Set in 1984, the film follows talent scout Sonny Vaccaro (Matt Damon) who works for Nike’s basketball division as it is on the verge of shutting down due to low sales where he decides to bet on an idea in the hope of saving the division by building a shoe line for a future NBA prospect in Michael Jordan. It is a film that is about the creation of the Air Jordan shoe line and its origins as well as the impact it would have on Nike at a time when they were falling behind other competitive rivals in Converse and Adidas as Nike’s CEO Phil Knight (Ben Affleck) was forced to lay off people ever since the company has gone public. The film’s screenplay by Alex Convery, with un-credited contributions from Ben Affleck and Matt Damon, is largely straightforward in its narrative as it follows Vaccaro who is tasked by Knight and marketing VP Rob Strasser (Jason Bateman) to come up with a new spokesperson for Nike’s basketball shoes with a limited $250,000 budget. Yet, the choices he is given aren’t impressive with the exception of Charles Barkley while trying to nab Michael Jordan is impossible as he has already expressed interests from both Converse and Adidas who are preparing to make their offers.
While re-watching the 1982 NCAA championship where Jordan scored the winning shot, Vaccaro makes a discovery about that winning shot while also watching a commercial that Arthur Ashe did for Head tennis rackets as he came up with an idea that he knows is a major risk since he knows Jordan has no interest in Nike. After a dinner with George Raveling who coached Jordan for the 1984 Olympics, Vaccaro makes the decision to visit the Jordans at their home in Wilmington, North Carolina against the advice of Knight, Strasser, and Jordan’s agent David Falk who doesn’t like Vaccaro. Yet, Vaccaro’s meeting with Deloris Jordan about what he wants to do for her son has her intrigued as well as influence her about her upcoming meetings with Converse and Adidas. Vaccaro’s determination would win over Strasser as well as another VP in Howard White (Chris Tucker) and shoe designer Peter Moore (Matthew Maher) as they realize what they have to do to stand out against their competitors despite a rule by the NBA about shoes. Even as Nike knows they have a lot against them as well as trying to convince Jordan to sign with Nike where they would make a move that would prove to be groundbreaking.
Affleck’s direction is definitely stylish as it is shot in areas around Los Angeles but also places in Oregon including its headquarters at Beaverton, Oregon to create a world set during a fruitful period in time as basketball was about to reach newfound popularity in the NBA due to the rivalry between the Los Angeles Lakers and the Boston Celtics. While there are some wide shots to establish some of the locations including the look of the basketball division floor at the Nike headquarters. Affleck maintains an intimacy into the direction with its usage of close-ups and medium shots as well as some unique tracking shots with the usage of the Steadicam to get a look at the entire basketball division floor as it would show people at work as it feels more like a place where everyone is enjoying themselves despite the fact that they might lose their jobs. Affleck also plays up to a certain look and feel of the times that is the 1980s as it does evoke some nostalgia but it also plays into a world that is changing with American basketball becoming big business as Nike struggles to keep up with their competitors.
A key aspect in Affleck’s direction that is very notable relates to Michael Jordan (Damian Young) as his face is never shown throughout the film while he rarely speaks as Affleck focuses more on the people at Nike as well as Jordan’s parents as they play a major role in his ascent. The conversation between Vaccaro and Deloris Jordan at the latter’s backyard is a key conversation where Vaccaro reveals certain small details about her upcoming meetings with the people at Converse and Adidas as the meetings would reveal what Deloris sees in those small details but also in questions she needed to ask. The meeting between the Jordans and Nike is a key moment that begins the film’s third act as it relates to what Nike wants for Jordan where Vaccaro talks to Michael about his future and what he will face as it raises a lot into the decisions they would make. A decision that Deloris Jordan would make that isn’t just game-changing but also would give Vaccaro a wider view on the future of sports. Overall, Affleck crafts a riveting and evocative film about a Nike talent scout who takes a big risk in nabbing a future icon to be the face of a new shoe line made exclusively for him.
Cinematographer Robert Richardson does brilliant work with the film’s cinematography with its low-key yet colorful look to play into the look of the 1980s with its emphasis on low-level lighting as well as maintaining some grainy colors for some of the daytime exteriors as it is a highlight of the film. Editor William Goldenberg does excellent work with the editing as it has some stylish montage-style cutting but also some straightforward cutting to play into the drama and some of the comedic moments in the film. Production designer Francois Audouy, along with supervising art director A. Todd Holland plus set decorators David Smith and Henry Somarriba, does amazing work with the look of the Nike building interiors including Knight’s office as well as the exterior of the Jordan family home. Costume designer Charlese Antoinette Jones does fantastic work as it plays into the style of the 80s clothing including some of the Nike tracksuits that Knight wears as cheesy as it looks.
Hair stylist Jessica Allen and makeup artist Kerrin Jackson does nice work with the look of the characters with Knight being the most notable with his hairdo as well as the look of Deloris Jordan. Special effects supervisor Mark R. Byers and visual effects supervisor Hansjeet Duggal do terrific work with the visual effects as it plays into some of the TV footage as well as some set-dressing for some of the exterior shots. Sound editor Susan Dawes, plus sound designers Ai-Ling Lee and Tobias Poppe, does superb work with the sound as it play into the atmosphere of the offices and phone calls as well as the sounds of cars and such to play into the atmosphere of the 1980s.
Music supervisor Andrea von Forester does incredible work with the film’s soundtrack in cultivating a slew of music from late 1970s/early 1980s that include music from Dire Straits, Bruce Springsteen, Run-DMC, Violent Femmes, Mike + the Mechanics, Dan Hartman, the Alan Parsons Project, the Clash, Cyndi Lauper, Harold Faltemeyer, His Name is Alive, Tangerine Dream with additional score music by Paul Haslinger from the group, Squeeze, Rufus with Chaka Khan, Night Ranger, ZZ Top, REO Speedwagon, Big Country, George Clinton, Grandmaster Flash with Melle Mel and the Furious 5, the Dazz Band, Miami Nights 1984, Chris Boardman, Zapp, Pino Donaggio, Thomas Newman, Alexandre Desplat, Andy Partridge and Harold Budd, Mark Isham, and Be Chi. It is a soundtrack that is filled with a lot of the music from that time and it is such a fun soundtrack to listen to.
The casting by Lindsay Graham and Mary Vernieu does wonderful work with the film’s ensemble cast as it feature some notable small roles from Jessica Green as Knight’s secretary Katrina Sainz, Asante Deshon as a 711 clerk that Vaccaro chats with often about basketball, Jay Mohr as the American Adidas executive John Fisher, Gustav Skarsgard and Barbara Sukowa as the Adidas sibling executives in Kathe and Horst Dassler, Julius Tennon as James R. Jordan Sr. and Damian Young as Michael Jordan. Matthew Maher is terrific as shoe designer Peter Moore as an eccentric man who is going through a mid-life crisis as he also figures out the kind of shoe that would be marketable but also be something beautiful. Marlon Wayans is fantastic as George Raveling as Jordan’s coach during the Olympics who converses with Vaccaro about Jordan but also reveals to have owned something historical as he gives Vaccaro some words of wisdom in approaching the Jordans.
Chris Messina is excellent as Jordan’s agent David Falk who came up with the name Air Jordan as someone who is quite volatile towards Vaccaro while trying to do everything in the best interest of the Jordans. Chris Tucker is brilliant as Howard White as a Nike executive who is reluctant to get Jordan due to the fact that Jordan doesn’t like Nike’s products as well as understanding the culture though he is won over by Vaccaro’s determination. Jason Bateman is amazing as marketing VP Rob Strasser as a man who is often baffled and frustrated by Vaccaro yet is won over as he realizes there’s a chance that this move to get Jordan could save his job and hopefully more time with his daughter. Ben Affleck is incredible as Nike CEO Phil Knight as a man that is trying to keep his company away from a board of directors while is also trying to run Nike in the hope that he doesn’t shut down their basketball division as Affleck brings a lot of humor to his character but also some grounded aspects that makes him someone who does care about Nike and its employees.
Viola Davis is phenomenal as Deloris Jordan as Michael Jordan’s mother who is surprised by Vaccaro’s visit as she is aware about her son being a hot prospect as she also understands what Converse and Adidas are offering yet she realizes that Nike is offering something more that she wants to ensure her son’s financial future. Finally, there’s Matt Damon in a tremendous leading performance as Sonny Vaccaro as this talent scout who is trying to find a new spokesman for Nike’s basketball shoes as he makes a discovery in Michael Jordan where he is aware of the risk he is taking but is also someone that is direct in his pursuit where Damon brings the everyman quality to his character from his physical appearance as well as the sense of humility he brings as it’s one of his finest performances to date.
Air is a spectacular film from Ben Affleck that features a great ensemble cast led by Affleck, Matt Damon, Viola Davis, Jason Bateman, Chris Tucker, Chris Messina, and Marlon Wayans. Along with its stylish yet nostalgic look, its study of a man taking a risk to capture an once-in-a-lifetime megastar, and a killer music soundtrack. It’s a film that isn’t just this fascinating sports film of sorts but also a film that shows the origin of one of the greatest shoe lines ever created. In the end, Air is a tremendous film from Ben Affleck.
Ben Affleck Films: (Gone Baby Gone) – The Town (2010 film) - Argo - (Live By Night)
© thevoid99 2023
Following events that lead to death of Superman (Henry Cavill), the film follows a group of superheroes who band together to retrieve a trio of powerful boxes before a godlike being gets it to bring in a much more menacing figure who plans on destroying the universe. It’s a story similar to the 2017 theatrical film version of the film but what screenwriter Chris Terrio and his co-writers in Zack Snyder and Will Beall presented isn’t just grander but also focuses on themes of loss, redemption, and identity. Notably as Bruce Wayne/Batman (Ben Affleck) feels guilty for not making peace with Superman sooner following their brief fight and their battle against Doomsday that lead to Superman’s death. That battle would have serious repercussions as it would awaken these three Mother boxes and also brought attention to dark forces that realize that the boxes are on Earth. Both Wayne and Diana Prince/Wonder Woman (Gal Gadot) become aware that there are these forces are coming as they would recruit Barry Allen/the Flash (Ezra Miller), Arthur Curry/Aquaman (Jason Momoa), and Victor Stone/Cyborg (Ray Fisher) to form a team.
What Terrio does with the story is flesh out more development in not just these individuals who would form the Justice League but also the motivations of its antagonist Steppenwolf (Ciaran Hinds) who is also seeking redemption for his master/uncle in a god-like being known as Darkseid (Ray Porter) who had found an anti-life equation on Earth hoping to destroy the universe. The script is broken into six chapters plus an epilogue as it help play into the development of characters as well as explore the themes of grief and redemption. For Bruce Wayne, forming the Justice League is him trying to redeem himself as his attempt to recruit Curry in its first chapter yet Curry is reluctant having felt more like an outsider by his own people despite a later plea from his mentor Nuidis Vuklo (Willem Dafoe) to take up the mantle as King of Atlantis knowing that something wrong is about to happen. The script also does more to showcase who Barry Allen and Victor Stone are as the former is a young man trying to find a job as his power is running faster than the speed of light while channeling electricity as he says yes to Wayne’s offer. The latter is a once-promising football player/student who was nearly killed in a car accident that also killed his mother as his father Silas (Joe Morton) had tried to save his son only for Victor to feel resentful as it’s why he turned down Prince’s offer to join the team.
Terrio’s script does have some exposition as the second part reveals about what Wayne and Prince have to face in Steppenwolf and the bigger threat that is Darkseid as the first two parts serve as the first act while the second act play into the next two parts of the series where it does flesh out the characters but also play into their motivations to fight but also take the time to know each other as both Allen and Stone find common ground in their own lack of direction in life while Curry gets the chance to cope with his own identity and be part of a team. The third act is about not just resurrecting Superman but also dealing with the stakes of what they have to face in Steppenwolf and the looming presence of Darkseid.
Snyder’s direction definitely aims for something grander while he chooses to present the film in a completely different tone than the theatrical version which had a look that emphasized on something overly stylized in its desaturated color. Snyder chooses to pull a back a bit on the visuals while the entire film in seven parts and a four-hour running time is given a different aspect ratio presentation of 1:33:1 that does manage to showcase a broader look and feel that felt lost in theatrical cut. Snyder’s compositions are straightforward when it comes to the non-action scenes as he does take the time to let shots linger for a bit and know when not to cut while the action scenes do feel more fluid while allowing the shots to linger as a way for the audience to understand what is going on. There also moments in some of the slow-motion shots such as Allen saving the life of a young woman who nearly dies in a car accident as Snyder goes into great detail of what had happened as it is told largely from Allen’s perspective when he’s running fast. There are also scenes where Snyder allows Stone to be his old self in a hyper-digital world to figure out a location or a scenario that showcases a man who is struggling with new identity and his old one but is trying to find acceptance in this new role.
The added element of profanity and gore does give the film a bigger edge as it play into the stakes and what the Justice League has to face as Darkseid is someone that is absolutely uncompromising in what he wants to do as he is giving Steppenwolf the chance to redeem himself following their loss in the past when Atlanteans, Amazonians, humans, and other warriors defeated Darkseid. The stakes are bigger and the violence is more intense as it does play into the brutality of what the Justice League is dealing with as it would also concern one of the mother boxes that Victor’s father Silas (Joe Morton) had been hiding as he had figure out what to do in case it falls into the wrong hands. It would play into its third act while there are also these brief moments that allude to a vision that Wayne had as Stone would see it as well which would relate to the film’s epilogue. The film’s epilogue is a mixed-bag where it does feel overstuffed and overwritten as it relates to these dark visions that Wayne and Stone had about a possible future as it relates to Darkseid and the Anti-Life equation where Wayne, Stone, and Allen team-up with Mera (Amber Heard) and two unlikely figures.
Yet, the epilogue also include an appearance from a mysterious figure who visits Wayne as it plays into the idea of hope which does carry into the members of the Justice League. Though it is a big flaw in the film, it doesn’t overshadow the journey into what Snyder wanted as it plays into these heroes working together and taking the time to get to know each other. He makes the most of the near-four hour running time as it does play into this story of redemption, unity, identity, and hope that would emerge in the most trying of times. Overall, Snyder crafts an exhilarating and riveting film about a group of superheroes who come together to fight off a powerful being who wants to destroy everything and everyone.
Cinematographer Fabian Wagner does excellent work with the film’s cinematography as the desaturated look of the theatrical cut is given a cleaner look as well as do a bit more with the dark colors and the film’s look as it does have some vibrancy to emphasize some of the dramatic and action scenes in the film. Editors David Brenner, Carlos M. Castillon, and Dody Dorn do amazing work with the editing as it definitely has a more fluid tone in establishing much of the action and drama without the need to do any fast-cutting or jump-cuts in order to let shots linger on for a bit while it also has these stylized slow-motion shots that doesn’t just help add a lot to the action but also in establishing what Allen sees when he is running super-fast. Production designer Patrick Tatapoulos, with art directors Beauchamp Fontaine, Samuel Leake, and Andrew Palmer, does brilliant work with the look of the Wayne estate and his lab as well as the lab that Silas Stone works at. Costume designer Michael Wilkinson does fantastic work with the costumes that include the look of Superman’s black suit as it does have this menacing look as a hero who isn’t here to play.
Special effects supervisor Mark Holt and visual effects supervisors John “D.J.” Des Jardin do terrific work with the visual effects as the look of Steppenwolf is given a cleaner and more menacing look while Darkseid does have this look of a figure that is out only for destruction as much of the special and visual effects add to the film’s visual look as it does play more like a world that is coming apart by Darkseid with the Justice League going into war. Sound designer Scott Hecker does superb work with the film’s sound in creating sound effects of how the Parademons and their weapons sound as well as the atmosphere in some of the action scenes as it help play into the stakes. The film’s music by Tom Holkenborg is incredible with this mixture of orchestral bombast and somber music pieces that includes some work co-written with Hans Zimmer including a variation of Wonder Woman’s theme as it has this air of urgency and knows when to appear while the soundtrack features covers of songs by Leonard Cohen and Tim Buckley as well as pieces from Nick Cave & the Bad Seeds and a traditional Icelandic folk song sung during Wayne’s meeting with Curry.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is tremendous as it feature cameo appearances from Marc McClure as a police officer Lois Lane often says hi to, Harry Lennix in a dual role as General Swanwick and a mysterious individual, Karen Bryson as Victor’s mother Elinor, Michael McElhatton and John Dagleish as a couple of terrorists Diana defeats early in the film, Sergi Constance as Zeus, David Thewlis as Ares, Robin Wright as Antiope, Billy Crudup as Barry’s father Henry, Kiersay Clemons as the young woman Barry saves in Iris West, Lisa Loven Kongsli as Diana’s aunt Menallipe, Ryan Zheng as a scientist in Ryan Choi who helps out Silas Stone, Jeremy Irons as Bruce Wayne’s longtime butler Alfred Pennyworth who helps out the Justice League, and the voice work of Russell Crowe and Kevin Costner in their respective roles as Jor-El and Jonathan Kent. The appearances of Jessie Eisenberg as Lex Luthor, Joe Manganiello as Deathstroke, and Jared Leto as the Joker for the film’s epilogue are fun to watch with Leto at least given something to do in his brief appearance. Amber Heard’s performance as the Atlantean princess Mera is not very good largely as Heard often speaks in a weird accent as it never sounds right.
Willem Dafoe and J.K. Simmons are terrific in their brief appearances in their respective roles as Curry’s mentor Nuidis Vuklo and Gotham police chief James Gordon as the former tries to get Curry to fight despite Curry’s issues with the Atlanteans while the latter helps the Justice League in locating where the parademons have taken some of Silas Stone’s staff hostage. Peter Guinness is superb in his small role as Darkseid’s enforcer DeSaad as someone who is reluctant to have Steppenwolf back in the fold due to Steppenwolf’s past failings while Ray Porter is fantastic in his brief role as the evil god Darkseid as a being who is the intense force of destruction. Connie Nielsen is excellent as Diana’s mother Hippolyta who fights off Steppenwolf and later sends a warning to Diana as she copes with what is at stake while Joe Morton is brilliant as Victor’s scientist father Silas as a man who admits to being an absentee father as he tried to save his son’s life while dealing with the power that is in one of the Mother boxes. Ciaran Hinds is amazing as Steppenwolf as he is given more to do to flesh his character more than in the theatrical version as it showcases his own motivations for redemption as well as be this massive threat to the world.
Amy Adams and Diane Lane are incredible in their respective roles as Lois Lane and Martha Kent as two women both in mourning and dealing with loss with the former just unable to return to work and the latter having lost her home as they both would eventually regain their way. Jason Momoa and Gal Gadot are phenomenal in their respective roles as Arthur Curry/Aquaman and Diana Prince/Wonder Woman as two heroes with the former being a reluctant half-Atlantean who is aware of what is happening but doesn’t want to be involved as he also copes with the prejudice of the Atlanteans while the latter is an Amazonian warrior who is also trying to restore some faith in people while aware that the stakes of what their facing is much greater than everyone realizes.
Ben Affleck and Henry Cavill are remarkable in their respective roles as Bruce Wayne/Batman and Kal-El/Clark Kent/Superman with the former being a man consumed with guilt as he decides to form a team and acting on faith and hope while the latter is the Kryptonian superhero who had died and then be resurrected as he copes with returning to the world and dealing with what is at stake. Finally, there’s the duo of Ezra Miller and Ray Fisher in sensational performance in their respective roles as Barry Allen/the Flash and Victor Stone/Cyborg as two young men with different powers as the former is someone trying to get his father out of prison and find his own role in the world while the latter is a man who was nearly killed in an accident and is given unlimited access to technology with Miller providing a bit of humor as Allen yet it is Fisher that is the heart and soul of the film as someone dealing with his identity and what he could do with the power he’s given.
Zack Snyder’s Justice League is a marvelous film that manages to live up to what a film about the Justice League superhero team needed to be. Thanks to its ensemble cast, bombastic music score, dazzling visuals, and its emphasis to explore themes of redemption, loss, and hope in a dark world. It is a film that doesn’t just have a lot of thrills and spectacular action scenes but it is also a film that also explore people trying to keep hope alive amidst a dark threat emerging. While it does have flaws with a four-hour running time that is demanding, it at least does give the audience time to invest in characters who are all trying to do good in a world that is facing impending doom. In the end, the director’s cut of Justice League is a remarkable film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) - Wonder Woman 1984 - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2021
Based on the characters from DC Comics, Justice League is the story of a group of superheroes who form a team to stop a major threat from unleashing havoc on Earth as well as secure a trio of boxes to stop this threat. Directed by Zack Snyder with additional direction by Joss Whedon and screenplay by Whedon and Chris Terrio from a story by Terrio and Snyder, the film is superhero movie that feature many revered superheroes who come together and save the world as they also deal with themselves. Starring Ben Affleck, Gal Gadot, Henry Cavill, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Diane Lane, Amber Heard, Jeremy Irons, Connie Nielsen, J.K. Simmons, and Ciaran Hinds as the voice of Steppenwolf. Justice League is a thrilling though underwhelming film from Zack Snyder.
The film is a simple story in which a group of superheroes team up to face a super threat as it all takes place on Earth following the death of Superman/Clark Kent (Henry Cavill) during a major battle. For Batman/Bruce Wayne (Ben Affleck), he is consumed with guilt for not doing enough to help Superman as he encounters a major threat forcing him to call upon Wonder Woman/Diana Prince (Gal Gadot) to help him recruit other figures with special abilities. The film’s screenplay by Chris Terrio with additional work from Joss Whedon does play into the stakes yet it doesn’t do enough to introduce the other characters that would be part of this team and information about these mysterious boxes that the Justice League has to get to stop this antagonist in Steppenwolf. The first act is about Wayne and Prince recruiting the other supers into the Justice League with the Flash/Barry Allen (Ezra Miller) immediately saying yes while Cyborg/Victor Stone (Ray Fisher) and Aquaman/Arthur Curry (Jason Momoa) initially decline until Steppenwolf get involved with their personal lives.
The boxes that are known as the Mother Boxes are all sources of power that Steppenwolf wants to use to destroy the world but he had been thwarted many centuries ago by an alliance of men, Atlanteans, Olympian Gods, the Green Lantern Corps, and Amazonians who agreed to hide the boxes from Steppenwolf. The character of Steppenwolf is a villain that is underwritten due to the fact that he’s not compelling and is never really fleshed out. The script also doesn’t do much Stone as there is little to know about his origin as a kid who survived a car accident only for his father Silas (Joe Morton) to have one of the three boxes to use to create a new cyborg body that Stone would use to retrieve all sorts of information. While Allen and Curry do get a bit of back story, they’re also hampered by the script’s shortcomings due to the fact that they never get a proper introduction though there’s brief mention of why Allen can run so fast and emit electricity.
Zack Snyder’s direction is definitely lavish with some dream-like compositions to play into a world coping with loss as well as a growing sense of hopelessness and danger. Shot mainly at the Warner Brothers Studios in Leavesden in Britain with additional locations around London, Los Angeles, Chicago, parts of Scotland, and Iceland. Snyder does establish a world on the brink of chaos and despair as he does create some unique wide shots for some scenes including Wayne’s meeting with Curry in an attempt to get him on board. There are also some close-ups and medium shots in the film to play into the characters interacting with one another as Snyder does know where to put a few moments of humor in the film as well as giving audiences a break for the action. It’s among some of the things that Snyder and his replacement in Joss Whedon would succeed in doing but it’s not enough to make the film more engaging than it needed to be.
Among these issues is that there is this feeling that there’s a longer film in there somewhere as Whedon had to make some compromises to make it less messy but it undercuts some of the moments with the characters as Stone isn’t given a lot to do in how he became Cyborg while the sequence about the origin of Steppenwolf and the three boxes seem to feel like there was a longer version presented. Then there’s many of the visual set pieces as it relates to the action where Snyder and Whedon try to create so much action and visual textures yet the emphasis on visual effects do overwhelm the action including the film’s climax where the Justice League faces off against Steppenwolf and his army. It also has these clunky moments where they try to do so much but ends up being overkill in moments where it wants to be funny and exciting with moments that are serious. Overall, Snyder and Whedon crafts a worthwhile but lackluster film about a group of superheroes coming together to save the world.
Cinematographer Fabian Wagner does some fine work with the cinematography in terms of setting the mood for some scenes at night with its lighting although the reliance on de-saturated colors is overkill as it doesn’t do enough to make the film visually vibrant in favor of grittiness that doesn’t entirely work. Editors David Brenner, Richard Pearson, and Martin Walsh do some good work in the editing in creating some fast-cuts for some of the action though there’s moments where there is too much fast-cutting where it doesn’t do enough to establish what is going on in these action sequences. Production designer Patrick Tatpoulos, with set decorator Dominic Capron and senior art director Matthew Gray, does excellent work with the look of the Batcave where Wayne does much of his work and serves as a temporary base for the Justice League as well as the look of the place where Steppenwolf wants to use the Mother Boxes. Costume designer Michael Wilkinson does amazing work with the costumes in the look of the characters as well as the casual clothes they would wear when they’re not working as superheroes.
Makeup designer Victoria Down does nice work with the look of the characters from the look of Cyborg as well as the tattoos on Curry. Special effects supervisor Mark Holt and visual effects supervisor John “D.J.” Des Jardin do some terrific work on the visual effects for the design of the monsters though its usage as set-dressing isn’t inspired while the look of Steppenwolf is underwhelming as well as the awkward look of Clark Kent when he smiles. Sound designer Chuck Michael does superb work with the sound in the way the aliens sound as well as some of the weapons and the layer of sounds in the film’s climax. The film’s music by Danny Elfman is wonderful for its orchestral bombast that help play into the action and suspense along with a few low-key pieces for the non-action scenes while music supervisor Karen Elliott does do some OK work on the soundtrack as it includes music from the White Stripes as well as covers of songs by Sigrid doing Leonard Cohen’s Everybody Knows and Gary Clark with Junkie XL doing the Beatles’ Come Together.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is great as it feature some notable small roles and appearances from Billy Crudup as Allen’s father Henry, Joe Morton as Stone’s father Silas, Amber Heard as the Atlantean Mera who knows Curry’s mother, Connie Nielsen as Prince’s mother Queen Hippolyta who would send her daughter a signal about Steppenwolf, Michael McElhatton as a terrorist Diana defeats early in the film, Diane Lane as Kent’s adoptive mother Martha Kent, and J.K. Simmons as Gotham police commissioner James Gordon who briefs members of the Justice League about the kidnappings at Gotham. Amy Adams is fantastic as Lois Lane as the reporter for the Daily Planet and Clark Kent’s love interest who copes with not just loss but also the sense of hopelessness despite the efforts of the Justice League. Ciaran Hinds is OK as Steppenwolf as he provides the voice of this menacing figure though it’s a character that is severely underwritten and not really given much to do but go after the Mother Boxes and kill good people.
Henry Cavill is good as Clark Kent/Superman as he’s first seen in an Instagram video as the superhero where he would later be part of a plan to be revived as Cavill has his moments despite some bad visual effects on his face. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/assistant who is the film’s conscience of sorts as someone who helps the Justice League with information as well as be aware of what is at stake. Ray Fisher is alright as Victor Stone/Cyborg as a former athlete who survived an accident that would have him sport a machine-like body as he deals with his abilities and being alive as Fisher has his moments though he’s not given a lot to do. Jason Momoa is superb as Arthur Curry/Aquaman as a half-Atlantean/half-human man that has the ability to control water and such as he is reluctant to join the Justice League until Atlantis was attacked prompting him to join as he does provide some funny moments.
Ezra Miller is brilliant as Barry Allen/the Flash as a young superhero who can run very fast and emit electricity as he is an admitted loner that has a hard time trying to get friends as he is also a fanboy of sorts in working with Batman and Wonder Woman as he is fun to watch. Gal Gadot is amazing as Diana Prince/Wonder Woman as the Amazonian princess who learns about Steppenwolf’s return as she decides to help Wayne out in forming the Justice League while dealing with her own reluctance to help out humanity. Finally, there’s Ben Affleck in an incredible performance as Bruce Wayne/Batman as the vigilante who decides to form a team as a way to make amends for his anger towards Superman while being aware of this threat as knows he’s been in too many battles but is hoping to save the world.
Justice League is a horrendous film from Zack Snyder and Joss Whedon. Despite its great cast, some nice action set pieces, and bits of humor, it’s a film that falls short in what it needed to be as this epic superhero cross-over film with high stakes. Especially as it rely too much on visual effects and spectacles that don’t really do much for the story that needed to flesh out the characters more. In the end, Justice League is a drab and lackluster film from Zack Snyder and Joss Whedon.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
Joss Whedon Films: Serenity - The Avengers (2012 film) - Much Ado About Nothing (2012 film) - The Avengers: Age of Ultron
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Aquaman – Shazam! – Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2018
Based on the characters from DC Comics, Batman v Superman: Dawn of Justice is about two superheroes who both go into conflict with each other unaware that a mogul is stirring the pot from underneath to get them to kill each other. Directed by Zack Snyder and screenplay by David S. Goyer and Chris Terrio, the film is a sequel to 2013’s Man of Steel where Superman copes with being a polarizing figure in the world with Batman being uneasy with Superman’s action from that film as Superman/Clark Kent/Kal-El is once again played by Henry Cavill and Batman/Bruce Wayne is played by Ben Affleck. Also starring Amy Adams, Jesse Eisenberg, Laurence Fishburne, Diane Lane, Jeremy Irons, Holly Hunter, and Gal Gadot as Diana Prince/Wonder Woman. Batman v Superman: Dawn of Justice is an enthralling but messy film from Zack Snyder.
The film revolves around a growing conflict between two superheroes who both want to do good but have different ideas of what to do with it as they would eventually have a showdown unaware that a mogul is trying to get them to fight each other for his own gain. It’s a film that plays into not just actions but also its consequences where it begins with the climatic showdown between Superman and Zod at Gotham from Man of Steel but it is seen from the perspective of Bruce Wayne who would watch thousands of innocent people killed including some of his employees at a building he owns with one of them losing his legs. Superman not only copes with being a polarizing figure trying to do good though innocent people would be killed in these attempts as members of the United States government want to question his intentions. Still, Clark Kent would question the intentions of Batman who had been doing vigilante work on his own brand of justice where even the people of Gotham are afraid of him.
The film’s screenplay by David S. Goyer and Chris Terrio definitely play not into this conflict between these two men but also questioning themselves where Wayne and several others aren’t sure if Superman is really trying to do good as there are those who are also willing to discredit Superman. The one person that is doing that and more as well as stirring the pot between Batman and Superman is this mogul in Lex Luthor (Jesse Eisenberg). While Wayne’s longtime butler Alfred Pennyworth (Jeremy Irons) believe that Superman isn’t the enemy and Kent’s adoptive mother Martha (Diane Lane) tries to assure her son to do good no matter all of the bad that is happening. Even Kent’s girlfriend/fellow journalist Lois Lane (Amy Adams) tries to assure Clark that he is doing good while she would do her own investigation into a bullet shell she found in Africa during an assignment that went wrong where Superman saved her but he would be accused of killing several people.
While the film’s script does establish the characters including their motivation as well as their own suspicions. The narrative however is a total mess due to the fact that there is so much that is going on as well as a lot of exposition of how Luthor views the world and this subplot that relates to these other individuals with superpowers that Wayne would learn. One of which would reveal to be Wonder Woman who would be integral to the film’s climax as she brings some weight into unveiling the truth of what is happening and who is the real enemy. Yet, the journey for Wonder Woman to be involved is a clunky one in the script as other aspects that relate to the suspicion Wayne and Kent have toward each other as well as the government’s suspicion on Superman aren’t fully realized.
Zack Snyder’s direction definitely has a lot of stylistic elements not just in the conventional aspects of bombastic action films but it does have moments where he does break away from the action. Shot on various locations in Detroit, Chicago, and parts of New Mexico as Africa, the film does play into a world that is uncertain about what is going to happen with Superman being seen as a savior for some but others see him as a false idol. Snyder does use a lot of wide shots to establish some of the locations as well as some medium shots to play into the vastness of the crowds along with some of the conversations. There are some close-ups where Snyder does play into some of the intrigue such as a meeting between Wayne and Diana Prince at a museum where the former is intrigued by the latter. It’s among one of the highlights of the film that shows Snyder just restraining himself a bit as well in his slow-motion action scenes.
The direction does have moment that feature moments that are surreal such as a few dream sequences of what Wayne is dealing with as it relates to the death of his parents and the idea of Superman as a threat. There are moments that drive the story such as Superman attending the U.S. Senate Committee in the hope that he can announce his intentions which would lead to a key plot point in the film. It’s just that Snyder tends to draw things out while also trying to find time to introduce other characters that is to be part of something bigger. It is part of the reason for the film’s uneven tone where there is this story about Superman going against Batman but also wanting to tell the story of these two men working together for something good. The film’s climax where the two team up with Wonder Woman to face a monster called Doomsday is quite thrilling but it is followed by a more drawn-out ending that goes a little overboard. Overall, Snyder does create an exhilarating yet flawed film about two superheroes being manipulated by a tyrannical mogul who wants them both dead by killing each other.
Cinematographer Larry Fong does excellent work with the film‘s stylish cinematography with its usage of de-saturated colors and some low-key grainy camera work for some of the nighttime interiors as well as the usage of blue and sepia for some of the daytime exteriors. Editor David Brenner does nice work with the editing as it does go into the typical fast-cutting style that is expected in action films though it does allow each scene to establish what is going on while it also has some stylish jump-cuts. Production designer Patrick Tatapoulos, with set decorator Carolyn “Cal” Loucks and supervising art director Troy Sizemore, does brilliant work with the look of the Luthor estate as well as the home and land of Bruce Wayne along with the secret room where he does his own investigation with Alfred. Costume designer Michael Wilkinson does fantastic work with the design of the costumes that Superman, Batman, and Wonder Woman wear as well as those gorgeous dresses that Prince wears in social gatherings.
Visual effects supervisor John “D.J.“ Des Jardin does amazing work with the visual effects as it play into some of the design of the cities and the powers of Superman as well as in the look of the monster that is Doomsday. Sound designers Chuck Michael and Jussi Tegelman, with sound editor Scott Hecker, do superb work with the sound with the layer of sound effects and the way Doomsday sound along with how some of the locations are presented with the sound. The film’s music by Tom Holkenberg aka Junkie XL and Hans Zimmer is wonderful for its mixture of bombastic orchestral score provided by Zimmer with some of Holkenberg‘s approach to rock and electronic power as it has some amazing themes including the one for Wonder Woman‘s arrival.
The casting by Jo Edna Boldin, Kristy Carlson, and Lora Kennedy is great as it feature some notable small role and appearances from news reporters Soledad O’Brien, Anderson Cooper, and Charlie Rose as themselves along with the famed astrophysicist Neil deGrasse Tyson as himself. Other small roles from Jeffrey Dean Morgan and Lauren Cohan as Bruce’s parents in the flashback scene of their murder, Michael Cassidy as the young Bruce, Mark Edward Taylor as an executive at Wayne Enterprises who would be killed in the film’s opening sequence, Christina Wren and Harry Lennix in their respective roles as Major Farris and Secretary Swanwick who are among the few that believe that Superman was set-up in Africa, Kevin Costner in a cameo appearance as Clark’s adoptive father Jonathan Kent, and Robin Atkin Downes as performance-capture model of the monster that is Doomsday.
Other noteworthy small roles include Scoot McNairy as a former Wayne Enterprises employee Wallace Keefe who has a legit grudge towards Superman, Tao Okamoto as Luthor’s assistant Mercy Graves, and Callan Mulvey as the Russian terrorist Anatoli Knyazev whom Wayne suspects to have some affiliation with Luthor as he would also be involved in setting up Superman for an incident in Africa. Holly Hunter is terrific as Senator June Finch as a woman that wants to question Superman to see if his intentions are good while becoming uneasy about Luthor and his obsession towards Superman. Diane Lane is fantastic as Martha Kent as Clark’s adoptive mother who tries to assure her son about his role in the world as she would also become a key factor in the climax into what Superman has to fight for.
Laurence Fishburne is superb as Daily Planet editor-in-chief Perry White who is frustrated with Kent’s frequent absences and the compromises he had to make to keep his paper afloat. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/guardian who is kind of the conscience of sorts while getting to say some funny lines as well as have Wayne see reason about what Superman is doing. Amy Adams is amazing as Lois Lane as Kent’s colleague/lover who is trying to see what really happened in Africa as well as try to help Kent see that he is someone trying to do good. Jesse Eisenberg is brilliant as Lex Luthor as a mogul who despises Superman and will do anything to destroy him where Eisenberg has this darkly-comic approach to the character that is quite offbeat but fun to watch.
In the role of Diana Prince/Wonder Woman, Gal Gadot is phenomenal as the Amazonian warrior who disguises herself as an antiques dealer who doesn’t appear much but her scenes do provide some importance while showing what she can do when she is Wonder Woman when she joins the fight against Doomsday as she steals the show. Henry Cavill is marvelous as Clark Kent/Kal-El/Superman as someone who is struggling with his role as a superhero while dealing with its consequences and expectations where he also finds himself in conflict with Batman over different ideas of doing good. Finally, there’s Ben Affleck in a remarkable performance as Bruce Wayne/Batman as a vigilante who brings fear to his enemies as he wonders if Superman is really on Earth to bring chaos as well as have suspicion towards Luthor where he makes a discovery about others who might join in the fight for good where Affleck really brings in the sense of ingenuity and awesomeness that is Batman.
Despite its flaws due to a messy script and some drawn-out storylines including its ending, Batman v Superman: Dawn of Justice is still a terrific film from Zack Snyder. Featuring a great cast, a fantastic score, dazzling visual effects, and an intriguing yet flawed premise, it is a superhero film that is exciting while setting the stage for something bigger to come. In the end, Batman v Superman: Dawn of Justice is a stellar film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) - 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) - Sucker Punch - Man of Steel
DC Extended Universe: Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - The Lego Batman Movie - The Batman (2022 film)
Superman Films: (Superman) - (Superman II) - (Superman III) - (Superman IV: The Quest for Peace) - (Superman Returns) - (Superman II: The Richard Donner’s Cut) - Superman (2025 film)
© thevoid99 2016
Written and directed by Richard Linklater, Dazed & Confused is the story of a group of high school kids celebrating the last day of school in the summer of 1976 as they deal with what is ahead in the course of an entire day. The film is an exploration of kids getting ready for the summer where some are ready to embark their final year in high school with some ready to become freshmen and deal with the hell that is high school. Starring Jason London, Matthew McConaughey, Joey Lauren Adams, Ben Affleck, Milla Jovovich, Cole Hauser, Nicky Katt, Parker Posey, Wiley Wiggins, Rory Cochrane, and Adam Goldberg. Dazed & Confused is a wild and rapturous film from Richard Linklater.
Set on the last day of school in a small Texan town in 1976, the film is a simple story about the day in the life of a group of kids who are about to become seniors later in the fall as some would take part in hazing kids who would become freshman as they spend the entire day partying and thinking about what will happen. It’s a film that has a simple story with a lot of subplots where kids who are to become freshman deal with not just hazing but also what will happen in high school. Some would deal with partying and seeing what will happen while one of them in a high school quarterback finds himself needing to sign a piece of paper to prohibit him from using drugs and alcohol from his coach.
For that character in Randall “Pink” Floyd (Jason London), he refuses to as he just wants to live freely while some friends wonder why he won’t do it while some say he should stand up for his own beliefs. He would also help out a freshman in Mitch Kramer (Wiley Wiggins) whose sister Jodi (Michelle Burke) is about to become a senior as she would help out a freshman in Sabrina (Christin Hinojosa) in understanding what would happen in high school. Mitch and Sabrina would endure brutal forms of hazing with the former being targeted by this asshole senior in O’Bannion (Ben Affleck) who has failed to graduate as he takes pleasure in hazing seniors by beating them in the ass with a paddle. The film’s third act would be set in a keg party as it involves a lot of characters where there’s some fights but also discussions on what will happen after high school.
Richard Linklater’s direction is quite simple for the way he presents 1976 Texas as it is shot in areas near Austin, Texas to express a world that is quite vibrant but also not do too much to make it feel like a period film. Much of the compositions are simple but also has this sense of energy in how they’re shot and the scenes that are created. Notably the way the young girls are being hazed by these older girls as they would be humiliated in such a way that is comical but also horrific. The usage of close-ups and medium shots help play into some of the intimacy but also in some of these raucous moments that happen in the film as it’s presented with some humor. The direction does have a few wide shots but it is mostly about the parties and characters just talking with one another. Even as there’s a few fights and moments that play into the world of youth as they all deal with the emergence of adulthood. Overall, Linklater creates an exhilarating and heartfelt film about a group of kids getting ready for the summer on their last day of school.
Cinematographer Lee Daniel does excellent work with the film‘s cinematography as it‘s largely straightforward with some naturalistic shots for much of the film‘s daytime scenes with some lighting to play into the interior/exterior scenes set at night. Editor Sandra Adair does amazing work with the editing as it is largely straightforward with some rhythmic cuts to play into the humor as well as some of the action with a few slow-motion cuts. Production designer John Frick, with set decorator Deborah Pastor and art director Jenny C. Patrick, do fantastic work with the look of the pool hall some of the people hang out at as well as the school halls and some of the props that are created to recreate the world of the 1970s.
Costume designer Katherine Dover does brilliant work with the film‘s costumes as it plays into the look of the 70s from the ragged look of the stoners to more stylish look of the shirts and bellbottoms some of the characters wear as well as the nightmare that was the leisure suit. Sound editors Sandy Gendler and Val Kuklowsky do nice work with the sound as it is very natural and straightforward while providing some mixing and edits in some of the parties that happen throughout the film. Music supervisor Harry Garfield does superb work with film’s music soundtrack as it features a lot of the music that was playing during that time from acts such as Aerosmith, Sweet, KISS, Alice Cooper, the Runaways, Dr. John, Black Oak Arkansas, Seals & Croft, Lynyrd Skynyrd, Black Sabbath, War, Nazareth, Ted Nugent, ZZ Top, Edgar Winter Group, the Steve Miller Band, Bob Dylan, and Peter Frampton.
The casting by Don Phillips is incredible for the large ensemble that is created for the film as it would include many actors who would later become big stars in their own right. Notable small roles include Kim Krizan as a history teacher, Mark Vandermeulen and Jeremy Fox as a couple of freshmen kids who are trying to avoid being hazed, Deena Martin and Christine Harnos as a couple of senior friends of Jodi, Catherine Avril Morris as a sophomore who takes a liking to Mitch, Esteban Powell as a freshman friend of Mitch who has been targeted by O’Bannion, and Jason O. Smith as a friend of Pink who also takes part in the hazing but is kinder to the freshmen. Other noteworthy small roles include Joey Lauren Adams as Pink’s girlfriend Simone, Nicky Katt as a tough guy in Clint, Cole Hauser as fellow football player Benny O’Donnell, Sasha Jenson as the comical football player Don Dawson, Shawn Andrews as a stoner friend of Pink in Kevin whose plan for a house party falters, and Milla Jovovich as Kevin’s girlfriend Michelle who is kind of the silent hanger-on.
Ben Affleck and Parker Posey are fantastic in their respective roles as the bullies O’Bannion and Darla with the former being a complete asshole who takes pleasure in beating up boys while the latter is on a power trip to humiliate young freshmen girls. Adam Goldberg, Anthony Rapp, and Marissa Ribisi are excellent in their respective roles as the intellectuals Mike, Tony, and Cynthia as they often observe everything around them while daring to ask big questions about their future. Christin Hinojosa and Wiley Wiggins are brilliant in their roles as the freshmen Sabrina and Mitch as two young kids who are about to enter high school as they encounter partying but also some of the dark aspects of high school.
Michelle Burke is wonderful as Jodi as Mitch’s older sister who has some feelings for Pink while trying to help Sabrina get ready for the realities of high school. Rory Cochrane is superb as the stoner Ron Slater as this comic relief that likes to smoke weed and do some funny shit. Jason London is amazing as Randall “Pink” Floyd as a football star who finds himself compromised by his coach about his lifestyle as he begins to think about his own life. Finally, there’s Matthew McConaughey in a phenomenal performance as Wooderson as a guy in his early 20s who hangs out with the guys as he is kind of a philosopher while being the coolest motherfucker in the room.
Dazed & Confused is a spectacular film from Richard Linklater. Featuring a great cast, a fun soundtrack, and many different stories set in the span of an entire day. It’s a film that isn’t just funny but also allow to ask big questions about growing up and living in the moment. In the end, Dazed & Confused is a magnificent film from Richard Linklater.
Richard Linklater Films: It's Impossible to Learn to Plow by Reading Books - Slacker - Before Sunrise - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - Before Sunset - The Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie - Before Midnight - Boyhood - Everybody Wants Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2
© thevoid99 2016
Directed by David Fincher and written by Gillian Flynn that is based on her novel, Gone Girl is the story of a man who becomes part of a media circus as he is a suspect in the disappearance of his wife. The film is an exploration into the world of marriage as well as revelations about that world where a man is being questioned about her whereabouts. Starring Ben Affleck, Rosamund Pike, Carrie Coon, Kim Dickens, Tyler Perry, Patrick Fugit, Emily Ratajkowski, Missi Pyle, Scoot McNairy, and Neil Patrick Harris. Gone Girl is a chilling and evocative film from David Fincher.
It’s the day of the fifth anniversary of a couple when a husband learns his wife has suddenly disappeared as he is later questioned into her whereabouts. That is sort of what the film is about as it’s really more of a study of marriage as it’s being viewed under a microscope by the media, a small community in Missouri, and the authorities. It’s a story that is told from many different perspectives as the life of Nick Dunne (Ben Affleck) starts to unravel due to not just his behavior in having to do with his wife’s disappearance but also about himself. Especially as it relates to the events in how Nick met Amy Elliot (Rosamund Pike) where they fell in love and got married until their marriage unraveled due to financial issues as well as the move from New York City to a small town in Missouri so that Nick could take care of his ailing mother. Once things about Nick’s life begins to emerge in the wake of the search for Amy, a media circus would come in to pick apart every piece of his life.
Gillian Flynn’s screenplay isn’t just this very intriguing study of marriage but also into a world where it plays into the ways a marriage can disintegrate as it’s told from not just Nick’s perspective but also through Amy from her own diary. While much of the mystery and speculation covers much of the film’s first act and parts of second act where it plays into any kind of suspicion of whether Nick had something to do with Amy’s disappearance. Especially as Nick is known to be frustrated with the marriage as it was later revealed that he was having an affair with a college student (Emily Ratajkowski) which only made him look worse in front of the media and the authorities led by Detective Rhonda Boney (Kim Dickens) and her partner Officer Jim Gilpin (Patrick Fugit). With only his twin sister Margo (Carrie Coon) on his side where they get the services of notorious defense attorney Tanner Bolt (Tyler Perry).
Much of the story’s approach to knowing what is going on showcases a world where many questions come into play about not just if Nick really did anything to Amy but also what might have drove Amy to antagonize Nick. While the script does manage to make the film be about Nick and Amy, the supporting characters in Boney, Margo, and Bolt are very compelling as Boney is just someone who is an authority figure that wants to give Nick a fair chance while Bolt is a complex individual who may be involved in Nick’s case for publicity but knows how to help him amidst the storm of controversy from the media. Then there’s Margo as she is the film’s conscience as she is someone who admittedly never liked Amy as she also scolds Nick for his affair yet is willing to defend him despite all of the shit they would go through. Adding to the genius of the film’s script is its dialogue where a lot of it has a sense of rhythm where it can play into many clues but also has some moments that are very funny which gives the film a sense of black comedy to something that is already dark.
David Fincher’s direction is truly intoxicating in the way he can create something set in a mundane small town in Missouri yet make it feel like it’s a world where there is a lot to be said. Not just in some of the compositions he creates but also in its mood where it starts off like any typical day where Nick takes out the garbage in suburbia and then drives to a bar to chat with his sister on the day of his fifth wedding anniversary. Then the film takes on a very dark mood while it gets inter-cut with these flashbacks of how Nick and Amy met where the latter is the daughter of a couple of authors who has created a series of children’s books based on Amy. Much of these flashbacks in New York City showcased a time where they were happy and quite playful but once the money starts to go away and they were forced to move to Missouri where Nick could be close to his family. Things do get dark as much of Fincher’s approach to drama does become intensified with his approach to intimate compositions and framing devices.
Once the film progresses into the second and third act, there is an element of satire in the way Fincher explores the world of the media as it showcases his offbeat approach to dark humor. Notably as such media figures like Ellen Abbott (Missi Pyle) is played for laughs as someone who has this belief that she is a crusader and is willing to smear Nick’s name without any real evidence. There’s also moments where Fincher manages to use the humor as it plays into how Nick had to present himself to the media. Still, there are elements where it is very dark as it relates to Amy’s disappearance as well as contents in her diary as it raises questions into her own past.
Especially with a former boyfriend named Desi Collings (Neil Patrick Harris) whom Amy had filed a restraining order against as he had been stalking her. It adds to the many ambiguities about the truth where it becomes more complicated as the film progresses towards its finale where it returns to that exploration into marriage. A marriage that raised many questions into why Nick and Amy even got married in the first place as the question about marriage starts to come into play. Overall, Fincher creates a very brooding yet intoxicating film about a man dealing with the disappearance of his wife.
Cinematographer Jeff Cronenweth does brilliant work with the film‘s cinematography with its unique approach to lighting as well as creating something that feels a bit discolored in its look for many of the film‘s locations as well as the way lights are presented in certain scenes as well as the TV footage. Editor Kirk Baxter does amazing work with the editing with its approach to jump-cuts and montages that plays off into the rhythms of suspense as well as some dramatic montages and some of the film‘s funnier moments. Production designer Donald Graham Burt, with supervising art director Sue Chan and set decorators Douglas A. Mowat and Gena Vasquez, does fantastic work with the look of the suburban home that Nick and Amy lives as well as the chaotic look of his father‘s home as well as the home of Margo.
Costume designer Trish Summerville does nice work with the costumes from the stylish underwear that Amy wears as well as the suits that Nick would wear in his interviews as much of it is casual in playing to the other characters. Sound designer Ren Klyce does excellent work with the sound to create some effective sound work to play into the air of suspense as well as scenes where dialogue is inaudible as well as in some of the bits of music on location that is played. The film’s music by Trent Reznor and Atticus Ross is incredible as it’s one of the film’s highlights as it’s approach to dark ambient music with dissonant guitars and electronics add to some of its melancholic tone along with some somber pieces driven by piano and ambient textures as it’s one of their best film scores.
The casting by Laray Mayfield is great as it features some notable small performances from Kathleen Rose Perkins as a search volunteer who takes a selfie with Nick, Boyd Holbrook and Lola Kirke as a young couple Amy meets in her days away from New York City, Cyd Strittmatter as Nick and Margo’s ailing mother, Leonard Kelly-Young as Nick and Margo’s elderly father, David Clennon and Lisa Banes as Amy’s parents who take the lead to find Amy as they would confront Nick about the marriage, Sela Ward as the TV host Sharon Scheiber who interviews Nick in his attempt to prove his innocence, Emily Ratajkowski as the young college student in whom Nick had an affair with, and Scoot McNairy as a former boyfriend of Amy’s whom Nick meets where they share some surprising revelations.
Missi Pyle is very funny as the sleazy TV host Ellen Abbott who tries to discredit Nick’s name and devolve herself into tabloid TV while Casey Wilson is wonderful as Nick and Amy’s dim-witted neighbor Noelle who claims to be Amy’s friend as she would provide a key aspect to the investigation. Patrick Fugit is excellent as Officer Jim Gilpin who assists Boney in the investigation as he gets to say some funny lines throughout the film as he’s suspicious of Nick. Kim Dickens is fantastic as Detective Rhonda Boney who leads the investigation as she would uncover some key clues about the case such as credit card bills and Amy’s diary while wondering about Amy and who she is. Neil Patrick Harris is superb as Amy’s former boyfriend Desi Collings whom Nick wanted to talk to as he’s a very strange figure that implies a sense of creepiness about the way he is around Amy which would explain the restraining order.
Tyler Perry is amazing as Tanner Bolt as this defense attorney who is a master in making his clients look good as Perry brings in a lot of charisma and charm as well in how to instruct Nick in doing interviews. Carrie Coon is brilliant as Nick’s twin sister Margo who is the film’s conscious as she tries to prove Nick’s innocence despite some of his flaws while she is also a target of the media where she is accused of having an incestuous relationship with her brother among other many lies. Ben Affleck is phenomenal as Nick Dunne as a writer turned community college professor who deals with the accusations of his wife’s appearance as well as realizing in how much of a fuck-up he is in his marriage as it’s a role where Affleck plays the cuckold as well as someone who can look good for the camera. Finally, there’s Rosamund Pike in an outstanding performance as Amy Elliott as this woman who had everything until financial difficulties has her becoming troubled in her marriage as it’s a role full of complexities and many layers that are just astonishing to watch as it’s a real break-out role for the actress.
Gone Girl is a tremendously dark yet powerful film from David Fincher that features amazing performances from Ben Affleck and Rosamund Pike. Along with a strong supporting cast that includes Tyler Perry, Carrie Coon, and Kim Dickens plus some great technical work and an incredible score from Trent Reznor and Atticus Ross. The film is definitely a suspense-drama that is full of intricate layers and compelling themes on marriage thanks in part to its writer Gillian Flynn. In the end, Gone Girl is a magnificent film from David Fincher.
David Fincher Films: Alien 3 - Se7en - The Game - Fight Club - Panic Room - Zodiac - The Curious Case of Benjamin Button - The Social Network - The Girl with the Dragon Tattoo (2011 film)
Related: The 15 Essential Videos of David Fincher - The Auteurs #61: David Fincher
© thevoid99 2014
Based on the book The Master of Disguise by Tony Mendez and Joshuah Bearman’s article The Great Escape, Argo is the story of a CIA operative who leads a rescue of six American diplomats who are hiding at the home of a Canadian ambassador during the 1979 Iranian Revolution. Directed by Ben Affleck and screenplay by Chris Terrio, the film is about how a CIA operative, a Hollywood makeup artist, and a film producer create a fake movie in order to use it as a disguise to get Americans out of Iran during a tumultuous period. Starring Ben Affleck, Bryan Cranston, Alan Arkin, and John Goodman. Argo is a thrilling yet engaging film from Ben Affleck.
Set during the Iranian Revolution of 1979 where the people of Iran took over the American embassy and held many Americans hostage for 444 days. The film is about six American diplomats who were able to escape during the fall of the embassy where they hid at the home of the Canadian ambassador. It would take the actions of a CIA operative in Tony Mendez (Ben Affleck) who decides to create a fake movie with help of a famed makeup artist John Chambers (John Goodman) and film producer Lester Siegel (Alan Arkin). There, Mendez would create a ruse so that he would get the six Americans out of the country though they’re aware that they’re under surveillance from the Iranian government. It’s a film that plays into this true story that is known as Canadian Caper though there are things that screenwriter Chris Terrio does to play with some of the true events in order to make the story more dramatic.
Despite some of the dramatic liberties that was taken to tell the story, Terrio does manage to make the screenplay not just be some suspense film about getting six Americans out of Iran by having them pretend to be a Canadian film crew. There’s also some humor about how Mendez goes into Hollywood to try and find a story to sell to the Iranian government as if it would be a movie that the country would approve. They would find it in the form of a cheesy sci-fi adventure called Argo where the film’s title would have a certain punch line that is often said “Argo fuck yourself”. It’s among one of the highlights of the film that helps balance a lot of the suspense and intrigue that goes on where the narrative has a straightforward structure where it moves back-and-forth to Mendez’ time in Istanbul and Iran as well as what is happening in Washington D.C.
The script doesn’t just succeed in its narrative and approach to suspense but also in the characters themselves as Tony Mendez is this CIA operative who knows a lot more than some of his superiors about how to get people out as he is also someone with a wife and son whom he doesn’t see often but always talks to. When he presents his ideas to his superiors, they’re skeptical but realize there’s very little options as the people he’s trying to get out of the country are also wary of Mendez’s idea. Even as there’s people in the American embassy trying to find pictures of the missing six through hordes of shredded paper while there’s an Iranian maid named Sahar (Sheila Vand) who is suspicious about them as she works for the Canadian ambassador Ken Taylor (Victor Garber). Still, it all plays to the fact that these Americans have to pretend to be Canadians and play that part before the Iranian government find out about their true identities.
Ben Affleck’s direction is quite straightforward for much of the presentation though he opens the film with a comic-book like presentation about Iran’s troubled history with the U.S. that led to the 1979 Iranian Revolution with a mixture of old news footage and pictures of these times. Notably as he also mixes footage of the embassy takeover on that day with what is happening inside as it becomes chaotic as the film then shifts into Mendez coming into the picture when the CIA is running out of options as Affleck maintains something is quite engaging intense where the camera is constantly moving in its tracking and handheld shots to present the CIA in panic mode as they’re trying to figure things out. Affleck does lighten things up for the scenes in Hollywood where he isn’t afraid to add humor and silliness to the story while he creates a very strange montage where it showcases the uprising in Iran with actors reading the script to the fake sci-fi story.
While much of the film is shot in Los Angeles with portions shot in Washington DC and in Istanbul as some of the locations in Los Angeles and Istanbul play the role of Tehran, Iran. Affleck does create some shot-for-shot recreations of some of the events that took place during the Iranian Revolution of 1979 where some of those images are terrifying. Notably as Affleck maintains an air of chills and claustrophobia to a scene where he and the American diplomats step outside to pretend to be the film crew where they nearly get into trouble. It adds to the suspense as well as the scenes that goes on in the American embassy where there’s other hostages as well as moments such as the failed Operation Eagle Claw mission that would complicate things until Mendez makes the decision that would impact everything. Overall, Affleck creates a very gripping yet powerful film about the Canadian Caper story.
Cinematographer Rodrigo Prieto does amazing work with the film‘s cinematography where it has an air of grain to create something real but also to add some style in some of the locations such as the scenes in Iran to play up that sense of terror. Editor William Goldenberg does brilliant work with the film‘s editing with its use of montages as well as rhythmic cuts to play into the film‘s suspense and terror as well as some of its humorous moments. Production designer Sharon Seymour, with set decorator Jan Pascale and art director Peter Borck, do fantastic work with the set pieces from the look of the embassy and the Canadian ambassador‘s home as well as the look of 1979 Tehran in its air of unrest.
Costume designer Jacqueline West does excellent work with the costumes where it‘s mostly low-key and casual to play up the look of late 1970s while creating some silly costumes for the film‘s sci-fi convention scene. Visual effects supervisors Lubo Hristov and Don Lee do terrific work with some of the visual look in the way Tehran looked from afar as well as some minimal background moments. Sound editors Erik Aadahl and Ethan Van der Ryn do superb work with the sound such as the film‘s embassy riot scene as well as the sense of terror that occurs with its sound of helicopters and angry crowds to play into that air of unrest. The film’s music by Alexandre Desplat is phenomenal for its orchestral-driven score to play into the film‘s suspense and drama while infusing it with some Middle Eastern vocal music and such while the film‘s soundtrack by music supervisor Linda Cohen features a lot of the music of that period from acts like the Rolling Stones, Dire Straits, Van Halen, and Led Zeppelin.
The casting by Lora Kennedy is just great for the cast that is assembled as it features some small appearances from Taylor Schilling as Tony’s wife Christine, Page Leong as Ken Taylor’s wife, Adrienne Barbeau as Siegel’s ex-wife, Chris Messina as the CIA official Malinov, Zeljko Ivanek as one of Mendez’s superiors in Robert Pender, Sheila Vand as the Taylors’ maid Sahar, Richard Kind as a Hollywood producer, Kyle Chandler as White House Chief of Staff Hamilton Jordan, Bob Gunton as Secretary of State Cyrus Vance, and Philip Baker Hall as the CIA head Stansfield Turner. Bryan Cranston is superb as Tony’s main superior Jack O’Donnell who helps ensure the secrecy of the mission as well as be his contact at home. Victor Garber is excellent as Canadian ambassador Ken Taylor who keeps the six Americans at his house while figuring out how to be quietly involved without causing troubles with the Iranians.
In the roles of the six American hostages, there’s Tate Donovan as Robert Anders, Rory Cochrane as Lee Schatz, Scoot McNairy and Kerry Bishe as Joe and Cathy Stafford, and Christopher Denham and Clea DuVall as Mark and Cora Lijek as they all give fantastic performances as six Americans living in terror. Alan Arkin is brilliant as the very engaging producer Lester Siegel who always knows how to talk bullshit to people in order to get what he wants as helps out Mendez. John Goodman is marvelous as the legendary makeup artist John Chambers who helps Mendez get the project started as it’s a performance full of humor and bravado. Finally, there’s Ben Affleck in a remarkable performance as Tony Mendez as a CIA operative who is keen on making sure that he gets the Americans out of Iran while dealing with the chaos in the country as well as the fact that he is also putting his ass on the line as well.
Argo is an incredible film from Ben Affleck about the Canadian Caper rescue. Thanks to a great ensemble cast that includes Bryan Cranston, Alan Arkin, and John Goodman as well a captivating story about what happened. It is a film that is certainly a small piece of American history that is well-told while giving some credit to what the Canadians did despite some skimming over some details in the true accounts of what happened. In the end, Argo is an extraordinary film from Ben Affleck.
Ben Affleck Films: (Gone Baby Gone) - The Town - (Live By Night) - Air (2023 film)
© thevoid99 2013
