I, Tonya

Directed by Craig Gillespie and written by Steven Rogers, I, Tonya is the story of the figure skater Tonya Harding and the notoriety she gained when she had supposedly planned the attack on rival skater Nancy Kerrigan in 1994 before its Winter Olympics. The film is an unconventional bio-pic of sorts that explores Harding’s troubled life as well as her tumultuous relationship with her mother and husband as Margot Robbie plays Harding. Also starring Sebastian Stan, Julianne Nicholson, Caitlin Carver, Bobby Cannavale, and Allison Janney. I, Tonya is a witty and entertaining film from Craig Gillespie.

In 1994, the world of figure skating went upside down when figure skater Nancy Kerrigan had been attacked just a month before the Winter Olympics at Lillehammer, Norway was to happen. News then emerged that a rival skater in Tonya Harding was involved in the attack because of her ex-husband who conspired with a friend to hire two men to put a hit on her yet Harding would deny her involvement that unfortunately lead to the end of her figure skating career. The film is about Harding as it’s told in a documentary-style of sorts set nearly 20 years after the incident where Harding, her ex-husband Jeff Gillooly (Sebastian Stan), former coach Diane Rawlinson (Julianne Nicholson) and her mother LaVona Golden (Allison Janney) give their take on what happened and about Harding from her desire to be a figure skating champion to later becoming a woman of great notoriety.

Steven Rogers’ screenplay takes a back-and-forth narrative of various characters reflecting on the events in Harding’s life including Harding herself as well as moments that played into the many different versions of the truth. Notably in a moment where Harding and Gillooly have their marital problems where Harding tries to shoot Gillooly with a shotgun but Harding said “that didn’t happen” to the camera yet Gillooly disputes that. Yet, the story is all about Tonya as she was someone who had to endure the physical and verbal abuse of her mother as a child and later as a teen and an adult while having to create her costumes herself with the little money she makes as an adult. For all of her skills and being the first American skater to complete the triple axel that would give her a victory at Nationals in 1991. Many in the world of figure skating feel that she doesn’t have the look nor the typical background that she needs to be the poster girl for figure skating which is something she would battle during the course of the film. Even as she would have to endure the scrutiny she would receive in her supposed involvement over the Kerrigan attack.

Craig Gillespie’s direction does bear elements of style yet much of the compositions are straightforward in its mixture of documentary and dramatic recreation. Shot on various locations in and around Atlanta, GA as well as parts of Macon, GA as Portland and bits of Detroit, Gillespie captures a period in time before the era of 24-hours news and rampant media coverage that was to become prevalent during the 1990s. While there are some wide shots of the location including some of the skating scenes that are shown to get a scope of how big figure skating was in the early 1990s. Much of Gillespie’s direction rely on close-ups and medium shots to play into the dramatic events in Harding’s life with elements of dark humor as it relate to these moments where the fourth wall is broken. While much of the film is shot in a 2:39:1 aspect ratio, the documentary interviews are shot in the 1:33:1 full-frame aspect ratio as it play into the characters that include a TV producer in Martin Maddox (Bobby Cannavale) talking about the Kerrigan attack.

It all play into the events and versions of what had happened with Harding knowing that her story and her denials over what happened won’t be heard by anyone. There is some truth to what she would say as it adds to the notoriety that she’s unfortunately gained as it relates to what the public wants and what figure skating wants. At the end of the day, all Harding wanted to do was skate as there is an element of heartbreak as it relates to Harding’s fate but there is that comfort to the fact that amidst all of the abuse from her mother and her ex-husband and all of the bullshit that she had to endured. All she wanted was to be loved as there was that brief moment where America did love her. Overall, Gillespie creates a compelling yet exhilarating film about a figure skater and the notoriety she gained over the assault of rival competitor.

Cinematographer Nicolas Karakatsanis does excellent work with the film’s cinematography from the usage of low-key lighting for some of the scenes at night including the fantasy of Harding killing Kerrigan as well the usage of grainy film stock and video for some of the documentary footage. Editor Tatiana S. Riegel does brilliant work with the editing as it play into some of the film’s humor with its rhythmic cuts as well as some montage-style editing for some of the training sequences. Production designer Jade Healy, with set decorator Adam Willis and art director Andi Crumbley, does fantastic work with the look of the interiors of the homes Harding had lived in as well as the look of the skating rink where Harding learned her craft. Costume designer Jennifer Johnson does nice work with the costumes as it play into the period of the late 80s/early 90s as well as the dresses that figure skaters had to wear for competition.

Hair designer Adruitha Lee and prosthetic designer Vincent Van Dyke do terrific work with the look of the characters from the hairstyles Harding had as a teenager and as an adult as well as the look of LaVona. Special effects supervisors John S. Baker and Jeffrey D. Woodrel, with visual effects supervisor Jean-Marc Demmer, do amazing work with some of the visual effects in not just elements of set-dressing but also in the skating scenes for some of the big jumps that Harding makes. Sound editor Dave Paterson does superb work with the sound as it play into the atmosphere of the skating performances as well as some of the domestic chaos that Harding endures. The film’s music by Peter Nashel is wonderful for orchestral bombast as well as some somber pieces to play into the drama while music supervisors Susan Jacobs and Jen Moss create a killer soundtrack that features a lot of the music from the 70s, 80s, and 90s from acts/artists like Fleetwood Mac, ZZ Top, Supertramp, En Vogue, Heart, Siouxsie & the Banshees, Dire Straits, Cliff Richard, Christopher Stills, Violent Femmes, Chicago, Bad Company, Laura Branigan, Mark Batson, and Doris Day with the Paul Weston Orchestra.

The casting by Lindsay Graham and Mary Vernieu is great as it feature some notable small roles from Dan Triandiflou as Diane’s lawyer husband Bob Rawlinson, Bojana Novakovic as one of Harding’s coaches during her early 90s time, Ricky Russert as the dim-witted hitman Shane Stant who would hit Kerrigan, Anthony Reynolds as the driver for Stant in Derrick Smith, Caitlin Carver as Nancy Kerrigan, and McKenna Grace as the young Tonya who loves to skate but still deals with the abuse of her mother. Paul Walter Hauser is superb as Gillooly’s idiot friend Shawn Eckhardt who does speak in interviews dated in the late 90s as someone who claims to do all of this shit involving espionage and such yet is a total moron as he thinks he does all of these things but ends up making things much worse.

Julianne Nicholson is fantastic as Diane Rawlinson as Harding’s coach from childhood till the late 80s early in her professional career who is aware of Harding’s gift and passion for skating as she would return for the 1994 Olympics to make sure things go right for her. Bobby Cannavale is excellent as Martin Maddox as former TV producer for the 90s tabloid show Hard Copy who talks about the whole Kerrigan incident as well as display that sleaziness that was emerging in the media that he admits to being a part of. Sebastian Stan is brilliant as Jeff Gillooly as Harding’s husband whom she falls for while in her teens as someone that is fascinated by Harding but is also frustrated by her leading to him beating her up at times where Stan brings a complexity to someone who is a screw-up but also a well-meaning person who loves Tonya but also despises her.

Allison Janney is phenomenal as Tonya’s mother LaVona as a woman that is also quite complex despite the fact that she’s a very awful person and a terrible mother. Yet, Janney’s performance is filled with a lot of dark humor as she is seen in interviews wearing an IV while smoking a cigarette, drinking alcohol, and having a parrot on her shoulder as there’s something about her that is just filled with cynicism as a way to drive her daughter to greatness but it comes with a fault as it’s really Janney in one of her best roles to date. Finally, there’s Margot Robbie in a spectacular performance as Tonya Harding in the way she brings in this sense of childlike desire to be loved but also someone with a real chip on her shoulder. Robbie has this sense of energy in the way she deals with her life but also a humility into someone that knows she doesn’t have much to offer as her only real escape from reality is on the skating rink. With the help of choreographer Sarah Kawahara and skating doubles Heidi Munger and Anna Malkova for the wide shots in the skating scenes. Robbie would showcase that energy and determination of a woman just wanting to be the best only to be blindsided by what her husband did as there is a sadness that Robbie displays as someone who just wanted to skate but also this sense of contentment into a woman that at least knew she was the best for a while as it is a crowning achievement for Robbie.

I, Tonya is a sensational film from Craig Gillespie that features top-notch performances from Margot Robbie and Allison Janney. It’s a film that doesn’t play by the rules of the ideas of the bio-pic while displaying some ideas of what could be true and what could be false in this story that was part of something strange and surreal during that period of sensationalized media of the 1990s. It’s also a film that explores the life of a young woman who was part of that culture for all of the wrong reasons as it’s that part of notoriety that will be around her for all of her life. In the end, I, Tonya is a phenomenal film from Craig Gillespie.

Craig Gillespie Films: (Mr. Woodcock) – Lars and the Real Girl - (Fright Night (2011 film)) – (Million Dollar Arm) – (The Finest Hours) - I, Tonya

© thevoid99 2018

The Impostors

Written, directed and co-starring Stanley Tucci, The Impostors is the story of two struggling actors who accidentally stow away on a cruise to run from an egomaniacal actor while meeting with an array of offbeat passengers and crew members. The film is a farcical comedy where it involves many people who pretend to be someone else while dealing the need to act in order to save themselves. Also starring Oliver Platt, Alfred Molina, Lili Taylor, Campbell Scott, Hope Davis, Steve Buscemi, Michael Emerson, Billy Connolly, Dana Ivey, Allison Janney, Richard Jenkins, Tony Shalhoub, and Isabella Rosselini. The Impostors is a rip-roaring and exhilarating film from Stanley Tucci.

Set during the Great Depression in New York City, the film revolves around the misadventure of two struggling actors who receive tickets to a show starring an egomaniacal actor where they insult him at a bar only to go on the run and find themselves as stowaways on a cruise ship. It’s a film that play into two men who are trying to make it as actors but upon learning they’re on a cruise ship where they pretend to be stewards. Stanley Tucci’s screenplay is quite loose where it plays into these misadventures of Maurice (Oliver Platt) and Arthur (Stanley Tucci) to them trying to get food as they’re unemployed as well as what goes on in the ship as they encounter a series of offbeat passenger and crew members. Among them is a deposed queen (Isabella Rosselini), a heartbroken singer (Steve Buscemi), a once-rich-turned poor widow (Dana Ivey) with her grieving daughter (Hope Davis), a possibly gay tennis pro (Billy Connolly), and other oddball characters. Adding to the turmoil is the fact that the famed but arrogant actor Jeremy Burtom (Alfred Molina) is also on the ship.

Tucci’s direction is definitely stylish starting with an opening credits sequence where Maurice and Arthur cause trouble as a way to avoid paying for coffee and food as it’s presented like a silent movie. Then it becomes partially straightforward with elements of slapstick comedy where some of it is shot partially in New York City while much of it is shot on a soundstage for the scenes set on the cruise ship. While Tucci would create some amazing compositions with the wide and medium shots, much of it presented loosely where he allows his actors to just create performances that are exaggerated. While it does help to tell the story, there is an element where it feels self-indulgent at times but Tucci wants to create something where the actors are there to have fun and allow themselves to over-act at times. Overall, Tucci creates a silly yet extremely fun film about two actors who stowaway on a cruise and try to find a way to solve problems through the power of acting.

Cinematographer Ken Kelsch does excellent work with the film‘s cinematography from the colorful and sunny look of the daytime New York City exteriors to the look of the many interiors on the cruise ship as well as some of its exteriors. Editor Suzy Elmiger does brilliant work with the editing as its usage of jump-cuts and other rhythmic cuts play into its humor and lively tone. Production designer Andrew Jackness, with set decorator Catherine Davis and art director Chris Shriver does amazing work with the look of the cruise ship with its exteriors as well as some of the interiors of the rooms and ballroom in the ship. Costume designer Juliet Polcsa does fantastic work with the design of the clothes from the clothes of the men including the lavish look of Burtom and the dresses that the women wear.

Hair stylists Victor DeNicola and Carla White do nice work with the hairstyles the women wore in those times along with some of the wigs that some of the characters wear. Sound editor Robert Hein does terrific work with the sound in the way some of the sound effects are presented as well as the sparse moment in the play scene. The film’s music by Gary DeMichele is wonderful for its ragtime/jazz-based score that played into the period of the times while music supervisor Margot Core creates a soundtrack that play into that period including some old music in French as it relates to the destination of where the ship is going to.

The casting by Ellen Lewis is incredible for the ensemble that is created as it feature some notable small roles from David Lipman as a baker Arthur harasses and gives Maurice tickets to a show, Matt Malloy as a fellow actor that Maurice and Arthur knows who had been humiliated by Burtom, Lewis J. Stadlen as a band leader, Elizabeth Bracco as an entertainment director for the cruise, Allan Corduner as the ship’s captain, Michael Emerson as Burtom’s assistant, Teagle F. Bougere as a sheik who has a fondness for a certain French song, Matt McGrath as an Italian detective named Marco who is afraid to kill as he has feelings for one of the ship’s directors in Lily, and Woody Allen in an un-credited yet funny performance as a neurotic stage director Maurice and Arthur audition for. Richard Jenkins and Allison Janney are superb in their respective roles as the con artists Johnny and Maxine as Americans who pretend to be French as they both try to woo Mrs. Essendine and the sheik. Tony Shalhoub is stellar as the ship’s first mate Voltri as a man who runs the ship but also has some very dark motives of his own.

Dana Ivey is wonderful as the widowed Mrs. Essendine who is upset that her late husband didn’t leave her a cent while Hope Davis is terrific as her daughter Emily who grieves for her father and acts melancholy until she notices the heartbroken singer. Isabella Rossellini is fantastic as the veiled queen who laments over being deposed and not want to be seen as she is fun to watch while Campbell Scott is hilarious as the German cruise director Meistrich who has a thing for Lily where he is just a hoot. Billy Connolly is excellent as the tennis pro Sparks who definitely bear some homosexual tendencies as he is fond of Maurice while Steve Buscemi is amazing as the suicidal and heartbroken singer Happy Franks. 

Lili Taylor is brilliant as a cruise director in Lily who befriends Maurice and Arthur as she tries to help them hide as well as deal with Meistrich. Alfred Molina is phenomenal as the egomaniacal actor Jeremy Burtom as a man who is quite full of himself and isn’t aware that he’s just a hack. Finally, there’s the duo of Stanley Tucci and Oliver Platt in remarkable performances in their respective roles as Arthur and Maurice as two unemployed struggling actors trying to get work where an awkward moment with Burtom leads them to accidentally stow away on a cruise where they do whatever they can to hide as they use their acting skills to save them.

The Impostors is a sensational film from Stanley Tucci. Featuring a great cast, amazing set pieces, lively music, and a willingness to just let loose and have fun. It’s a film that is aware that it’s being indulgent while giving the actors a chance to just act out and be funny. In the end, The Impostors is a spectacular film from Stanley Tucci.

Stanley Tucci Films: (Big Night) - (Joe Gould’s Secret) - (Blind Date (2007 film))

© thevoid99 2016

Spy (2015 film)

Written and directed by Paul Feig, Spy is the story of a CIA office worker who becomes a field agent for an assignment once the identity of many of its field agents have been compromised as this woman has to stop a crime boss’ daughter from revealing the location of a nuclear bomb. The film is sort of a spoof on spy films where the person that is to save the world is an unlikely person as she doesn’t have the physical requirements to be one but has the heart and determination to get the job done. Starring Melissa McCarthy, Jude Law, Rose Byrne, Jason Statham, Miranda Hart, Bobby Cannavale, Peter Serafinowicz, and Allison Janney. Spy is a witty and adventurous film from Paul Feig.

When the identities of top field agents for the CIA trying to find the location of a nuclear bomb have been revealed to the daughter of a recently deceased crime boss. An analyst who wants to seek vengeance for the death of a spy she cared for is tasked to take part in the assignment where she is initially excited about doing the job but things don’t exactly go her way. The film is essentially a spoof of sorts on spy films where it plays into the idea of a woman, who might not have the typical yet superficial image of spies, as she is given the chance to save the world. Yet, she would endure some humiliating moments in trying to catch her targets while having to deal with a rogue field agent who is trying to do her work in ways that makes him look even stupider than he already is.

It is all part of a world where the villains are dealing with this woman who might be a whole lot easier to kill considering that she doesn’t fit the mold of other spies but it’s also an advantage for the character of Susan Cooper (Melissa McCarthy) who manages to do more than everyone expects from her. Paul Feig’s screenplay does follow conventional elements that is expected in spy films but also creates characters that are very engaging. While Cooper is just a nice analyst who is very good at helping field agents find their way out of a situation where she becomes close with the spy Bradley Fine (Jude Law). When Fine is killed in a mission by the target’s daughter Rayna Boyanov (Rose Byrne), Cooper wants to take the mission to avenge Fine though she is forced to wear a series of humiliating disguises and identities while having her best friend and fellow analyst Nancy (Miranda Hart) to guide her through an earpiece.

The script would also allow moments that are funny such as the antics involving former CIA agent Rick Ford (Jason Statham) who is upset that Cooper gets the assignment which prompts him to go rogue and do stupid things. His character is sort of a play on spies for not just how tough they are and how much bullshit they tend to talk but it is presented in a funny way as Ford is a man who is all brawn but no brains. While Rayna is an antagonist, she is not a traditional one since she is essentially a woman who is a pawn of a bigger scheme while feeling she’s not getting any kind of respect where she and Cooper seem to have a rapport despite the fact that they’re enemies. Even smaller characters like Nancy, CIA boss Elaine Crocker (Allison Janney), and an Italian agent named Aldo (Peter Serafinowicz) manage to do a lot more which add to the story and its comedic tone.

Feig’s direction definitely pays an ode to spy films while managing to be something that is of its own. Notably as it isn’t afraid to not take itself so seriously where some of the comedy is played very loosely and natural. Though much of it is shot largely on location in Budapest with a few second-unit shots of Rome, Paris, and Washington D.C., the film does have a look that is very worldly and lively which is expected in spy films but also manages to have something where it does have this woman be a fish out of water in these places. Most notably where Cooper would think she would have the time of her life traveling to Rome, Paris, Sofia, and Budapest but would often stay in the worst hotels and in the most horrific disguises as a mother of four or a woman with 9 cats. While many of Feig’s compositions are simple, he does manage to create something that is visually exciting while matching it with a naturalist approach to comedy.

Feig is also able to find a sense of energy in the action scenes while knowing where to put in some funny moments that do feel natural and realistic with elements of disbelief for laughs. Feig would also include some very crude humor that involves Cooper having her first kill and her reaction to it is very funny while it is followed by a scene where the CIA analysts are looking into the dead man’s phone and photos where they find some very personal things. The film’s climax which involves this Italian playboy named Sergio de Luca (Bobby Cannavale) and the deal of this nuclear weapon not only continues to find the balance between humor and action but it would also have a payoff that isn’t just funny but also satisfying. Overall, Feig has created a very thrilling and hilarious film about a woman who becomes a spy.

Cinematographer Robert Yeomen does excellent work with the cinematography as it‘s very straightforward and colorful to play into the vibrancy of the locations as well as some inspired usage of lights some of the interiors and for scenes at night. Editors Don Zimmerman and Dean Zimmerman do amazing work with the editing where it allows itself to play into conventional action-style cutting but also with a sense of timing and rhythm to play into the comedy and find ways to mesh both styles. Production designer Jefferson Sage, with art directors Tom Brown and Bence Erdelyi and set decorator Kelly Berry, does brilliant work with the set designs from some of the hotels Cooper goes to as well as the lavish homes and hotels she would meet Rayna and other targets. Costume designer Christine Bieselin Clark does nice work with the costumes from the tuxedos that Fine and Ford would wear to some of the humiliating clothes Cooper would wear in disguise along with some stylish clothes that she and Rayna would wear.

Makeup artist Kati Jatkos and hair stylist Peter Gyongyosi do terrific work with the disguises that Cooper would wear including the different hairstyles along with one notable disguise for Ford. Visual effects supervisor William Mesa does wonderful work with some of the film‘s minimal visual effects that often involve some of the action scenes. Sound editors Beau Borders and Becky Sullivan do superb work with the sound from the way some of the fighting occurs as well as some of the social events and action scenes that the characters encounter. The film’s music by Theodore Shapiro does fantastic work with the film‘s music score as it is quite bombastic for its action scenes while going for something low-key for its comedic moments while music supervisor Erica Weis brings in a fun soundtrack filled with music that ranges from electronic, hip-hop, rock, and pop to bring in an air of excitement.

The casting by Zsolt Csutak does great work with the cast as it features notable small roles from Carlos Ponce and Will Yun Lee as a couple of CIA spies, Jessica Chaffin and Katie Dippold as a couple of CIA analysts who deal with rats and bats in their offices, Zach Woods as a guy putting something mysterious in Rayna’s cocktail, Mitch as a pilot named Colin (no it’s Frederick), Raad Rawi as Rayna’s dad, Michael McDonald as a CIA gadgets man who gives Cooper some unimpressive gadgets, Morena Baccarin as a beautiful CIA spy that Nancy mocks, Nargis Fakhri as an assassin that tries to kill Ford and Cooper, and Bjorn Gustafsson as a bodyguard of Rayna that Cooper would insult. Peter Serafinowicz is fantastic as the Italian spy Aldo who likes to sexually harass Cooper as he thinks she is the most beautiful woman in the world. Allison Janney is superb as CIA head Elaine Crocker where Janney plays it straight while being very cool and calling Cooper out early about her pink eye.

Bobby Cannavale is excellent as the playboy/dealer Sergio de Luca who brings a suave charm to his role as someone who just wants to cash in and sell weapons to the highest bidder. Jude Law is brilliant as Bradley Fine as a CIA agent that has a great working relationship with Cooper as he trusts her while being very good to her. Miranda Hart is amazing as Cooper’s friend Nancy as a CIA analyst who also wants to be a spy as she later joins Cooper in a mission where she gets to do some of the funniest things in the film. Rose Byrne is remarkable as Rayna Boyanov as a crime boss’ daughter who decides to create chaos while trying not to reveal the location of a nuclear weapon where she also has some funny moments with Cooper to show how alike they’re sort of are.

Jason Statham is phenomenal as Rick Ford as it’s a performance where Statham makes fun of the action film persona he’s known for and bring a lot of laughs. Most notably as he’s a guy that talks tough, acts tough, and is very tough but is also an idiot as he has no idea what he is doing half the time while being a risk to everything as it’s just one of the funniest performances ever. Finally, there’s Melissa McCarthy in an incredible performance as Susan Cooper where it’s not jut McCarthy being very funny in enduring all sorts of humility and intense physicality. It’s also in the way she brings a sense of heart into the character that makes her very endearing while not being afraid to show some guts as it is one of her finest performances.

Spy is a marvelous film from Paul Feig that features a winning performance from Melissa McCarthy. Armed with some very exciting and funny moments along with a strong supporting cast that includes scene-stealing performances from Rose Byrne, Miranda Hart, Jude Law, and a hilarious Jason Statham. It’s a film that isn’t just a smart spoof of the spy films but also one that manages to be very funny and extremely entertaining. In the end, Spy is a sensational film from Paul Feig.

Paul Feig Films: (I Am David) - (Unaccompanied Minors) - (Bridesmaids) - (The Heat) - Ghostbusters (2016 film)

© thevoid99 2015

Private Parts

Based on the book by Howard Stern, Private Parts is the story of shock-jock radio personality Howard Stern and his metaphoric rise into becoming the king of American radio through his controversial antics and no-holds-barred attitude. Directed by Betty Thomas and screenplay by Len Blum and Michael Kalesinko, the film is a dramatized take on Stern’s life from his early days trying to make it in radio to his success in being outlandish as he would spar with bosses from NBC. At the same time, the film explores Stern’s first marriage to Alison whom he was devoted to as Stern plays himself as associates such as Robin Quivers, Fred Norris, Jackie Martling, and Gary Dell’Abate also play themselves. Also starring Mary McCormack, Carol Alt, Michael Murphy, Allison Janney, and Paul Giamatti. Private Parts is a very raunchy yet hilarious film from Betty Thomas.

The film is dramatization into the life of Howard Stern as it’s told by the man himself as he deals with his success but also the radio personality that he created that has polarized people. A personality that isn’t afraid to speak his mind as well as not be afraid to be offensive and crass as he would tell his story on a flight home after the 1992 MTV Video Music Awards where he introduces his Fartman character to the delight of audiences but the disgust of celebrities. The film’s narrative is sort of a reflective one as it’s told by Stern from his childhood where he struggled to find a voice as he’s often told to shut by his father Ben (Richard Portnow) as well as trying to get laid where he would eventually meet his first wife Alison (Mary McCormack). After some early struggles and setbacks, Stern would eventually find his voice with the help of comedian/sound effects man Fred Norris and news anchor Robin Quivers who would help make him successful. It’s a film that really plays into a man trying to find himself and unleash all of his frustrations into a personality he would create for radio.

The film’s screenplay sort of moves back and forth with comments from Alison and Robin Quivers while there’s also moments that involve Stern’s longtime producer Gary Dell’Abate to help structure the story with some of Stern’s other strange guests to introduce some chapters into his life. Its first half plays into Stern’s childhood as well as his insecurities as a teenager as well as meeting Alison and Fred Norris as the latter would help hone Stern’s act through sound effects and material. The second half introduce Quivers to the story where she would become Stern’s voice of reason as well as reveal the kind of things Stern would say on the air including aspects of his personal life much to Alison’s dismay. Its third act would have Stern, Alison, Quivers, and Norris move to New York City to be part of WNBC where Stern would spar with his new bosses including Kenny Rushton (Paul Giamatti) whom Stern would refer to him as “Pig Vomit” on the show. All of which plays into Stern’s refusal to defy the censors to say what he needs to say.

Betty Thomas’ direction is very simple in the way she plays into Stern’s life where there’s moments that the fourth wall is broken such as the first scene of Stern as a college student where Stern himself is playing his old college version. It adds to the offbeat quality of the film as Quivers and Norris are also playing younger versions of themselves as much of the story is set in the late 1970s and early 1980s. Many of the compositions are simple as Thomas is more concerned with laying out the comedy while keeping the crassness to a minimum. Still, there’s elements of shock and low-brow antics that do keep things lively including scenes of Pig Vomit running through the halls during Stern’s broadcast. There’s also moments of style in a few slanted angles to play into Stern’s attempt to win over the suits at WNBC. The usage of tracking shots in the office scenes help play into the tension where it’s about Stern trying to not make any compromises and the people at WNBC trying to get rid of him. Overall, Thomas creates a very captivating and entertaining film about the life of Howard Stern.

Cinematographer Walt Lloyd does excellent work with the film‘s cinematography with some low-key lighting schemes for some of the film‘s nighttime interior scenes while it‘s mostly straightforward in its day and nighttime scenes. Editor Peter Teschner does superb work with the editing as it‘s straightforward while it features a few montages as well as a few jump-cuts to play into the film‘s humor. Production designer Charles Rosen, with set decorator Beth Kushnick and art director Rick Butler, does fantastic work with the look of the WNBC offices and studio as well as the different radio stations Stern would work for.

Costume designer Joseph G. Aulisi does terrific work with the costumes to play into the different look of the characters from the 1970s to the 1980s. Hair designer Colleen Callaghan does brilliant work with the design of Stern‘s different hairstyle throughout the years as well as Quivers‘ hair style during those early years with Stern. Sound editor John Dunn does work with the sound from the way Fred Norris creates his sound effects to some of the moments that play out on the radio and with the crowds. Music supervisor Peter Afterman does an amazing job in creating a soundtrack filled with a lot of rock music from the Cars, Van Halen, David Bowie, Marilyn Manson, Stern with the Dust Brothers, Rob Zombie, Porno for Pyros, Deep Purple, Green Day, the Ramones, Cheap Trick, Ted Nugent, and AC/DC who makes a special appearance in the film.

The casting by Olivia Harris and Phyllis Huffman is incredible as it features cameo appearances from John Stamos, Ted Nugent, MC Hammer, Ozzy Osbourne, Blues Traveler, former Guns N’ Roses guitarist Slash, Dee Snider, Flavor Flav, and Tiny Tim for the MTV Awards sequence plus Mia Farrow and David Letterman as themselves along with Stern associates in Crackhead Bob, Nicole Bass, and Stuttering John Melendez. Other notable appearances include such adult/porn star actresses like Amber Smith as a lesbian Stern interviews in D.C., Janine Lindemulder as a camp director’s wife Smith talks about, Camille Grammer as a woman wearing a bikini in the snow, and Jenna Jameson as a naked woman who appears in a show for Stern during his WNBC days.

Other noteworthy small roles include Leslie Bibb as a WNBC tour guide, Edie Falco as a friend of Alison, Michael C. Gwynne as a Detroit rock DJ who insults Stern, Paul Hecht as a news anchor who briefly replaces Robin, Allison Janney as a D.C. radio boss who dislikes Stern, Carol Alt as a woman Stern meets on a plane in the film’s beginning, Reni Santoni as a NBC radio boss, Michael Murphy as the head of WNBC who wants to get rid of Stern, and in the trio of the younger versions of Stern, there’s Bobby Boriello, Michael Maccarone, and Matthew Friedman who play the different versions of the young Stern. Richard Portnow and Kelly Bishop are wonderful as Stern’s parents with Portnow being the funny one who keeps telling the young Howard to shut up. Stern associates Gary Dell’Abate and Jackie Martling are terrific as themselves with Dell’Abate trying to get people to introduce the chapters while Martling arrives in WNBC as a new collaborator for Stern.

Fred Norris is fantastic in a version of himself as this oddball comedian who helps Stern out with his routine by creating sound effects and other things that would be very funny. Mary McCormack is brilliant as Alison Stern as the wife who would support him as well as endure some of his crass jokes which would upset her but understands his need to vent. Robin Quivers is amazing as the woman who would be Stern’s conscience in his talk show as well as say some funny things as she brings a lot of personality and wit to her persona. Paul Giamatti is phenomenal in his breakthrough role as Kenny “Pig Vomit” Rushton as a WNBC suit who tries to break Stern and mold him into something safe as it’s a performance that is very funny in the way he becomes a foil for Stern and his gang. Finally, there’s Howard Stern in a remarkable performance as himself as he displays some humility and sensitivity for the scenes outside of the radio while being very crass when he’s on the radio as he has this nice balance to showcase who he is and be unapologetic about it.

Private Parts is a sensational film from Betty Thomas about the infamous yet funny radio shock-jock Howard Stern as the man himself gives a great performance. Along with some amazing supporting performances from Robin Quivers, Mary McCormack, Fred Norris, and Paul Giamatti. It’s a film that isn’t afraid to be out there and even be politically incorrect as it relates to who Stern is and why he is so controversial. In the end, Private Parts is a gloriously hilarious film from Betty Thomas.

© thevoid99 2015

The Way, Way Back

Written, directed, and co-starring Nat Faxon and Jim Rash, The Way, Way Back is the story about a 14-year old kid who goes on a summer holiday where he hangs around and later works at a water park to deal with his summertime blues and his growing disdain towards his mother’s boyfriend. The film is an exploration into a young boy’s summer as he finds a place where he belongs while dealing with the chaos in his family life. Also starring Steve Carell, Sam Rockwell, Toni Collette, Allison Janney, Annasophia Robb, Zoe Levin, Maya Rudolph, Rob Corddry, Amanda Peet, and Liam James. The Way, Way Back is a fantastic film from Nat Faxon and Jim Rash.

The film explores a summer in the life of an introverted 14-year old boy named Duncan (Liam James) who finds a home in a nearby water park run by a carefree manager named Owen (Sam Rockwell). Especially as the boy is dealing with growing pains as his mom’s boyfriend Trent (Steve Carell) is very critical and says mean things to him. While his mother Pam (Toni Collette) and Trent spend their time with other adults, Duncan spends more time at the water park where he also works while bonding with another jaded teen in Susanna (Annasophia Robb). The film is a coming-of-age tale where this boy deals with his situation that includes his father moving to California and that his mother’s boyfriend is an absolute dickhead. In Owen, Duncan finds the father-figure he needs as well as being true to himself.

The film’s screenplay explores the complicated life of this 14-year-old boy who is a very introverted individual that is considered odd by Trent and his teenager daughter Steph (Zoe Levin) as he is also aghast by the craziness his mother has with other adults as he feels like his mother isn’t aware of how he’s really feeling. Especially as she’s often with Trent and some friends of his where some of Trent’s activities and behavior give Duncan more reasons to dislike him as Trent often states that they should bond and be in tune together. Owen is an extremely different person that Duncan can identify with as he’s sort of a man-child who runs a water park and likes to have fun. Owen also helps Duncan come out of his shell by giving him a job and advice on life as well as how to win the heart of Susanna who hates having to deal with her boozy mother Betty (Allison Janney).

The direction of Nat Faxon and Jim Rash is quite straightforward as they don’t really aim for a sense of cinematic style by rather just focusing on the story and keeping things simple. The compositions are still engaging while they allow the comedy to be loose and natural along with some of the smaller moments where it plays to Duncan’s development. Faxon and Rash know where to put the actors in the background while having them be placed in moments that can advance the story. Even in the drama where it relates to Duncan’s testy relationship with Trent where Duncan discovers things that would have a dramatic impact in how it relates to Duncan’s desire to protect his mother. Still, Faxon and Rash bring a lot of fun into the film in many of the scenes at the water park as it’s shot in an actual water park in Massachusetts where it has a bit of realism in the story. Overall, Faxon and Rash create a very vital and lively film about a young boy’s summer of fun and coming into his own.

Cinematographer John Bailey does excellent work with the film‘s colorful cinematography from the look of the locations in Massachusetts and the water park to the scenes at night with its use of natural light. Editor Tatiana S. Riegel does wonderful work with the editing as it‘s quite straightforward while using some nice rhythmic cuts and montages to play out the sense of fun Duncan has at the water park. Production designer Mark Ricker, with set decorator Rena DeAngelo and art director Jeremy Woodward, does amazing work with the set pieces from the look of the home to some of the small props created for the water park.

Costume designers Michelle Maitland and Ann Roth do terrific work with the costumes as it‘s mostly casual with some style to play into some of the female characters in the film. Sound editor Perry Robertson does nice work with the sound to play up the energy of the parties and such along with the craziness at the water park. The film’s music by Rob Simonsen is fantastic for its mixture of folk and indie music to play up Duncan‘s journey while music supervisor Linda Cohen creates a soundtrack that mixes 80s music with some folk and indie as it’s a fun soundtrack to listen to.

The casting by Allison Jones is brilliant as it features some notable small roles from River Alexander as Susanna’s nerdy younger brother Peter and Zoe Levin as Trent’s bitchy teenage daughter Steph. Nat Faxon and Jim Rash are funny in their respective roles as water park employees Roddy and the nerdy Lewis while Maya Rudolph is wonderful as the more responsible water park co-manager Caitlyn. Allison Janney is hilarious as Susanna’s boozy mother Betty who always carries a drink and always wear clothes to show her sex appeal. Rob Corddry and Amanda Peet are terrific as the couple Kip and Joan whom Trent and Pam hang out with Corddry as the more wild Kip and Peet as the more vivacious Joan.

Annasophia Robb is wonderful as Susanna as a teenage girl jaded by the summer and what her mother is doing as she bonds with Duncan while finding out where he goes and what he does as she also finds a good time. Toni Collette is excellent as Duncan’s mother Pam as a mother wanting to have a good time while dealing with Duncan’s disappearances and moodiness as well as Trent’s often peculiar behavior. Steve Carell is fantastic as Trent as this guy who is a grade A asshole that always says very off-putting things and tries to assure his sense of being a man in his attempt to make Duncan more manly as he truly doesn’t get him. Sam Rockwell is phenomenal as Owen as a man who helps Duncan deal with his growing pains while giving him a place where he can feel at home. Finally, there’s Liam James in a marvelous performance as Duncan as he exudes all of the moodiness of a confused 14-year old kid who is looking for a place in the world as he eventually finds somewhere that he can belong to and have the summer of his life as James brings a lot of sensitivity and energy to his character.

The Way, Way Back is a superb coming-of-age film from Nat Faxon and Jim Rash. Armed with an great ensemble cast as well as an engaging story about a young teen trying to fit in and do something in the summer. It’s a film that is very heartwarming but also very funny while giving something that audiences can relate to. In the end, The Way, Way Back is a remarkable film from Nat Faxon and Jim Rash.

© thevoid99 2013

Margaret (2011 film)

Written and directed by Kenneth Lonergan, Margaret is the story of a young woman who feels responsible for causing an accident that left someone dead. In turn, she deals with the guilt over what happened while going through all sorts of things in her own life. The film is an exploration into the tumultuous life of a young woman who goes through lots of changes in her life as well as trying to find herself. Starring Anna Paquin, Matt Damon, Mark Ruffalo, Kieran Culkin, Olivia Thirlby, Rosemarie DeWitt, J. Smith-Cameron, Matthew Broderick, Jeannie Berlin, Allison Janney, and Jean Reno. Margaret is a haunting yet mesmerizing film from Kenneth Lonergan.

What happens when a young 17-year old student distracts a bus driver where an accident is caused resulting in the death of a woman as this young woman deals with the guilt over what happened? That’s pretty much the idea of what this film is about as it explores a young woman named Lisa Cohen (Anna Paquin) whose life changes due to an accident she caused all because she asked this bus driver (Mark Ruffalo) about his cowboy hat while he was driving the bus. For Lisa, she deals with the guilt over what happened as she has no idea what to do as she tries to protect the driver since what he did was an accident yet when she meets him to discuss the accident. Things don’t go well as she decides to change her statement to the police while contacting a woman to help file a lawsuit against the bus company in hopes the driver gets fired.

While the story largely revolves around Lisa’s tumultuous life as she deals with guilt and loss, there is a subplot revolving around Lisa’s mother Joan (J. Smith-Cameron) who finds herself in a relationship with a man named Ramon (Jean Reno) which causes issues between the two women who already have a troubled relationship. Notably as Joan is a stage actress while Lisa is just a high school kid who likes to smoke and do crazy things. The accident definitely causes a rupture in their relationship where Lisa starts to act out more in school and later befriend the friend of a victim where they go for a lawsuit. Yet, Lisa’s behavior becomes more complicated over the guilt she deals with families of the victim gets involved as well as other aspects of her life including relationship with boys and her attraction towards her math teacher Aaron Caije (Matt Damon).

The script also allows to explore the dynamic between Lisa and Joan as they’re two different women who are going through changes in her life. While Joan is concerned over what happened to Lisa, she has no idea how to talk to Lisa who starts to become more detached and angry. Yet, Lisa would also deal with the realities of how things are handled with the police and the lawsuits as it would cause more complications about who she is. Particularly as she is this 17-year old high school student who is in the transition into becoming a woman.

Kenneth Lonergan’s direction is very entrancing for the way he presents this very dramatic story that contains very heavy themes. Shot on location in New York City in the Manhattan area, Lonergan does make the city a character in the story though he does go a bit overboard in utilizing lots of insert shots to help fill the story though some parts are effective. Notably as the camera gazes through the city to show a world where things are already moving on despite the incident that had just happened. Lonergan’s direction also has a lot of unique framing devices to help capture the sense of loneliness and detachment that Lisa is going through. There’s also a lot of shots that are stylized including the big accident scene where Lonergan uses the crane to express the sense of loss and longing that Lisa goes through.

Another part of Lonergan’s direction that is unique is the fact that film also features scenes at the Metropolitan Opera House to establish not just the world Joan is in but also the drama she’s facing in her own life. Other scenes such as school discussions about politics show Lisa becoming more aggressive in her arguments where she will sometimes go way too far. These are moments to establish this detachment and anger these two women are going through where they will vent to each other and say things to each other that intensify. Yet, Lonergan will find a way for the women to reconnect where both women will face something that would overwhelm them leading to a powerful ending. Overall, Lonergan creates a very strong yet harrowing film about guilt and loss.

Cinematographer Ryszard Lenczewski does excellent work with the film‘s photography as a lot of it is straightforward to complement the beauty of New York City in its day and nighttime settings. Editors Mike Fay and Anne McCabe, with additional work from filmmaker Martin Scorsese and his longtime editor Thelma Schoonmaker, do superb work with the editing to play out the drama as well as some of its intensity as it includes some stylized moments in the non-dialogue scenes. Production designer Dan Leigh, with set decorator Ron von Blomberg and art director James Donahue, does nice work with the sets from the look of the apartments to the look of the school.

Costume designer Melissa Toth does terrific work with the costumes as a lot of it is casual with the exception of the scenes at the opera house. Sound designer Jacob Ribicoff does brilliant work with the sound to capture the low-key atmosphere of the opera houses to the more raucous scenes in some of the film‘s exteriors and phone conversations. The film’s music by Nico Muhly is amazing for its low-key orchestral pieces with some haunting arrangements on the strings while the soundtrack features an array of classical and operatic pieces along with some few indie-rock and hip-hop cuts in the party scenes that Lisa goes to.

The casting by Douglas Aibel is a major highlight of the film for the rich ensemble that was assembled for the film. Among those making small appearances include Krysten Ritter as salesgirl, John Gallagher Jr. as a friend of Lisa in Darren, Olivia Thirlby as a classmate of Lisa, Sarah Steele as Lisa’s friend Becky, Kieran Culkin as another classmate of Lisa whom she has sex with, Michael Ealy as a lawyer who advises Lisa, Jonathan Hadary as a lawyer who deals with the suit that Lisa is involved in, Cyrus Hernstadt as Lisa’s younger brother Curtis, Josh Hamilton as an actor Joan works with, and Rosemarie DeWitt as the wife of the bus driver. Other notable small roles include Matthew Broderick as a drama teacher, Allison Janney as the victim who is killed in the bus accident, and Jeannie Berlin as the victim’s friend Emily who helps out Lisa with the suit.

Jean Reno is wonderful as the very kind Ramon who falls for Joan as he tries to get to know Lisa. Matt Damon is excellent as Lisa’s math teacher Aaron Caije who is trying to understand Lisa’s behavior as well as her attraction to him. Mark Ruffalo is superb as the bus driver who causes the accident as he is aware of what he’s done while deals with Lisa’s aggressive manner towards him in the one scene they have together. J. Smith-Cameron is great as Lisa’s mother Joan who tries to deal with Lisa’s detachment while she falls for the businessman Ramon as she finds the escape she needed to deal with Lisa. Finally, there’s Anna Paquin in a remarkable performance as Lisa Cohen as a young woman dealing with tragedy as she becomes lost in her grief while becoming more angry over the way the world deals with what she is trying to do and such.

Margaret is an extraordinary yet engrossing drama from Kenneth Lonergan that features amazing performances from Anna Paquin and J. Smith-Cameron. The film is definitely an intriguing drama that explores the world of grief and detachment as well as interesting piece about the dynamics between mother and daughter. In the end, Margaret is a marvelous film from Kenneth Lonergan.

Kenneth Lonergan Films: You Can Count on Me - Manchester by the Sea

© thevoid99 2013

The Ice Storm

Originally Written and Posted at Epinions.com on 12/21/04 w/ Additional Edits.

One of the more recent prolific directors in cinema, Taiwan-born Ang Lee has made films in his homeland whether it was the dramas Eat Drink Man Woman and The Wedding Banquet or the martial-arts masterpiece Crouching Tiger, Hidden Dragon. Yet, he's also ventured into the world of Hollywood with the Civil War drama Ride with the Devil, the Jane Austen adaptation of Sense & Sensibility, and more recently, a big-budget action flick with Hulk. In 1997, Lee goes to the early 1970s in America where the age of cynicism begins as the ideals of American family life begins to disintegrate based on a novel by Rick Moody entitled The Ice Storm.

Adapted into a script by producer James Schamus, The Ice Storm is a family drama about a man and wife whose perfectly good marriage disintegrates as the man has an affair with his neighbor while his wife is trying to find fulfillment in her boring role as a housewife. Meanwhile, their children begin to explore sexuality and angst while looking at the world through their own sense of cynicism around Thanksgiving in 1973. With its central characters trying to find something, they realize that what they seek isn't, as it seems when tragedy collides through one night on an icy storm. Starring Kevin Kline, Joan Allen, Sigourney Weaver, Jamey Sheridan, Henry Czerny, Allison Janney, Tobey Maguire, Katie Holmes, Christina Ricci, Elijah Wood, and Adam Hann-Byrd. The Ice Storm is a brilliant, provocative drama from Ang Lee and company.

16-year old Paul Hood (Tobey Maguire) is at a NYC prep school where he's become attracted to his classmate Libbets Casey (Katie Holmes).  Paul yearns to win her affections before his lothario roommate Francis (David Krumholtz) can.  Paul's family lives a small town in Connecticut as his parents Ben (Kevin Kline) and Elena (Joan Allen) are preparing for Thanksgiving with Paul set to return.  Paul's 14-year old sister Wendy (Christina Ricci) becomes intrigued by the Watergate scandal which prompts her to gain a cynical view on the world.  Ben and Elena eat dinner with Jim (Jamey Sheridan) and Janey Carver (Sigourney Weaver) where Elena begins to suspect something isn't right in her marriage in the way Ben eyes Janey.  Even as she begins to reminisce her own childhood when she saw Wendy ride a bike during a book sale where the local minister (Michael Cumpsty) attends.

Ben spends part of his time at work with rival George Clair (Henry Czerny) while his off-time sleeping with Janey while Wendy spends time with Janey's eldest son Mikey (Elijah Wood).  Mikey's younger brother Sandy (Adam Hann-Byrd) is reaching adolescents as he blows up toys and discovering sex when Wendy tries to expose herself.  Wendy's time with Mikey eventually leads to trouble as Mikey becomes more aloof towards the world.  When Paul returns home for Thanksgiving, things become chaotic when Wendy spouts remarks towards the U.S. government during grace.  Elena learns that their friend Dot Halford (Allison Janney) is throwing a party the next day as she and Ben reluctantly attend.  Paul goes to New York City to attend a party Francis is holding as Libbets is there where things don't go well as Paul hopes for.

At the Halford party, Ben and Elena learn it's a key party as the Carvers also attend where Elena decides to get into the party where things unravel.  Wendy decides to go see Sandy while Mikey roams outside during the cold November night where a night of party and intrigue becomes tragic.

What makes The Ice Storm such a compelling film is Ang Lee's approach to storytelling. Taking Schamus' wonderfully structured screenplay, the film builds up to a certain momentum where by the second half when the Hoods go to the party is where everything begins it sense of deconstruction. While the film has a lot of sexuality, there isn't any nudity shown but it doesn't matter with this film since Lee is playing an outsider in trying to discover what drives these people into behaving the way they act. Is it the cynicism that is surrounded by the American government or the idea that the American dream and ideal is over? The film plays well with its morals and strange parallels in the scenes where Tobey McGuire's Paul characters is reading The Fantastic Four while comparing it to his own family life. Lee's breathtaking directing style works very well in each frame, notably the scene where Elijah Wood's Mikey is running around on the icy grass in slow motion. It's clearly one of the most masterful and evocative presentation in film.

Helping Lee in that breathtaking vision is cinematographer Frederick Elmes in capturing the evocative world of the 1970s with scenes of bike riding and notably the night scene of the ice storm itself with its idiosyncratic approach to lighting. Editor Tim Squyres also brings that same idiosyncratic style in the film's structure with its editing sequences where the film not only has a nice pacing but the way the scenes of its characters are moved back and forth. Production designer Mark Friedberg and art director Bob Shaw also help in the film with a grand, very detailed look of the 1970s with its furniture and appliances along with the waterbed. Costume designers Carol Oditz and Elizabeth Shelton also help out with the film's look with a great detail on the costumes and clothing in the film that really gives that 1970s authenticity.

Atom Egoyan's longtime composer Mychael Danna also shines with his eerie, melancholic film score with his use of morose piano sequences and eerie, evocative flute playing while music director Alex Steyermark shines with his soundtrack of the film that includes Elton John, Jim Croce, and many more including a haunting ballad from David Bowie redoing his song I Can't Read from his work with Tin Machine.

The film has a great cast overall with fine, small performances from Allison Janney, David Krumholtz and a sleazy one from Henry Czerny as Kline's rival. Michael Cumpsty also stands out as a minister where in the party scene, we see for what he really is which proves that no one in the film is safe. Katie Holmes shines in one of her early performances as Libbets with cute sexiness and the ability to play stoned. Jamey Sheridan is the film's most quiet performance as Sigourney Weaver's husband who is often gone in his life and yet, he gains sympathy during the party scene. Sheridan shines in his clueless role of husband and father while he and Joan Allen have great scenes together.

Adam Hann-Byrd also stands out as the more innocent but angst-ridden Sandy with his curious approach to his performance that is really amazing to watch. Elijah Wood is wonderful in a performance that marks a transition from child actor to a more determined young thespian as the more offbeat and quirky Mikey. Wood's stoned out performance represents as a young man who is trying to find more in life away from sex and family while presenting a distance from reality in a performance that is awe-struck. Christina Ricci also brings in a transitional performance by being a sexy cynic who tries to figure out sex and ways to anger her own parents in a performance that is intimidating yet enchanting. Tobey Maguire is excellent in his role as narrator along with the clueless family patriarch who doesn't know what goes on in his town in favor of his own desires. It's a great and mature performance from the young Maguire while proving himself as a gentlemen and dreamer.

Sigourney Weaver is wonderfully cold in an amazing performance as Janey Carver with her vivacious sexiness and an awful selfishness that is very complex. Weaver's character may have been the most unlikable but it's also the most intriguing as we see a woman who is trying to fulfill her own needs by having affairs while she begins to slip away from what is really important. This is truly one of Weaver's most enduring performances. Kevin Kline is also amazing as the bored, commanding father and husband who seeks to have this affair with Janey as if it's the greatest thing for his own sexual needs that isn't at home. Yet, his character begins to disintegrate in the party scene where Kline really shines in his dramatic stature.

The film's best performance goes to Joan Allen as Kline's anguished wife who is trying to find her own niche into the cynicism of the 70s. Allen brings a subtlety and calmness early in the film but by the second act, she makes her character sympathetic but not a martyr as she tries to explore her own sexual needs while trying to deal with what's going on with her children and the world around her. It's a great performance from the always, underrated veteran actress.

The Ice Storm is a compelling film from Ang Lee thanks to Lee's eerie direction, James Schamus' Cannes Film Festival award-winning script, a dedicated crew, and a superb cast. In many ways, The Ice Storm wasn't just a film of the 1970s but also what was going on in the late 1990s where the dysfunctions of families become more evident and later in 1999; Sam Mendes' American Beauty will fulfill the boredom of suburbia. The credit really goes to Lee, Schamus, and novelist Rick Moody for capturing the world of American culture in its decline through cynicism and angst in the 1970s when everything begins to go wrong. The Ice Storm is one film not to be missed.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Taking Woodstock - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

(C) thevoid99 2011