Women's Tales IV

 

The Wedding Singer’s Daughter (Haifaa Al-Mansour) is set in 1980s Saudi Arabia as a wedding singer is performing at a wedding until her microphone goes dead prompting her daughter to find out what is going on. Especially as the bride and groom are set to enter the room as the young girl finds out what had happened to save her mother from embarrassment. It is a short that is definitely filled with a lot of charm as well as a sense of innocence as it has a sense of style told by Haifaa Al-Mansour that also has women wearing beautiful clothing in that world of the Middle East.



Shako Mako (Hailey Gates) revolves around a young actress who is working on a movie where she plays a young woman in Arab country whose town is destroyed by a bomb as she ponders the kind of roles she is playing. Even as she is also involved with the casting and such while is eager to break out from the roles she constantly plays as she even does an audition while on location. It is a film with an uneven narrative but it is still an excellent one thanks to a great leading performance from Alia Shawkat.



Brigitte (Lynne Ramsay) is a documentary short film about the photographer Brigitte Lacombe as she is filmed in black-and-white by Lynne Ramsay who captures Lacombe at work. The 30-minute short is among one of the longer shorts in the anthology series as it explore Lacombe’s methods in her photography as well as Ramsay being photographed. Adding to the brilliance of the film is the layered sound design that is a common element of Ramsay’s short films with a lot of these models wearing the Miu Miu clothes as it is one of the top tier shorts of the series.



Nightwalk (Malgorzata Szumowska) is about two different young people in Raffey Cassidy and Filip Rutkowski who play these young people stuck in their respective genders through the clothes they wear. The former is wearing a designer gown while the other is wearing a track suit as they walk out of their homes into the night stripping away the identity they’re forced to be as they become who they want to really be. It is largely a silent film of sorts with music being the dominant soundtrack yet the short does manage to have a great climax as these two young people would meet and embrace who they really are.



In My Room (Mati Diop) has director Mati Diop in her home apartment near Paris during the COVID-19 pandemic as she deals with her ailing grandmother who is living far from Paris as well as being unable to make something outside of her apartment. It is a phenomenal short that has Diop wear Miu Miu dresses and such to deal with her isolation while lip-syncing to opera music as a way to cope with her grandmother’s impending passing and being alone. Diop would serve as the film’s cinematographer where she would also shoot at the world around her including inside where she does mundane things while writing to Miu Miu about her situation as it is definitely one of the best shorts of the series.



Related: Part I - Part II - Part III - Part V

© thevoid99 2023

The Final Girls

 

Directed by Todd Strauss-Schulson and written by M.A. Fortin and Joshua John Miller, The Final Girls is the story of a young woman who is transported back in time to 1986 where she meets her late mother at a film set for a slasher film where they deal with a serial killer. The film is a comedy-horror film that sort of spoofs the slasher films while it also play into the clichés that are often expected as a young woman teams with her mother to break those rules. Starring Taissa Farmiga, Malin Akerman, Adam DeVine, Thomas Middleditch, Alia Shawkat, Alexander Ludwig, and Nina Dobrev. The Final Girls is a witty and inventive film from Todd Strauss-Schulson.

Three years after the death of her mother who was a film star of a famous slasher film in the 1980s, a young woman attends a screening of that film with her friends as a fire breaks out and they find themselves in the movie as they deal with the killer in the film but also other things as they become characters in that film. It is a film that is a spoof of sorts of slasher films where a group of people find themselves in a slasher movie with all of its bad dialogue, stereotypical characters, and everything that is expected as they find themselves being part of the film. The film’s screenplay by M.A. Fortin and Joshua John Miller is straightforward as it play into these five college students who attend a revival screening that goes wrong and then become part of the movie they’re supposed to watch. One of the students in Max Cartwright (Taissa Farmiga) is still dealing with the death of her mother Amanda (Malin Akerman) three years earlier in a car accident that Max had survived as she is reluctant to attend the screening of the film Camp Bloodbath as it was a film that Amanda was famous for but never did anything noteworthy afterwards.

Upon entering the film, Max and her friends including her best friend Gertie (Alia Shawkat), Gertie’s stepbrother Duncan (Thomas Middleditch) who is a horror fanatic, Chris (Alexander Ludwig), and Chris’ bitchy ex-girlfriend Vicki (Nina Dobrev), whom Max had been estranged from, all witness the events of the film as Duncan comments on what is happening as the character Amanda played in Nancy was someone who doesn’t survive in the film as the final girl is Paula (Chloe Bridges). Yet, things don’t go by the narrative due to the presence of Max and her friends as they all have to deal with the machete-wielding killer Billy Hopkins (Daniel Norris) as the script also feature exposition about why Hopkins kills people via flashback.

Todd Strauss-Schulson’s direction does have some style as it play into the style of 80s slasher films though it also maintains a straightforward visual style as it is shot on location in locations in and around Baton Rouge, Louisiana. The film starts off with a young Max waiting for her mother returning from an audition as they deal with mounting bills leading to the accident that would kill Amanda as that scene and several others are presented in a straightforward manner in its compositions including some wide and medium shots as well as close-ups. The scene where the movie theater gets burned leaving Max and her friends to escape into the film screen is an inventive moment where Strauss-Schulson shows what happens and then the film changes. The moment where Max and her friends become part of Camp Bloodbath starts off as funny with its clichéd characters and setting as they then become part of the film. Even as they find themselves waiting for the van arrive and then it would arrive again 92 minutes later as it sets up the tone of the film.

Strauss-Schulson also maintains a certain visual style for the scenes of Camp Bloodbath and how Max and her friends would interact with those characters as it does play into these slasher film clichés with the flashback sequence presented in black-and-white. The approach to humor is offbeat as it play up the clichés including a scene where the hot counselor in Tina (Angela Trimbur) discovers Vicki’s pills and things go hilariously wrong. The film’s climax is typical of slasher films but there’s also these moments that do subvert expectation as it relates to Max and her connection with Nancy who becomes aware of the stereotype she plays. Yet, Strauss-Schulson also play up the idea of the final girl and adds something different to raise the stakes for everyone in the film within a film. Overall, Strauss-Schulson crafts a witty and exhilarating film about a young woman and her friends entering themselves into a 80s slasher movie starring that young woman’s mother.

Cinematographer Elie Smolkin does brilliant work with the film’s cinematography as it is more low-key and naturalistic for the scenes in Max’s world while the colors are more vibrant in the interior/exterior scenes in the day for Camp Bloodbath along with some stylish lighting for scenes at night. Editor Debbie Berman does excellent work with the editing as it has some style that play into rhythmic cuts for the suspenseful moments in the film as well as some stylized slow-motion as it adds humor to the film. Production designer Katie Byron, with set decorator Rachael Ferrera and art director Alexi Gomez, does amazing work with the look of the camp as well as some of the way the rooms are as it play into the 1980s aesthetics. Costume designer Lynette Meyer does fantastic work with the costumes that also play up to the look of the 1980s for the camp counselors as it isn’t afraid to look and be cheesy.

Special effects makeup artist Elvis Jones does terrific work with some of the design of the gore as well as it doesn’t just play to the conventions of horror but also for laughs. Visual effects supervisors David Lebensfeld, Grant Miller, and Matthew Poliquin do wonderful work with the visual effects whether it’s in some backdrops for scenes in a car or to create something that feels cheesy to play up the humor. Sound designer Lewis Goldstein does superb work with the sound in creating some unique sound effects that play to conventions of slasher films along with elements in how music sounds from a stereo and other sparse moments. The film’s music by Gregory James Jenkins is incredible for its 80s-inspired score with elements of eerie orchestral pieces and synthesizer-based music as the latter is something typical of 80s slasher films where there are these fun elements while music supervisor Susan Jacobs creates a fun soundtrack that features pieces from Warrant, Bananarama, Wang Chung, the Chordettes, the Cold Crush Brothers, Bleachers, Toni Basil, and Kim Carnes.

The casting by Kerry Barden and Paul Schnee is marvelous as it feature some notable small roles from Lauren Gros as the hippie chick Mimi, Reginald Robinson as a hunky hiker Mimi hopes to have sex with, Eric Carney as the young Billy from the flashback, Tory N. Thompson as a camp counselor that Gertie flirts with, Chloe Bridges as the cool virgin in Paula who is the final girl in Camp Bloodbath, and Daniel Norris as the killer in Camp Bloodbath in Billy Murphy who wears a mask and wields a machete. Angela Trimbur is fantastic as the slutty camp counselor Tina who always wear skimpy clothing and becomes even more animated due to Vicki’s pills while Adam DeVine is superb as the douche-bag Kurt who claims to have a big dick and thinks he’s all that to the point that he annoys Chris for being a misogynistic douchebag.

Thomas Middleditch is excellent as the horror film fanatic Duncan who revels in being in the film as he comments on everything around him as he ends up annoying everyone. Alia Shawkat and Nina Dobrev are brilliant in their respective roles as Gertie and Vicki with the former being Duncan’s stepsister and a friend of Max as she is aware of what is going on while trying to be the sensible one of the group while the latter is a bitchy student who is possessive towards Chris as it adds to her estrangement from Max where Dobrev is also someone who is eager to get things done. Alexander Ludwig is amazing as Chris as a longtime friend of Max who also has feelings for her as he tries to help her while also doing what he can to ensure that he and his friends survive.

Taissa Farmiga is great as Max Cartwright as a young student still dealing with the death of her mother as she finds herself in her mother’s film as she copes with the presence of her mother’s character as well as the desire for both of them to survive which includes dealing with Billy Murphy. Finally, there’s Malin Akerman in an incredible performance as Amanda Cartwright/Nancy with the former being an actress struggling to find work despite her infamy for the film she’s famous for while being this upbeat counselor that is hoping to get laid and fit in only to learn that she doesn’t make it in the film where Akerman displays that sense of uncertainty but also a woman who realizes the choices she has to make.

The Final Girls is a remarkable film from Todd Strauss-Schulson that features great performances from Malin Akerman and Taissa Farmiga. Along with its ensemble cast, fun music soundtrack, and playing up the many clichés of slasher films with biting humor and offbeat suspense. It’s a film that isn’t afraid to be funny in making fun of slasher films but also with its heart as it has a group of people being part of a slasher film as they figure out how to survive but also change the rules. In the end, The Final Girls is a marvelous film from Todd Strauss-Schulson.

© thevoid99 2021

First Cow

 

Based on the novel The Half Life by Jonathan Raymond, First Cow is the story of a loner who befriends a Chinese immigrant as they hope to strike it rich in the Oregon territory as they borrow milk from a cow that belongs to a rich landowner. Directed and edited by Kelly Reichardt and screenplay by Reichardt and Raymond as it explores two different men who try to create a new life in the 19th Century in the Oregon territory as they also try to do something for themselves. Starring John Magaro, Orion Lee, Toby Jones, Ewen Bremner, Scott Shepherd, Gary Farmer, Lily Gladstone, Alia Shawkat, and Rene Auberjonois. First Cow is a rapturous and evocative film from Kelly Reichardt.

Set in 1820 in the Oregon territory, the film revolves around a baker who meets a Chinese immigrant as they become friends as they hope to become rich upon encountering a cow that belongs to a rich landowner from Britain. It is a film with a simple premise as it plays into two men trying to create better lives in a land that was in the early stages of being explored while a rich landowner arrives with a cow that he wants to have as he awaits for another cow to create a cattle farm. The film’s screenplay by Jonathan Raymond and Kelly Reichardt does follow a straightforward narrative though it opens with a small scene set nearly 200 years later where a young woman (Alia Shawkat) is walking her dog as she finds a shallow grave as it leads to the story of these two men in the cook/baker Otis “Cookie” Figowitz (John Magaro) and King-Lu (Orion Lee) who befriend each other as they’re both outsiders in this expedition through the Oregon territory. The latter was hiding from the Russians after he killed one of them while the former is treated poorly by fur trappers as the two choose to work together and then meet this cow whom they would milk at night and make food to sell.

Reichardt’s direction is definitely ravishing in the simple compositions that she creates as she shoots the film on location in Oregon while presenting it in a 4:3 full-screen ratio format as it gives the film an intimate look. While there are some wide shots that Reichardt creates to get a look into the locations including the film’s opening sequence with the young woman walking her dog. Much of the film has Reichardt emphasizing on close-ups and medium shot to play into the intimacy while creating shots that do last long to get a sense of the location and what the characters are dealing with in their environment or in a certain situation. It adds to the dramatic suspense in some of the situations that include scenes of Cookie milking the cow while King-Lu is on a tree being a watchdog trying to see if anyone is going to show up. There is this suspense that emerges yet there is also peaceful in the way Cookie talks to this cow.

Also serving as the film’s editor where Reichardt aims for something straightforward in the editing, it adds to the way the film is paced where it is slow but only because time was slower then as it relates to how Cookie creates biscuit or how one walks to town from a house. It also play into this growing discomfort later in the film when the Chief Factor (Toby Jones) takes notice of Cookie and King-Lu’s small business as it leads to this meeting where the two are invited to his home as there is this tension emerging. Notably as it play into what Cookie and King-Lu are figuring out what to do next as they have these small ambitions to make a better life for themselves but there is that danger of being caught. Especially in what leads to that first scene of the woman with her dog finding this shallow grave as its ending is more about these two men contemplating their next move but also lost dreams they have for a new world for themselves. Overall, Reichardt crafts a mesmerizing and engaging film about a loner cook and a Chinese immigrant trying to start a new life with the help of a rich man’s cow in the early days of the Oregon territory.

Cinematographer Christopher Blauvelt does incredible work with the film’s cinematography with its emphasis on natural lighting and low-key colors to help maintain a realistic look and tone for the film as well as providing vibrant yet dark colors for some of the daytime exterior scenes. Production designer Anthony Gasparro, with set decorator Vanessa Knoll and art director Lisa Ward, does amazing work with the look of King-Lu’s shack as well as a local pub and the home of the Chief Factor. Costume designer April Napier does fantastic work with the costumes as it play into the period of the time with animal fur for some of the hunters as well as a refined suit that the Chief Factor wears.

Visual effects supervisor Chris Connolly does terrific work with some of the film’s minimal effects as it is mainly set-dressing for a few bits of the film. Sound designer Leslie Shatz does brilliant work with the sound in capturing the atmosphere of the locations as well as maintaining a sparse tone for some of the quieter moments of the film. The film’s music by William Tyler is excellent for its low-key folk based score with its usage of string music including guitars and violins to maintain the film’s somber tone.

The casting by Gayle Keller is superb as it feature some notable small roles from indie musician Stephen Malkamus as a fiddler, Dylan Smith as a fur hunter who berates Cookie early in the film, Gary Farmer as a native guest of the Chief Factor in Totillicum, Lily Gladstone as the Chief Factor’s native wife, Scott Shepherd as a military captain working with the Chief Factor, Ewen Bremner as one of the Chief Factor’s security officers in Lloyd, Alia Shawkat as a woman with a dog who finds the shallow grave in the film’s lone 21st Century scene, and Rene Auberjonois in one of his final film performances as a trader with a raven as he takes a liking to what Cookie and King-Lu have created.

Toby Jones is excellent as the Chief Factor as a British landowner who brings a cow to the Oregon territory as he hopes to make money on the land as he is amazed by what Cookie and King-Lu have created unaware of the source of its creation. Finally, there’s the duo of John Magaro and Orion Lee in great performances in their respective roles as Otis “Cookie” Figowitz and King-Lu as two different men who are outsiders that choose to do things their way to make a new life for themselves with Magaro as a cook who knows what to though he’s a loner while Lee maintains a calm approach to King-Lu as a man that knows how to sell things but also with ideas as Magaro and Lee have an amazing rapport together in just being two men who become friends all because they didn’t want to play by anyone’s rules.

First Cow is a phenomenal film from Kelly Reichardt featuring incredible leading performances from John Magaro and Orion Lee. Along with its understated look and tone, a simple yet engaging story, rich sound design, and a somber music score by William Tyler. The film isn’t just this fascinating story of friendship and small ambition but also a story of two men trying to do things their way during a time where everyone had a role to play on a land that is being discovered. In the end, First Cow is a sensational film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Night Moves (2013 film) - Certain Women - Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2021

Night Moves (2013 film)

 

Directed and edited by Kelly Reichardt and written by Reichardt and Jonathan Raymond, Night Moves is the story of two radical environmentalists and a former marine who plan to blow up a dam as they deal with their planning as well as what would happen afterwards. The film is an exploration of political and social actions involving three people who believe in something as they later question what they’re doing as well as its aftermath. Starring Jesse Eisenberg, Dakota Fanning, Alia Shawkat, Katherine Waterston, Logan Miller, Kai Lennox, James LeGros, and Peter Saarsgard. Night Moves is a haunting and evocative film from Kelly Reichardt.

The film plays into two young environmentalists who are both radicalized by the movement as they turn to a former marine in creating a bomb to blow up a dam near a river in Oregon. Yet, it is the aftermath of the event that would trouble them as it play into the fallacies of not just the radicalism but also revelations about what happened. The film’s screenplay by Kelly Reichardt and Jonathan Raymond essentially has a two-act structure where the first half is about the planning and the event that lead to blowing up this dam while its second half is about the troubling aftermath. Yet, the script does explore these two young people who feel like the world is in trouble and believe that this act in blowing up a dam will be good for the environmental cause as they turn this former marine who also has a record as he knows what to do. While the character of Harmon (Peter Sarsgaard) doesn’t entirely agree with their views, he does believe that both Josh (Jesse Eisenberg) and Dena (Dakota Fanning) have a point about the ways of the world which is why he helps them.

It’s the film’s second half that really play into this aftermath where something did go wrong as it relates to what happened and the fact that someone was at the dam when it blew up. Harmon tells both Josh and Dena that they should keep their mouths shut and not contact each other or say anything. Yet, things do go wrong with Dena becoming uneasy and Josh convinced Dena is going to say something. It adds to this struggle as well as the fact that Josh’s own livelihood is at risk since he works and live at a farm while Dena works at a spa. The narrative focuses more on Josh’s paranoia and Dena’s growing guilt as it relates to the second half of the film.

Reichardt’s direction is entrancing for much of the imagery that she creates as well as this air of realism that occurs into the world of radicalism. Shot on location at southern Oregon with the actual dam in the Galesville Reservoir at the Klamath Mountains, the film does play into a world that is bit disconnected from the world of the cities where Josh works in this farm that is bit of a community of its own with Dena working at a spa yet is someone that supposedly comes from a rich family. Much of Reichardt’s compositions are straightforward as it play into the planning of the first half of the film with its usage of medium shots and close-up to play into the characters interacting or dealing with some kind of crisis. There are some wide shots to establish some of the locations yet Reichardt prefers to focus on the characters as she play into the preparedness of their plan and how they try to isolate themselves and not look suspicious. The scene of planting the bomb is also tense in the three trying not to be seen as there’s a wide shot of a car stopping near the dam.

Also serving as the film’s editor, Reichardt doesn’t aim for style but does maintain a slow rhythm to play up the suspense without making it noticeable in order to get a reaction from a characters. Notably in its second half where it’s all about the drama and the aftermath of this bombing where something bad did happen as much of the film focuses on Josh who also believes that some of his fellow farmers might know what he has done. Reichardt’s compositions add to the sense of paranoia but also chooses to create scenes where audiences can get an idea of what is happening but not show anything. Notably in its climax that is followed by an aftermath that plays into uncertainty for a key character in the film but also a decision that forces that person to start a new life or continue to move without any direction. Overall, Reichardt crafts a mesmerizing and eerie film about two radical environmentalists and a former marine bombing a dam and then deal with its troubling aftermath.

Cinematographer Christopher Blauvelt does brilliant work with the film’s cinematography with its emphasis on low-key yet natural lighting, usage of available light for the scenes at night, and other lighting schemes to maintain air of realism into the look of the film. Production designer Elliott Hostetter, with set decorator Virginia Yount and art director Almitra Corey, does excellent work with the look of the boat that Dena and Josh bought as well as the house Josh lives in and the spa that Dena works at. Costume designer Vicki Farrell is terrific for the casual look of the characters that include winter hats, flannel, and jeans to play into the world they live in.

Sound editor Julia Shirar and sound designer Kent Sparling do amazing work with the sound as it help play into the atmosphere of the locations as well as how the characters sound from afar as well as some of the sparse aspects of the sound on a certain location. The film’s music by Jeff Grace is wonderful for its mixture of ambient, folk, and country that play into its suspense and its setting while music supervisors Lyle Hysen and Chris Swanson provide a soundtrack that features a mixture of folk, country, ambient, and indie rock from A Place to Bury Strangers, Coliseum, Sun Rai, and Bear in Heaven.

The casting by Mark Bennett and Laura Rosenthal is superb as it feature some notable small roles from James LeGros as a feed farm factory clerk, Kai Lennox as a hiking camper that annoys Harmon, Dena, and Josh, Katherine Waterston and Barry Del Sherman as the farm owners that Josh works for, Logan Miller as a young farmer who often says dumb things, and Alia Shawkat as a farmer named Surprise that Josh is friends with. The trio of Peter Sarsgaard, Dakota Fanning, and Jesse Eisenberg are incredible in their respective roles as Harmon, Dena, and Josh as they all maintain a low-key and reserved performances in their respective roles. Sarsgaard adds a weariness and gravitas to his role as a man that knows what to do but is also someone who is aware of the stakes. Fanning’s performance has this air of urgency as someone who is determined to do this mission but starts to unravel following the aftermath as she becomes consumed with guilt. Eisenberg’s performance is one of restraint as someone that is determined to do the deed but becomes paranoid following its aftermath as well as being unsure of what to do as he too is consumed with guilt.

Night Moves is a phenomenal film from Kelly Reichardt featuring great performances from Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. Along with its ensemble supporting cast, gorgeous visuals, and its restrained yet eerie tone, the film is a compelling look into a couple of young people who team with a former military officer in creating an act of radical terrorism only to deal with the troubling aftermath and the realities of their ideals. In the end, Night Moves is a sensational film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Certain Women - First Cow – Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2021

Green Room (2015 film)

Written and directed by Jeremy Saulnier, Green Room is the story of a hardcore punk band who find themselves playing a gig at a place that is the base for a group of neo-Nazi skinheads who go after them after the band had witnessed a murder. The film is an unconventional thriller where a group of people try to escape and fight against a hate group who want them dead. Starring Patrick Stewart, Anton Yelchin, Imogen Poots, Alia Shawkat, Callum Turner, and Joe Cole. Green Room is a gripping yet intense film from Jeremy Saulnier.

The film revolves around a hardcore punk band who take a gig at neo-Nazi club unaware of what it is only to witness a murder as all hell breaks loose forcing them to try and survive this group of neo-Nazi skinheads. It’s a film that takes a simple premise but with an air of intrigue and terror as much of the story is set in a room where a hardcore punk band, a young woman, and a bouncer they’ve held hostage is in the room along with a dead body while its owner and his band of hooligans try to break in. Jeremy Saulnier’s screenplay follows this hardcore punk band in the Ain’t Rights as they are traveling through the Pacific Northwest on tour as stopped to do a radio interview and a gig which was unfortunately cancelled because of screw-ups by promoters forcing a local radio host to call his cousin who works at a club outside Portland to get the band a gig.

Although the band realize the audience is a neo-Nazi group, they still play and find a way to piss them off unaware of what is happening behind the scenes at the green room where the headlining band is at. Slaunier’s script doesn’t just play into what happened but also what the club owner Darcy Banker (Patrick Stewart) is hiding as he’s a dangerous yet calm man that is trying to handle the situation without any real trouble. Still, he has a group of people that will take care of things if needed to as they have weapons and attack dogs with the people in the green room having little to fight back with.

Saulnier’s direction is definitely mesmerizing for the way he creates the air of tension and terror that looms throughout the film where much of its second and third act is set inside the green room. Shot on location in Portland, Oregon with additional locations in Astoria as well as scenes shot at the Mount Hood National Forest. Saulnier’s direction doesn’t go for a lot of wide shots except in getting a look at the locations yet much of his direction is intimate in its usage of close-ups and medium shots in playing to the atmosphere of the club as well as the tension that goes on inside the green room. Especially as it has this air of claustrophobia where you have the band, the friend of the dead young woman, and a bouncer who had a gun only to be overpowered by the band while outside of the green room is Darcy and his gang. Even as the band try to get out of the green room through other means of searching the room as well as discover something underneath the green room that is even more disturbing as it relates to the area the club is set in. The scenes outside the club where Darcy and his followers are trying to get things ready as well as make a discovery about one of their own add to the intrigue.

Saulnier’s direction also has this eerie element of violence in the way it’s presented as the dead body is seen with a knife on her head but no blood until the knife is pulled out. The violence would intensify during a standoff between Darcy and one of the band members in Pat (Anton Yelchin) who agreed to exchange a handgun for a cell phone only to realize that it was a set-up leaving Pat’s arm to be cut badly. Things would get more violent as the film progresses that would eventually lead to a showdown where it is about a battle of wits and will despite the lack of resources and experience the band and Amber (Imogen Poots) have in a fight or in a battle. Even as it’s all about the impact and sense of will but also the need to survive no matter how much the odds are against this small group of punks. Overall, Saulnier crafts a riveting yet haunting film about a hardcore punk rock band stuck inside a room at a venue for neo-Nazi skinhead punks.

Cinematographer Sean Porter does excellent work with the film’s cinematography as it’s low-key in its approach to lighting for many of the interiors in day and night as well as the exterior scenes set at night. Editor Julia Bloch does fantastic work with the editing as its usage of rhythmic cuts play into the suspense and terror without the need to delve into fast-paced cutting by emphasizing on momentum in the suspense. Production designer Ryan Warren Smith, with set decorator Jenelle Giordano and art director Benjamin Hayden, does brilliant work with the look of the club the band plays as well as the green room which is a room to relax until it becomes a safe haven for the band away from the Nazis. Costume designer Amanda Needham does nice work with the costumes from the ragged look of the band as well as the look of the Nazis with their boots and red laces for the group of extremists.

Prosthetic makeup designer Michael Marino does amazing work with the look of gore and some of the violent moments that happen in the film. Visual effects supervisor Chris Connolly does terrific work with some of the film’s minimal visual effects as it mainly serves as set dressing for some of the violence as well as a few moments in the exterior scenes. Sound designer Roland Vajs does superb work with the sound in capturing the sound of live music heard at the venue or at another room as well as the way feedback is used as a weapon in the film. The film’s music by Brooke and Will Blair is wonderful for its haunting usage of strings and keyboards to create an ominous music score that help play into the suspense and drama while music supervisor Lauren Mikus provides a killer soundtrack filled with a lot of punk rock music from acts like Bad Brains, Fear, Corpus Rottus, Kingsley Fowley, Spectre Folk, Poison Idea, Hochstedder, Patsy Rats, Midnight, Syphilitic Lust, Missionary Position, Obituary, and Harassor along with non-punk music from Napalm Death, Slayer, and Creedence Clearwater Revival.

The casting by Avy Kaufman is great as it feature some notable small roles from Taylor Tunes as the young woman who would be killed early in the film, David W. Thompson as a punk rock radio host who would get the band a new gig, Kai Lennox as skinhead attack dog trainer Clark, Eric Edelstein as the skinhead bouncer Big Justin, Brent Werzner as a neo-Nazi skinhead musician in Werm, Macon Blair as a skinhead who works at the club who is trying to smooth things out, and Mark Webber as the radio host’s cousin Daniel who is a skinhead that is unaware of what is going on at the green room. Callum Turner and Joe Cole are superb in their respective roles as the singer Tiger and drummer Reece as two musicians trying to deal with the Nazis with former discovering what is underneath the green room while the latter is trying keep Big Justin at bay with some mixed-martial arts moves.

Alia Shawkat is fantastic as guitarist Sam as a musician who is trying to maintain some calm but is also willing to fight back as is kind of the unsung leader of the band. Imogen Poots is excellent as Amber as a friend of the woman who is killed as she is trying to deal with what happened as well was wanting to revenge for her friend while knowing about the environment that everyone is at. Anton Yelchin is brilliant as the band bassist Pat as a young man who is trying to survive as he deals with being assaulted and the chaos around him as he also delivers this great monologue about an experience he had that becomes a rallying pep talk of sorts. Finally, there’s Patrick Stewart in an incredible performance as Darcy Banker as the leader of the neo-Nazis and club owner who is this calm yet dangerous individual that is trying to outsmart the band while knowing what needs to be done as it’s one of his finest performances of his career.

Green Room is a spectacular film from Jeremy Saulnier. Thanks to its ensemble cast, eerie setting, haunting visuals, intense music, and gripping atmosphere. It’s a film that takes a simple setting and situation while amplifying the sense of fear and tension while getting a look from the perspective of two different forces trying to outdo one another. In the end, Green Room is a tremendous film from Jeremy Saulnier.

Jeremy Saulnier Films: (Murder Party) – (Blue Ruin) – (Hold the Dark)

© thevoid99 2018

Three Kings

Written and directed by David O. Russell from a story by John Ridley, Three Kings is the story of four U.S. soldiers who plot a heist to steal gold from Saddam Hussein during the end of the 1991 Gulf War. The film is an unconventional war film in which four different men try to do something after the war in the hopes they can get home to better lives only to deal with all sorts of trouble that would also involve refugees in need of help. Starring George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze, Nora Dunn, Judy Greer, Jamie Kennedy, Mykelti Williamson, Cliff Curtis, and Said Taghmaoui. Three Kings is a gripping yet exhilarating film from David O. Russell.

Set during the final days of the 1991 Gulf War and its aftermath, the film follows four U.S. soldiers who find a map in which they believe has Kuwaiti gold bullions in a bunker that belonged to Saddam Hussein as they plot to steal it to ensure a better life for themselves. It’s a film where these four men go on a mission by themselves without any kind of authority as they find the village with the gold bullions but they would also discover the village would feature some anti-Saddam dissidents who are asking for help as they would and try to deal with pro-Saddam forces despite the fact that a ceasefire had already happened. David O. Russell’s screenplay that is based on John Ridley’s original story where it explores these soldiers dealing with the aftermath of a war where there wasn’t a lot of action and coming home with not much is something the protagonists in the film are dealing with.

Leading the pack is Major Archie Gates (George Clooney) whose job is to escort TV reporter Adriana Cruz (Nora Dunn) as he is more interested in getting paid than do his job. He is joined by Staff Sgt. Chief Elgin (Ice Cube), Sgt. First Class Troy Barlow (Mark Wahlberg), and Private First Class Conrad Vig (Spike Jonze) who all want to get the bullions as they would have a friend in Specialist Walter Wogeman (Jamie Kennedy) to drive Cruz and her cameraman to a false location. Though they would find the gold bullions, they hope not to do anything else but pleas from anti-Saddam dissidents where a woman is killed by Iraqi forces who want to hold these dissidents hostage force Gates and his men to take action. Yet, it would become a big problem when Barlow is taken by Iraqi soldiers after a scuffle forcing Gates, Elgin, and Vig to retrieve him but they would have to make a deal with the dissidents who would help them but be accompanied to the Iranian border in return.

Russell’s direction is definitely stylish for the way it captures life during the Gulf War as well as the sense of danger that was emerging during the period of ceasefire in the aftermath of the war. Shot on various locations in the deserts of Casa Grande, Arizona and parts of California and Mexico, Russell aims for something that is immediate in the way soldiers deal with boredom in their lack of action as the first scene has Barlow killing an Iraqi soldier not knowing he was trying to surrender. The shot would be repeated in a cartoonish fashion where Vig describes to other soldiers what Barlow did as it just adds this air of exaggeration that the soldiers crave for since they didn’t see much action in Iraq and Kuwait. Russell would use wide shots to capture the scope of the locations yet would focus more on using medium shots and close-ups to capture some of the action in the bunker or to get a reaction from a soldier dealing with some kind of violence whether its comic or dramatic. The former would play into the lives that Barlow, Vig, and Elgin have before the war as well as an encounter with a cow on the way to the bunker that add to the film’s dark humor.

Russell’s approach to the suspense and action is stylish as he would shoot it with some hand-held cameras as well as creating some offbeat compositions to play into some of the darker moments in the film. Most notably a torture scene with Barlow having to deal with the consequences of his service in the military where he is forced to visualize what happened if he was in the shoes of the man who is torturing him. There are also these somber and sentimental moments that Russell would create such as Vig’s fascination with Islamic burials which provides a major moment in his development from this redneck who constantly says idiotic things to being a man open towards a culture that is foreign to him. It would culminate with Gates and his men accompanying these refugees in the hope they can have a better future in Iran despite its history with Iraq while Gates is also aware of the trouble he’s caused with his superiors in interfering with things he’s not supposed to be involved in. Overall, Russell creates a riveting yet intense film about a group of soldiers whose planned heist forces them to help dissidents during the aftermath of the Gulf War.

Cinematographer Newton Thomas Sigel does amazing work with the film’s stylish cinematography with the usage of grainy film footage, desaturated film color stocks, and other stylish looks to play into the craziness of the action scenes as well as in the suspense and black humor. Editor Robert K. Lambert does brilliant work with the editing with its usage of jump-cuts, slow-motion cuts, and other stylish cuts to play into the chaos of war as well as some of the suspense and its dark humor. Production designer Catherine Hardwicke, with set decorator Gene Serdena plus art directors Jann K. Engel and Derek R. Hill, does excellent work with the look of the old castles, villages, and bunkers where some of the action occurred as well as the interiors of some of the rooms where Saddam’s soldiers are stationed at. Costume designer Kym Barrett does nice work with the costumes as it is mostly straightforward from the camouflage the soldiers wear to the ragged clothes of the dissidents.

Visual effects supervisor David Sosalla does terrific work with the visual effects for the look of body parts shown from the inside of how they would react to a bullet as well as some of the action scenes. Sound editors Bruce Fortune and John Leveque do fantastic work with the sound in capturing the chaos that goes on in battle as well as the eerie atmosphere of the desert. The film’s music by Carter Burwell is superb for its low-key score that play into the drama and suspense with its mixture of Arabian music textures and orchestral arrangements while music supervisor Ralph Sall provide an offbeat soundtrack that include music from Rare Earth, the Beach Boys, Public Enemy, Chicago, Eddie Murphy, Plastic Bertrand, Snap, Johann Sebastian Bach, and U2.

The casting by Anne McCarthy and Mary Vernieu is wonderful as it feature some notable small roles and appearances from Holt McCallany as Barlow’s superior officer Captain Doug Van Meter who despises Barlow and his antics, Liz Stauber as Troy’s wife, Marsha Horan as Amir’s wife, Judy Greer as a rival journalist trying to get the story while having a tryst with Gates, Alia Shawkat as Amir’s daughter, Said Taghmaoui as an Iraqi interrogator who tortures Barlow, and Mykelti Williamson as Gates’ superior Colonel Ron Horn who doesn’t like what Gates is doing as well as suspicious in what he’s doing. Jamie Kennedy is terrific as Specialist Walter Wogeman as a bumbling soldier who is asked to accompany Cruz on an assignment to distract her from what Gates is doing as he is the film’s comic relief.

Cliff Curtis is superb as Amir as an anti-Saddam dissident who is seen bound and gagged where he helps Gates in the hopes that he can get other dissidents including his daughter to the Iranian border. Nora Dunn is fantastic as Adriana Cruz as a news reporter trying to get a major story about the Gulf War where she finds herself in a different journey where she would also make some discoveries about what is happening during the ceasefire. Spike Jonze is excellent as Private First Class Conrad Vig as a redneck soldier who idolizes Barlow as he often says dumb things and gets way over his head while realizing the reality of his situations where finds a sense of salvation in Islamic culture and their approach to death which he finds to be extremely fascinating.

Mark Wahlberg is brilliant as Sgt. First Class Troy Barlow as a soldier that is eager to come home as he deals with the lack of real action he faced where he takes part in the heist only to be captured as he deals with realities of war. Ice Cube is amazing as Staff Sgt. Chief Elgin who is kind of the film’s conscience as a man who takes part in the heist knowing what he will gain as he also copes with the reality as it relates to the dissidents. Finally, there’s George Clooney in an incredible performance as Major Archie Gates as a special forces soldier who is about to retire from the service as he sees the heist for gold bullions as a way out of not showing much only to realize the severity of where he is prompting him to take action and help these dissidents out of Iraq.

Three Kings is a tremendous film from David O. Russell. Featuring a great ensemble cast, stylish visuals, an offbeat soundtrack, and a story that plays into the fallacy of war and the need to help those in danger during its aftermath. It’s a film that doesn’t play into the conventions of a war movie as it showcases what men will do to make up for their lack of encountering action only to see the reality of a world in turmoil in the aftermath of war. In the end, Three Kings is a spectacular film from David O. Russell.

David O. Russell Films: Spanking the Monkey – Flirting with Disaster – I Heart Huckabees – The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell

© thevoid99 2017

20th Century Women

Written and directed by Mike Mills, 20th Century Women is the story of a single mother with a teenage boy who seeks the help of a teenage neighbor, a young punk artist, and a bohemian handyman in raising her son during the late 1970s. Based on Mills’ own life, the film is an exploration of a young boy coming of age as he is introduced to new things while his mother is dealing with her own role in life. Starring Annette Bening, Elle Fanning, Greta Gerwig, Lucas Jade Zumann, and Billy Crudup. 20th Century Women is an evocative and enchanting film from Mike Mills.

Set in 1979 Santa Barbara, the film revolves around a middle-aged single mother who is having a hard time connecting with her son as she is filled with a very unconventional group of people who live or frequent at her home including a punk artist, a teenage neighbor, and a handyman. She turns to them for help while dealing with the growing changes in the modern world which she has a hard time understanding including the emergence of punk and the growing sense of turmoil in America. Mike Mills’ screenplay doesn’t just explore a mother and son dealing with growing pains but also the emergence of new cultures and new things around them with the former trying to make sense of everything while the latter is just trying to find himself. Even as both of them provide voiceover commentary and such to express not just what they’re dealing with but also what is ahead as Dorothea Fields (Annette Bening) would reveal her own fate through the narration.

Dorothea’s son Jamie (Lucas Jade Zumann) is only 15 years old as he has no idea what he wants to do nor who he is as his only real friend is his neighbor Julie (Elle Fanning) who is two years older than him as she would often sneak around to sleep in his bed just to talk and sleep. Living with Dorothea and Jamie is the punk artist Abbie (Greta Gerwig) who is recovering from cervical cancer as she spends her time doing art photography and make her money as a photographer as she and Julie would help Dorothea guide Jamie into manhood. The only other man living in Dorothea’s home is the handyman William (Billy Crudup) who doesn’t have much to offer to Jamie but manages to bond with Dorothea and Abbie as he helps them in their own issues. Mills’ script doesn’t just explore these unique individuals as they’re all going through some form of existentialism but also wonder what has put them in this certain moment in their lives.

Abbie with her health and views on feminism which she introduces Jamie to while Julie copes with being sexually-active and not wanting to have sex with Jamie because she wants to be his friend. For Dorothea, she is introduced to the L.A. punk culture that Jamie and Abbie is interested in as she’s introduced to by the latter with William as well as some of things in the modern world where it’s baffling at times but also exciting such as a moment where she and William compare/contrast to the music of Black Flag and Talking Heads to see this growing division in the world of punk. There are also moments in the dialogue that play into Jamie’s growth and interest in female sexuality as it would make Dorothea uneasy. Even as she would start to know things in Jamie’s life as she ponders if she’s made the right decision in having two different women guiding him into his manhood.

Mills’ direction definitely has a flair for style in the way it uses still photographs, film clips, and other things to play into not just the many images and events of the 20th Century but also what was looming into the 21st Century as it relates to the things then-U.S. president Jimmy Carter was saying in his crisis of confidence speech as it appears during a pivotal moment in its third act. Shot mainly in Santa Barbara, California with some locations shot in Los Angeles and New York City, the film plays into this sense of change that is looming in the year of 1979 just before the arrival of Ronald Reagan, the end of punk, and the uncertainty of the Cold War. While these images and ideas are certainly prevalent throughout the film, Mills focus on the life of these five unique people who are part of this very unconventional family. Mills’ usage of the wide shots aren’t just to establish the locations but also the growing disconnect that looms throughout the film between Dorothea and Jamie as well as the former’s own detachment from the modern world.

Mills’ direction also has these very intimate moments with the close-ups and medium shots as it play into Jamie’s relationship with Julie as well as the scene of Dorothea and William listening to Abbie’s punk records. Mills’ compositions are quite precise in the way he would put the actors in a frame while having a looseness in some of the scenes involving the punk shows. There are also these entrancing moments of scenes set on the road or Jamie on his skateboard as it play into everyone trying to find their own paths in life. Mills would also infuse elements that are quite surreal in the road scenes as well as these touching moments that showcase Dorothea’s own sense of nostalgia for the 1940s as well as her own sense of hope for Jamie when he becomes an adult. Overall, Mills crafts a touching yet majestic film about a middle-aged single mother trying to find some help to guide her teenage son into manhood.

Cinematographer Sean Porter does brilliant work with the film’s beautiful and colorful cinematography to capture the natural look of the daytime exterior scenes to the usage of low-key lights for some of the interior scenes at night. Editor Leslie Jones does excellent work with the editing with its usage of jump-cuts and montages that help play into the sense of time that the characters are dealing with. Production designer Christopher Jones, with set decorators Tracy Spadorica and Neil Wyzanowski, does fantastic work with the look of the house that Dorothea and Jamie live in as they’re trying to restore with William as well as their bedrooms that display their personalities. Costume designer Jennifer Johnson does nice work with the clothes as it is mostly casual to play into the look of the characters without deviating too much into certain styles that was so prominent in the late 1970s.

Visual effects supervisor Patrick Murphy does terrific work with a few of the film’s visual effects which is mainly for the driving scenes as it has this air of surrealism. Sound designer Frank Gaeta does superb work with the sound as it play into the way some of the music is presented as well as how certain sounds are captured naturally for some of the scenes at the house. The film’s music by Roger Neill is amazing as it is mainly this hypnotic ambient score that play into the sense of the unknown that the characters are embarking while music supervisor Howard Paar creates a mixture of music from the 40s such as big-band music from Louis Armstrong, Benny Goodman, Fred Astaire, & Rudy Vallee as well as some of the music of the late 1970s from Devo, the Germs, Siouxsie & the Banshees, the Clash, David Bowie, Black Flag, Talking Heads, the Raincoats, the Buzzcocks, and Suicide.

The casting by Laura Rosenthal and Mark Bennett is great as it feature some notable small roles from Finn Roberts as a classmate of Jamie who despises Talking Heads, Allison Elliott as Julie’s mother, Thea Gill as Abby’s mother in a flashback, Waleed Zuaiter as a co-worker of Dorothea in Charlie, Darrell Britt-Gibson as the punk club bouncer Julian, and Alia Shawkat as a young woman Jamie meets at the punk club named Trish. Billy Crudup is brilliant as William as a bohemian handyman that is very good in making pots and fixing things as he talks frequently with Abbie and Dorothea about his failings with women while being a good listener for the two. Elle Fanning is amazing as Julie as a 17-year old high school student who is Jamie’s best friend as she copes with her growing pains and dealing with having sex as she doesn’t want sex to ruin her friendship with Jamie.

Greta Gerwig is excellent as Abbie as a punk photographer/artist who is trying to find herself as she also copes with the aftermath of her cervical cancer as well as introduce Jamie to ideas of feminism that causes some issues with Dorothea. Lucas Jade Zumann is fantastic as Jamie as a fifteen-year old kid dealing with growing pains and his own identity as well as try to understand his mother while exploring the world of punk rock and feminism in the hopes he can become a good man. Finally, there’s Annette Bening in an incredible performance as Dorothea Fields as a woman in her fifties that is dealing with a world that is ever-changing as she understands why she is disconnected from her son while wanting to explore the modern world as it’s a performance filled with humility but also some joy and realism as it’s one of Bening’s finest performances of her career.

20th Century Women is a phenomenal film from Mike Mills. Featuring a great ensemble cast, an incredible music score and soundtrack, gorgeous visuals, and a compelling story about family and growing up. It’s a film that explores life in the late 70s during a tumultuous yet exciting time where things are changing with an uncertainty all in the eyes of five different yet unique individuals. In the end, 20th Century Women is a spectacular film from Mike Mills.

Mike Mills Films: (Paperboys (2001 film)) - Thumbsucker - Beginners

© thevoid99 2017

Damsels in Distress

Written and directed by Whit Stillman, Damsels in Distress is the story of a transfer student who arrives at a university where she becomes part of a small group of women where they deal with the men in their lives. The film marks the return of Whit Stillman after a thirteen-year gap between films as he once again explores the world of young adults except in a new environment and with a new set of rules. Starring Greta Gerwig, Analeigh Tipton, Adam Brody, Hugo Becker, Megan Echikunwoke, Carrie MacLemore, and Ryan Metcalf. Damsels in Distress is a delightful comedy from Whit Stillman.

College life is a place where people go in the search to find themselves while finding ways to enjoy life. In this film, it revolves around three young women who take in a young transfer student as they deal with the pratfalls of love as well as trying to find ways to make life better no matter how bad things are. Leading the pack is Violet (Greta Gerwig) who is a sociable junior who runs a suicide prevention center with her two roommates Rose (Megan Echikunwoke) and Heather (Carrie MacLemore). The three women are known for their fashion sense and keen observation about the world of college life as they take in sophomore transfer student Lily (Analeigh Tipton) to be part of their group. Still, both Violet and Lily do get involved with some men in their lives as it makes things complicated where they each have two different ideas on how to deal with depression and disappointment where Violet doesn’t want to give in to the idea that she’s depressed.

Whit Stillman’s screenplay definitely recalls a lot of his past works where characters discuss about their roles in life and what is ahead yet things are different this time around as it’s all set in a university in the American east coast. Violet is definitely a unique individual who had been through some tough times in her life but always try to find someway to keep her spirits up. Yet, a new challenge involving someone she was with forces her to go into a tailspin until she finds something that she believes could help out get out of that tailspin. Lily is the outsider in the film as she is someone who has just transferred to a new school as she is in love with a European man in Xavier (Hugo Becker) while finding herself attracted to a man named Charlie (Adam Brody) whom Violet is suddenly attracted to.

This would eventually cause tension between Violet and Lily for much of the film’s second half where Lily is having a more active social life though she still wants to be friends with Violet. Violet however, wants to do things to help herself with the help of the sweet Heather and the more cynical Rose as she gets the idea to start a dance craze in the hopes to get people’s spirits up. Even as Violet uses the suicide prevention building as a way for people to dance so that they wouldn’t feel suicidal though some dispute Violet’s beliefs. Another interesting aspect about the film are the way men portrayed where there are those like Charlie who is a unique individual who is just trying to find himself. There are some men who are quite dim but they do offer something that gives them more to do while Xavier is this passionate European who is going through a crisis of identity and spirituality as he would later trouble Lily.

Stillman’s direction is definitely a bit different from his previous work as it’s much broader in some places while maintaining that air of intimacy that he’s been known for. Notably as Stillman goes farther away from the cities to something much more confined but still wild in the world of colleges. Notably as it involves some strange realm of social circles such as frat houses and dorms that are notorious for being very smelly. The world of Violet and her friends is quite different but also simple as they do live in dorms while being observers around their environment. While Stillman’s film is a light-hearted comedy with some low-key aspects of drama. There is something in the film that adds an element of escapism which is in the form of musicals.

With the help of choreographer Justin Cerne, Stillman uses dance as a way to help express Violet’s desire to make people feel better. Even as she attempts to start a new dance craze known as the Sambola which is this a mixture of all sorts of dances rolled into one. That element of the musical definitely gives the film a much more livelier feel as it expresses Violet’s desire to make the world much better. Even if it involves something as simple as the scent of a bar of soap that proves to be a wonderfully effective use of comedy. Overall, Stillman creates a truly splendid and fun film that explores a young woman’s desire to make college life better for the world with some help from her friends.

Cinematographer Doug Emmett does some fantastic work with the film‘s colorful cinematography from the sunny exteriors in the campus to some of the more straightforward look in some of the film‘s interior scenes. Editor Andrew Hafitz does nice work with the editing to create some stylish cuts for some of the more light-hearted moments along with some straight cuts in the dramatic portions of the film. Production designer Elizabeth J. Jones, along with set decorator Emmanuelle Hoessly and art director Brian Goodwin, does terrific work with the look of the campuses and places nearby to express a world that is thriving but also being troubled by a dorm that is known for being grungy and smelly.

Costume designer Ciera Wells is absolutely a highlight of the film from the colorful yet bright dresses Violet, Rose, and Heather wear to the more straight-laced look of Lily while they also delve into more stylish clothing as the clothes really add a nuance to the film‘s look. Sound editor Tom Paul does excellent work with the sound to capture the atmosphere of some of the party scenes as well as some of the intimate moments in the conversations. The film’s music by Mark Suozzo and Adam Schlesinger is brilliant for its playful use of piano-based music with a bit of jazz and rock into the mix to play out the world of college life along with some original music such as the Sambola song. Music supervisor Annie Pearlman creates a soundtrack that features a wide range of music from rock, 90s dance, and show tunes to establish Violet’s urge for escapism.

The casting by Kerry Barden, Anya Colloff, Amy McIntyre Britt, and Paul Schnee is incredible as it features appearances from two of Stillman’s old regulars in Carolyn Farina as a diner waitress and Taylor Nichols as a professor. Other small roles include Alia Shawkat as a student annoyed by Violet’s tap dancing, Aubrey Plaza as a depressed student who often attends the suicide center, Zach Woods as an elitist editor of the school’s paper, Meredith Hagner as Xavier’s old girlfriend Alice, Jermaine Crawford as a friend of the girls who helps them in the suicide center, and Caitlin Fitzgerald as a suicidal student the girls save only to unknowingly betray Violet. Ryan Metcalf and Billy Magnussen are very funny as two dim-witted frat boys who are friends of the girls with Metcalf as an old boyfriend of violet who feels bad for what he did while Magnussen is the more innocent of the two as he is admittedly ignorant but in a sweet way.

Hugo Becker is excellent as the European student Xavier who is confused over his own identity as well as his feelings for Lily. Adam Brody is terrific as Charlie as a well-dressed playboy who is still trying to figure himself out while gaining the attraction of both Violet and Lily. Carrie MacLemore is wonderful as the very sweet Heather who always tries to figure out what to do while she creates an idea that would later prove to be very helpful. Megan Echikunwoke is superb as the British student Rose who is sort of the cynic of the four while trying to figure out how to help everyone else with these issues. Analeigh Tipton is remarkable as Lily as a young transfer student trying to figure out Violet’s view on the world while dealing with her own dating life. Finally, there’s Greta Gerwig in a fabulous performance as Violet as a woman eager to make the world a better place while trying to confront her own issues with men and the world as it’s really a performance that is just so much fun to watch.

Damsels in Distress is a sensational film from Whit Stillman. Armed with a great cast led by Greta Gerwig, it’s a film that explores the world of college life and those trying to find themselves in that environment. It’s also a film that explores a young woman’s desire to create a world for herself that she feels is being bogged down while trying to deal with the pratfalls of love with the women in her life. In the end, Damsels in Distress is a marvelous film from Whit Stillman.

Whit Stillman Films: Metropolitan - Barcelona - The Last Days of Disco - Love & Friendship - The Auteurs #21: Whit Stillman

© thevoid99 2013

Cedar Rapids

Directed by Miguel Arteta and written by Phil Johnston, Cedar Rapids is the story of a naïve insurance salesman who becomes a last-minute replacement to attend a regional conference to win a prestigious prize. At the conference, he befriends a wild bunch of insurance agents where they reveal about the dark world of the insurance business. Starring Ed Helms, John C. Reilly, Anne Heche, Isaiah Whitlock Jr., Alia Shawkat, Kurtwood Smith, Stephen Root, and Sigourney Weaver. Cedar Rapids is a heartwarming yet very funny comedy from Miguel Arteta.

Tim Lippe (Ed Helms) is an insurance agent from a small town who holds an idealism about taking care of his customers and earning their trust. While he’s also having an affair with his former schoolteacher Macy Vanderhei (Sigourney Weaver), Tim lives a comfortable yet sheltered life. When a fellow agent named Roger Lemke (Thomas Lennon) had suddenly died, Tim’s boss Bill Krogstad needs Tim to go to Cedar Rapids, Iowa for a regional conference to make presentation for ASMI president Orrin Helgesson (Kurtwood Smith) in hopes for another award for the company. Tim goes to Cedar Rapids where he shares a room with the kind African-American agent Ronald Wilkes (Isaiah Whitlock Jr.) and the more brash Dean Ziegler (John C. Reilly) whom Krogstad wants Tim to stay away from.

Tim also meets Joan Ostrowski-Fox (Anne Heche) as he learns about the rough-and-tumble world of the insurance game. While getting to know Ronald, Dean, and Joan, Tim also befriends a young prostitute named Bree (Alia Shawkat) as he and Joan win a scavenger hunt as they would join Ronald and Dean for drinks and partying. Yet, the party gets a little out of control with Tim after sleeping with the already-married Joan as Tim finds himself trouble with Orrin as he is set to make a big presentation for the Four Diamonds award. Joan would reveal some dark secrets to Tim about Lemke and how he won the awards as Tim refuses to believe what Joan says.

With Dean giving him some advice, Tim would do something to win over Orrin where he realizes what he had done. After going to a rowdy party with Bree, Tim learns what Krogstad is going to do forcing Tim to make some big moves with the help from his new friends.

The film is a comedy about a small town insurance agent whose idealism is tested when he becomes a last-minute replacement for another agent at a very prestigious regional conference. There, he would explore some of the dark secrets of the insurance game along with some people who share his ideals despite their much looser personalities. The film is a coming-of-age story of sorts of a how a young man who learns about what to do in the insurance game though he is someone that just wants to do good for those in his small town and make sure they can trust him. Phil Johnston’s screenplay does play to a bit of formula but its big success is in fleshing out the characters as well as developing them. Notably the Tim Lippe character as it’s his story that is told with some bawdy humor but also some intriguing insight into the world of the insurance business.

Miguel Arteta’s direction is superb as a lot of the presentation is straightforward yet engaging. From the way he shoots a lot of the interiors of the hotel early on to the way he presents some of the film’s humorous moments. The latter of which is done with a lot of improvisation as well as getting the actors set for the frame. The way the actors are directed in their approach to the frame as well as giving them relaxed and lively performance is among one of Arteta’s strengths as a filmmaker. He’s not afraid to put them in uncomfortable situations or tense moments while finding some way to make sure the humor comes off naturally. Overall, Arteta creates a very solid and witty film about a man coming of age in the insurance business world.

Cinematographer Chuy Chavez does a nice job with the film‘s very colorful cinematography that is filled with stylish lighting set-ups for many of the film‘s interior settings while utilizing more naturalistic shots for the film‘s day and nighttime exterior settings where a lot of it is shot in Ann Arbor, Michigan. Editor Erick Kassick does a very good job with the editing by utilizing some rhythmic cuts for some of the film‘s humorous moments including a wonderful montage scene late in the film. Production designer Doug J. Meerdink, along with set decorator Jeanette Scott and art director Rob Simons, does a brilliant job with the look of the hotel suite interiors to complement the new world that Tim Lippe steps in.

Costume designer Hope Hanafin does terrific work with the costumes from the suits the men wear to the more stylish business suit that Joan wears. Sound editor Andrew DeCristofaro does a fine job with the sound work to play up a few key scenes such as a talent contest where Tim steals the show as well as the raucous party scene where Tim parties with Bree. The film’s score by Christophe Beck is excellent for its very playful and melodic-driven score led by jazzy piano riffs and soothing string arrangements to emphasize the film‘s light-hearted humor. Music supervisor Margaret Yen provides a very fun score that is a mixture of folk, indie rock, classic rock, and pop music to play up the world that Tim Lippe ventures into.

The casting by Joanna Colbert, Richard Mento, and Meredith Tucker is incredible for the ensemble that is created as it includes Thomas Lennon as Tim‘s fellow agent Roger Lemke, Mike O‘Malley as the smug top agent Mike Pyle, and Rob Coddroy as a mean guy Tim meets at a party. Alia Shawkat is terrific as young hooker Bree who befriends Tim as she calls him “Butterscotch”. Kurtwood Smith is excellent as ASMI president Orrin Helgesson who claims to be about everything the contest is about only for Tim to discover something devious about him. Stephen Root is superb as Tim’s greedy boss Bill Krogstad who becomes desperate to win the Two Diamonds award while finding some way to make sure Tim succeeds in his mission. Sigourney Weaver is wonderful as Tim’s older girlfriend Macy whom he adores and always go to her for advice as Weaver brings a great maternal instinct to the character while still being very sexy.

Isaiah Whitlock Jr. is great as the film’s straight-man Ronald Wilkes as he shows Tim the ropes about the conference while proving that he can loosen up and be threatening in his own way. Anne Heche is amazing as the very fun Joan Ostrowski-Fox who helps Tim deal with his new surroundings while revealing some secrets about the ASMI conference as it’s Heche giving out one of her best performances of her career. John C. Reilly is phenomenal as Dean Ziegler as Reilly brings a lot of energy to his character that might be a brash blow-hard but there’s also a lot of heart to his character who does care for clients and friends. Finally, there’s Ed Helms in a winning performance as the naïve Tim Lippe where Helms brings a wide-eyed innocence and enthusiasm to his character. Even as Helms gets a chance to be funny while proving to be a solid dramatic actor as it proves that there’s more to Helms than being the crazed partier in the Hangover movies.

Cedar Rapids is a fun and enjoyable comedy from Miguel Arteta. Featuring dynamic performances from Ed Helms, John C. Reilly, Anne Heche, and Isaiah Whitlock Jr., it’s a film that is very smart as well as providing enough amusing and compelling moments to keep its audience entertained. Notably as it’s comedy that doesn’t try to rely on cheap gags in order to create characters and situations audiences can relate to. In the end, Cedar Rapids is a fantastic film from Miguel Arteta.

Miguel Arteta Films: (Star Maps) - (Chuck & Buck) - (The Good Girl) - (Youth in Revolt) - Beatriz at Dinner

© thevoid99 2012

Whip It

In an age where young girls are given to look a certain way and act in a certain way. One of the most daring films to come out in 2009 came from one of American cinema’s most revered actresses in Drew Barrymore. Though known for her days as a child star with films like E.T.: The Extra-Terrestrial and Firestarter and later solidifying herself as one of the top-draw actresses of the late 90s and early 21st Century. Barrymore took a step further into her role outside of acting as made her own directorial debut with a film based on the world of roller-derby called Whip It.

Based on the novel Derby Girl by Shauna Cross, Whip It tells the story of a 17-year old girl from the fictional Bodeen, Texas as she wants to escape a world of beauty pageants that her mother wants to compete in. When she and a friend go to Austin and check out the world of roller-derby, she takes in finding the escape she needed. Directed by Drew Barrymore with Cross writing the screenplay, the film is a tale of a teenage girl finding her own voice while trying to deal with her strict, caring mother. Starring Ellen Page, Alia Shawkat, Daniel Stern, Kristen Wiig, Zoe Bell, Eve, Jimmy Fallon, Carlos Alban, Juliette Lewis, Ari Graynor, Andrew Wilson, Landon Piig, Drew Barrymore, and Marcia Gay Harden. Whip It is an extraordinary yet touching film from Drew Barrymore.

Bliss Cavendar (Ellen Page) is a 17-year old high school student from Bodeen, Texas who is unsure what to do with her life. With her mother Brooke (Marcia Gay Harden) trying to get her to win a local beauty pageant that she won many years ago. Bliss’ attempts at rebellion by dyeing her hair blue has only baffled her mother while her dad Earl (Daniel Stern) wonders what is up with Bliss. When Bliss isn’t at school, she works at a local restaurant with best friend Pash (Alia Shawkat) and their boss Birdman (Carlos Alban). Then one day on a trip to Austin with her mother and younger sister Shania (Eulala Scheel), Bliss finds a flyer for a roller-derby exhibition as she and Pash decide to go without telling their parents.

Bliss’ discovery of the world of roller-derby becomes life-changing as she saw a match between the two-time reigning champions the Holy Rollers led by Iron Maven (Juliette Lewis) against the rag-tag Hurl Scouts. Though the Hurl Scouts lost, Bliss was still impressed by their no-holds-barred attitude as the team consisted of Maggie Mayhem (Kristen Wiig), Rosa Sparks (Eve), Bloody Holly (Zoe Bell), and Smashley Simpson (Drew Barrymore). After Maggie suggests that Bliss should try out, Bliss does though she had to wear her old Barbie doll skates where she manages to impress the Hurl Scouts coach Razor (Andrew Wilson) as she along with the Manson sisters (Kristen Adolfi and Rachel Piplica) to join the team. While Bliss decides to hide her new role as a roller derby girl from her parents, only Pash and Birdman know with Pash helping along.

With Bliss playing her first game as Babe Ruthless, she manages to impress the fans along with her teammates even though they lost. Bliss and Pash goes to a party that included many in the scene. Among them was the game’s announcer “Hot Tub” Johnny Rocket (Jimmy Fallon) and a local musician named Oliver (Landon Piig) who Bliss falls for. While the party was fun, Bliss still had to deal with her mother’s desire for Bliss to succeed at an upcoming beauty pageant. Bliss found escape when Oliver visited as a relationship starts to blossom while realizing that the Hurl Scouts really wanted to win some games. Thanks to Bliss’ speed and Razor’s new plays, the Hurl Scouts start to become winners as things are going great. Even as Bliss becomes the league’s new poster girl. Then one night after a game, the league gets in trouble with the fire marshal as Bliss manages to leave with Oliver though Pash got arrested for carrying alcohol.

Though Bliss would have a romantic night with Oliver, she comes home where her parents found out what she’s been up to. Bliss leaves home as she tries to call Oliver while Iron Maven finds out that Bliss lied about her age to the league as she threatens to reveal the truth. With things starting to fall apart and the championship game is underway, Bliss tries to mend fences with her mother and Pash. Even as Earl discovers more about Bliss’ role in the roller-derby circuit as he goes to the Hurl Scouts for help about the upcoming game.

While the film is a mixture of a sports comedy as well as a light mother-daughter drama, it’s really about a young girl trying to find her place in the world while seeking the approval of her mother. Still, screenwriter Shauna Cross goes deep into the world of roller-derby and why it was able to attract someone as out of place as Bliss is. For Bliss, it’s not that she despises the world of beauty pageant entirely. She’s just trying to find some escape not just from well-meaning but demanding mother but also from the dull world that is Bodeen, Texas.

Another reason for Bliss to enter this rough-and-tumble world of roller derby is to find an outlet where she can be tough and deal with whatever people she has to deal with at home like a fellow pageant contestant/cheerleader or Iron Maven, the roller-derby queen. Though Maven isn’t a traditional antagonist, she is someone who feels a bit threatened by Bliss’ arrival while would be the one who discovers her true age. Bliss also discovers first love in a young rock musician named Oliver who would be the one to help get out of her shell but also put her in reckless situations that would nearly cost her friendship with Pash.

Cross’ screenplay is wonderful not just for its structure but also in character development. It’s not just Bliss that starts off as a nerdy outsider who turns into a badass, confident young woman. It’s also her mother Brooke who is this woman that has aspirations for her daughter to have a much better life than she had. Though she works as a mail carrier and likes to put Bliss into the world of beauty pageants, she always had the best intentions though not in the right way. Even though her husband Earl gets a bit smothered by Brooke, he is still able to be by her side when Bliss’ secret is revealed. Yet when she finds Bliss wallowing over Oliver, Brooke becomes the kind of woman that everyone expects in a mother and more as she also loosens up a bit.

Cross’ screenplay succeeds in not just fleshing out characters and create some funny and inspiring moments. It also gives Drew Barrymore a chance to create a film that brings Cross’ story to life. Barrymore’s direction is mostly straightforward with her presentation towards comedy and light-drama. Yet, she makes sure that the story the audience is telling is about not just Bliss but also the relationship with her mother and her friends. Barrymore always keeps the camera moving though still when it comes to conversation scenes with the Hurl Scouts. The scenes where the roller-derby is taking place definitely is one of the film’s highlights as she always has the camera following the action. Whether it’s from the viewpoint an audience member watching from the nose-bleed seats or inside the roller-derby stage.

Barrymore also allows the audience to relax and enjoy a few sequences and the scenery of where the film takes place. Notably Austin for some scenes as it was mostly shot in suburbs of Detroit. Still, Barrymore was able to give the idea that it could’ve been shot anywhere near Austin since it’s a lively place. While the film does play up to a few formulas expected in a coming-of-age film, Barrymore is able to play around with it while maintaining the heart of the story of a young girl finding her own identity. Overall, this is definitely a solid yet entertaining directorial debut for Drew Barrymore.

Helping Barrymore with her vision is famed Wes Anderson cinematographer Robert Yeomen. Yeomen’s photography is filled with an amazing array of colorful shots for many of the film’s exterior settings along with wonderful steadicam shots for the roller derby scenes. While it may not have the blaring looks that he did for Wes Anderson, Yeomen does create some inspiring work. Notably the pool scene where blue lights and dark shading around the pool is truly inspiring as Yeomen really captures something magical with that scene.

Editor Dylan Tichenor does a very good job with the film’s editing by maintaining a leisured pace for the film. Even as he create some great sequences which includes Bliss’ training montage set to the .38 Special song Caught Up In You. It’s definitely masterful in what is expected for a genre-bending coming-of-age comedy while it also plays up to the intensity of the roller-derby scenes.

Production designer Kevin Kavanaugh and set decorator Meg Everist do an amazing job with the look of the Roller Derby rink as well as the restaurant that Bliss works in which includes a large pig on top of the building. Costume designer Catherine Marie Thomas does excellent work with the costumes including the pageant dresses and the costumes that the roller derby girls wear. Sound editor Christopher Scarabosio does some fantastic work with the sound that includes the intense atmosphere of the roller derby with the crowd roaring along with the sounds of roller skates driving through the rink. It’s definitely something that is expected in a rousing yet fun film with that kind of sound.

The film’s score by the Section Quartet is mostly a low-key score with serene string quartet pieces to play up a bit of the film‘s light-drama. Helping with the film’s soundtrack is music supervisor Randall Poster as he creates a truly diverse soundtrack filled with all kinds of music. From old-school acts like the Ramones, Dolly Parton, .38 Special, and the Breeders to indie acts like MGMT, Jens Lekman, the Raveonettes, the Go Team!, Peaches, Har Mar Superstar, and many others. It’s definitely a killer soundtrack that has something for everyone.

The casting by Justine Baddeley and Kim Davis-Wagner is definitely a real highlight as there are numerous standouts in various small roles. Whether its Sarah Habel as the bitchy high school queen Corbi, Shannon Eagen as the friendly pageant contestant Amber, Doug Minckiewicz as Corbi’s boyfriend Colby, and indie music performer Har Mar Superstar as a rival coach. They all bring something memorable to their roles. Other notable small roles include Carlos Alban as Bliss and Pash’s restaurant manager Birdman, Eulala Scheel as Bliss’ younger sister Shania, Kristin Adolfi and Rachel Piplica as the Manson Sisters, Ari Graynor as roller derby queen Eva Destruction, and Jimmy Fallon as the very funny roller derby MC “Hot Tub” Johnny Rocket.

Andrew Wilson is very good as the Hurl Scouts coach Razor with his silly jean-shorts look and his ability to create excellent plays. Landon Piig is pretty good as Oliver, Bliss’ rocker love interest who helps Bliss explore more of herself though would play a part into her own individuality. Zoe Bell is wonderful as the tough Bloody Holly while Eve rocks as the no-nonsense Rosa Sparks. Drew Barrymore is hilarious as Smashley Simpson who acts like a ditz and often does silly things on and off the rink. Kristen Wiig is great as Maggie Mayhem, the straight person of the Hurl Scouts who gives Bliss some advice about what mothers go through in raising kids. Juliette Lewis is also great as Bliss’ roller-derby rival Iron Maven as a tough woman who feels threatened by Bliss’ arrival while wanting to be a funny sort of bully.

Daniel Stern is phenomenal as Earl, Bliss’ dad who has to deal with his neighbor and his football-playing sons while wanting to escape his wife’s strict world. Stern hasn’t had a big major role in years as it’s definitely a reminder of what a great actor he is as he also delivers some of the film’s funniest one-liners. Alia Shawkat is superb as Pash, Bliss’ best friend who helps her become a roller-derby player only to feel slighted when Bliss goes further into the world of roller-derby and Oliver. It’s definitely a fantastic supporting performance as Shawkat can be funny and also serious in a role that could’ve been clichéd.

Marcia Gay Harden is amazing as Brooke, Bliss’ strict though well-meaning mother. Harden exudes all of the motherly traits that her character needed as she is someone who wants the best things for Bliss that she never had as a child. Harden even gets a chance to be funny while allowing her character to break away from her strict shell as it’s definitely one of her best performances to date. Finally, there’s Ellen Page in what is certainly a remarkable performance. While she doesn’t spew quirky lines or act in a stylized manner that she did in her breakthrough role in 2007’s Juno. It’s definitely a much more interesting performance as she plays a more realistic girl trying to find her place in the world. Page brings some humor to the role along with some drama as she makes Bliss Cavendar into a real, lively character. Even as it allows Page to play sexy in a non-conventional manner. It’s definitely one of Page’s finest performances yet.

Whip It is an extraordinary, fun debut film from Drew Barrymore that features a radiant performance from Ellen Page. Armed with a great ensemble cast that includes Marcia Gay Harden, Daniel Stern, Juliette Lewis, and Alia Shawkat. It’s the kind of film that brings laughs, real situations, and lots of roller-derby action that audiences can cheer for. It’s also the kind of film that brings a lot of girl-power that is lacking in today’s world of overly-beautiful women that not many could relate to. In the end, Whip It is a phenomenal debut film from Drew Barrymore and company.

© thevoid99 2011