroy does some fine work with the editing as it is very stylized where it relies a lot on fast-cuts but does provide enough footage to establish what is going on despite the constraints of what the film would suffer in its final cut. Production designer Oliver Scholl, with set decorators Beauchamp Fontaine and Shane Vieau as well as supervising art directors Brandt Gordon and Brad Ricker, does excellent work with the set design from the prison cells of the members of the Suicide Squad as well as the look of some of the cities and buildings they go into. Costume designer Kate Hawley does superb work with the costumes from the clothes some of the members of the Suicide Squad wear as well as the stylish clothing of Harley Quinn.
Hair/makeup designer Alessandro Bertolazzi and creature/effects designer Steve Newburn do brilliant work with the look of some of the characters such as El Diablo, Harley, Killer Croc, and the Joker where they’re given distinctive looks. Visual effects supervisor Jerome Chen does some good work with the visual effects in creating some mystical effects relating to the Enchantress though it does get overwhelming at times as the design of her army is kind of weak. Sound editor Richard King does fantastic work with the sound in creating some sound effects and in some of the broad moments in the action sequences. The film’s score by Steven Price is wonderful as it’s mainly a mixture of orchestral music with some electronics as much of the music that is assembled by music supervisors Gabe Hilfer and Season Kent that features an array of music from the likes of AC/DC, Rick James, Eminem, Creedence Clearwater Revival, Lesley Gore, the White Stripes, Black Sabbath, Kanye West, K7, Norman Greenbaum, the Rolling Stones, and the Animals.
The casting by Lindsay Graham and Mary Vernieu is brilliant despite some of the issues involved due to the interference of studio executives as it feature some notable small appearances from Jim Parrack and Common as a couple of the Joker’s henchmen, Alain Chanonine as the Enchantress’ brother Incubus, Ike Barinholtz as a prison guard, Scott Eastwood as Col. Flag’s right-hand man GQ Edwards, David Harbour as a government official, Shailyn Pierre-Dixon as Deadshot’s daughter, Grace Santana as El Diablo’s wife in flashbacks, and Adam Beach in a very wasted performance as Slipknot. Karen Fukuhara is fantastic as Tatsu Yamashiro/Katana as a volunteer who is deadly with a samurai sword as she helps the Suicide Squad while Cara Delevingne is alright as Dr. June Moone in displaying her fears and vulnerability but isn’t very good as the Enchantress who is just this lame villain.
Adewale Akinnuoye-Agbaje is terrific as Waylon Jones/Killer Croc as a reptilian-like mutant who can do things underwater and kick ass though he is very underutilized and underwritten. Joel Kinnaman is superb as Col. Rick Flag as a Special Forces officer who leads the Suicide Squad into battle while trying to hide the fact that he is personally invested in this mission to stop the Enchantress. Jay Hernandez is excellent as Chato Santana/El Diablo as a pyromaniac who is reluctant to help out as he is afraid of unleashing his powers knowing how bad it can become. Jai Courtney is fun as George “Digger” Harkness/Captain Boomerang as a bank robber with a deadly boomerang who is quite tough but also has some weird fetishes.
Jared Leto’s performance as the Joker is a mixed bag where not only is it a very small role where he’s not given much to do for the story while his performance is funny at times but also over-the-top for the wrong reasons. Viola Davis is brilliant as Amanda Waller as an intelligence officer creating a plan to help the world in the face of a threat as this is a no-nonsense character that is quite ruthless but also very determined to do whatever it takes to save the world. Will Smith is amazing as Floyd Lawton/Deadshot as a hitman/assassin that is good at what he does yet is also complex as he’s got morals despite the fact that he’s a bad guy as Smith brings some charm but also some weight as a man who knows what is at stake. Finally, there’s Margot Robbie in a phenomenal performance as Dr. Harleen Quinzel/Harley Quinn as a former psychiatrist who goes insane and falls for the Joker as she is this odd yet insane woman often speaks her mind and does crazy things as it’s the real standout performance in the film.
Suicide Squad is a decent but uneven film from David Ayer. Despite some action sequences, intriguing premise, and a great ensemble cast, it’s a film that suffers from trying to do so much only to bring in so little. In the end, Suicide Squad is just a very disappointing and underwhelming film from David Ayer.
David Ayer Films: (Harsh Times) – (Street Kings) – (End of Watch) – (Sabotage (2014 film)) – (Fury (2014 film)) – (Bright (2017 film)) - (The Tax Collector)
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Wonder Woman – Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2017
Based on the book by James Bradley and Ron Powers, Flags of Our Fathers is the story of the three surviving servicemen who raised the flag during the battle of Iwo Jima as they deal with the aftermath of war as well as being called heroes. Directed by Clint Eastwood and screenplay by Paul Haggis and William Broyles Jr., the film is part of a double-feature that both concern the battle of Iwo Jima as this film focuses on the American side as three men deal with the war and its aftermath. Starring Ryan Phillippe, Jesse Bradford, Adam Beach, Paul Walker, Jamie Bell, Barry Pepper, John Benjamin Hickey, Joseph Cross, John Slattery, Neal McDonough, Melanie Lynskey, Thomas McCarthy, and Robert Patrick. Flags of Our Fathers is a harrowing yet gripping war-drama from Clint Eastwood.
The film is about the iconic image of six men raising the American flag on the Japanese island of Iwo Jima as it’s told from the perspective of a former Navy serviceman who thinks about the battle and its aftermath where he and his surviving Marine fighters went on tour to help sell war bonds. It’s a film that moves back-and-forth from the battle of Iwo Jima to what John “Doc” Bradley (Ryan Phillippe) would encounter during his tour of the U.S. selling war bonds with surviving Marines in Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach). Throughout the course of the film, Bradley recalls memories of the battle of Iwo Jima where he lost a lot of friends while trying to save those as the Navy doctor. At the same time, he thinks about the tour he is in with Gagnon and Hayes as the latter descends into grief and alcoholism while controversy arises over who were the other three that raised the flag.
The film’s screenplay doesn’t aim for a conventional narrative as it’s partially-nonlinear in order for the older Bradley (George Grizzard) to reflect as his son James (Thomas McCarthy) would look into the stories about his father and why his dad had never told him about the war. Yet, the young Bradley would be the most reserved person who goes on tour as he just maintains a low profile while Gagnon and Hayes would both diverge into different paths as the former hopes the tour would give him opportunities after the war. Still, Bradley and Hayes are haunted by the battle in Iwo Jima as they reflect on their encounter and how their friends were killed. The film’s second act has a parallel storyline in which the survivors go on tour while James Bradley goes on his own journey to find out what happened in Iwo Jima as well as stories about the men who raised that flag on Mount Suribachi.
The script doesn’t just explore the world of war bonds as well as men’s struggle with the aftermath of war. It also plays into the mystery of that iconic image where one soldier’s name is mistaken as it creates some confusion until Hayes and Bradley would clear it up as it would make things more uncomfortable. Upon the script’s third act where Hayes’ descent becomes more evident as well as the growing discomfort among himself and Bradley in being called heroes. There is also the fates that plays into the three survivors as well as what James Bradley would discover as well as why his father had been very silent for so many years.
Clint Eastwood’s direction is quite versatile considering what he wanted to do where it is a war film in respect but it’s also a drama where he does maintain a balance with the different tones and multiple stories in the narrative. There is a sense of brutality that emerges in the battle scenes where Eastwood uses hand-held cameras and steadicams to capture its intensity and terror. While Eastwood isn’t trying to say anything new that’s been seen or heard before, he does however maintain that idea about war and its after-effects where many who fought in battle refuse to call themselves heroes. For the scenes where Bradley, Gagnon, and Hayes go on the road to sell war bonds, there is an intimacy in the direction but also an understated melancholia that is prevalent.
There is an elegance to the way Eastwood creates some of the moments of the tour as it’s quite lavish but also unsettling considering what the three survivors have to endure as they’re being pushed into the public spotlight. Eastwood wouldn’t go for close-ups as he would favor medium shots and wide shots to capture the period of the times as well as putting his actors into a frame to see how they react to certain situations. Particularly as Eastwood would convey that intimacy for James Bradley’s story as it would piece everything together as well as showcase the sacrifice Bradley’s father made for his country and for the people who would never have to fight a war. Overall, Eastwood crafts a very poignant yet powerful film about war and their reaction to being called heroes.
Cinematographer Tom Stern does excellent work with the film’s stylish cinematography with his tinted, blue-green look for some of moments in the tour while maintaining a gritty look for its battle scenes as it’s shot on hand-held cameras while taking great stock into the dark look of the land. Editor Joel Cox does brilliant work with the editing to his seamless approach to transitions and piece together the different narratives while going for unique rhythms towards the battle scenes in the film. Production designer Henry Bumstead, along with art directors Adrian Gorton and Jack G. Taylor Jr., does amazing work with the look of some of the buildings and such for the tour as well as the tents and camps in Iwo Jima.
Costume designer Deborah Hooper does nice work with the costumes with a lot of the mid-1940s uniforms and clothes many of the characters wear. Visual effects supervisor Michael Owens does terrific work with the visual effects such as some parts of the battle scenes along with some set dressing to create some of the buildings and such in the 1940s. Sound editor Bud Asman, along with sound designers Charles Maynes and Steve Ticknor, does superb work with the sound from the way it plays into the terror of war as well as the intimate atmosphere that goes on during the war bonds tour. Clint Eastwood’s music score is wonderful for its somber pieces to play into the drama while going for more bombast and ominous orchestral arrangements to play into the terror of war while the music soundtrack includes songs from the 1940s.
The casting by Phyllis Huffman is incredible for the ensemble that is created as it features some notable small roles from Judith Ivey as Harlon Block’s mother, Ann Dowd as Mike Strank’s mother, Beth Grant as Gagnon’s mother, Melanie Lynskey as Gagnon’s fiancee Pauline, Neal McDonough as Captain Severance, Robert Patrick as Col. Chandler Johnson who leads the battle, Ned Eisenberg as the photographer Joseph Rosenthal who would take the iconic picture, George Grizzard as the old Doc Bradley, John Slattery as the slimy and greedy war bonds publicist Bud Gerber, Chris Bauer as a war bonds commandant, and John Benjamin Hickey as the Marines publicist Sgt. Keyes who understands the grief and torment that Hayes is going through. Other noteworthy small roles include Benjamin Walker as the humorous Harlon Block, Joseph Cross as the naïve Franklin Sousley, and Paul Walker as the tough and outgoing Hank Hansen as the other three who raised the flag. Barry Pepper is terrific as Sgt. Mike Strank whom Ira idolized as he was considered to be the older brother of the platoon.
Jamie Bell is excellent as Iggy Ignatowski who was Doc Bradley’s fellow medical officer who deals with the chaos of war. Thomas McCarthy is superb as Doc’s son James who would piece the stories that his father had been avoiding to tell him as he goes on his own journey to find out about his dad. Jesse Bradford is brilliant as Rene Gagnon as this young Marine who sees the war bonds tour as a chance to get some big money as Bradford has the look and humility to play a man caught up in the world of celebrity. Adam Beach is fantastic as Ira Hayes as a Native American Marine who is ravaged and grief-stricken by war as he descends into alcoholism to cope with his newfound attention. Finally, there’s Ryan Phillippe as Doc Bradley as this Navy medic who saw the war and all of its horrors while trying to maintain a sense of composure as he deals with the war bonds tour as it’s a very astonishing performance as Phillippe brings a great restraint to his role.
Flags of Our Fathers is a remarkable film from Clint Eastwood. Armed with a great cast, a powerful story, and amazing technical work. It’s definitely a war film that plays into the idea of heroism as well as the horrors of war in its aftermath. It’s also a film that pays tribute to the men who fought in World War II in Iwo Jima as it is a fitting companion piece to Eastwood’s other Iwo Jima film in Letters from Iwo Jima. In the end, Flags of Our Fathers is a phenomenal film from Clint Eastwood.
Clint Eastwood Films: (Play Misty for Me) - High Plains Drifter - (Breezy) - (The Eiger Sanction) - (The Outlaw Josey Wales) - (The Gauntlet) - (Bronco Billy) - (Firefox) - (Honkytonk Man) - Sudden Impact - Pale Rider - (Heartbreak Ridge) - (Bird) - (White Hunter Black Heart) - (The Rookie) - Unforgiven - (A Perfect World) - (The Bridges of Madison County) - (Absolute Power) - (Midnight in the Garden of Good and Evil) - (True Crime) - (Space Cowboys) - (Blood Work) - (Mystic River) - Million Dollar Baby - Letters from Iwo Jima - Changeling - (Gran Torino) - (Invictus) - (Hereafter) - (J. Edgar) - (Jersey Boys) - American Sniper - (Sully) - (The 15:17 to Paris) - (The Mule)
© thevoid99 2014
