Galveston

 

Directed by Melanie Laurent and written by Nic Pizzolatto that is based on his novel, Galveston is the story of a dying hitman who goes to the Texan town following a failed hit on his life as he accompanies a young woman whom his boss had kidnapped. The film is a thriller set in the late 1980s that plays into a man who knows he has little time left to live as he tries to help a young woman who finds herself in a really dark world. Starring Ben Foster, Elle Fanning, Lili Reinhart, Adepero Oduye, Robert Aramayo, Maria Valverde, CK McFarland, and Beau Bridges. Galveston is a riveting and somber film from Melanie Laurent.

Set in 1988 in Texas, the film revolves around a hitman dealing with terminal lung cancer as he survives a failed hit where he finds a young prostitute as they go into hiding with the prostitute’s young sister as they figure out what to do next. It’s a film that plays into a man who is dealing with not just impending death but also the fact that someone tried to kill him while befriending this young prostitute. The film’s screenplay by Nic Pizzolatto, with additional work from Melanie Laurent, is largely straightforward in its narrative yet it is more of a study of this man who is dealing with death and is trying to protect this young woman he found during this attempt on his life from his boss who had kidnapped the young woman into prostitution. They hide out in Galveston while they make a stop at small town in Texas where the prostitute Rocky (Elle Fanning) retrieves her 3 1/2-year old sister Tiffany (Anniston and Tinsley Price) where the hitman Roy Cady (Ben Foster) would later learn whom Rocky had shot. Roy wouldn’t just deal from the fact that he’s somewhat involved in a shooting but he also has his own troubles not just with his lung cancer diagnosis but also his boss back in New Orleans who wants him dead.

Laurent’s direction does bear some style in the compositions yet much of her approach is straightforward in terms of the suspense and drama. Shot largely on location in areas near and around Savannah, Georgia with some shots at Galveston, Texas, Laurent plays into this world of rural Texas with some of its beaches and suburbia landscapes while also grounding it with locations that aren’t pretty. There are wide shots in some of the locations that include shots of clouds to play into this emergence of an upcoming thunderstorm as it adds to the dreary tone of the film. Still, Laurent does find way to bring some hope for scenes at the beach with Rocky and Tiffany as well as a scene in the third act of Rocky and Roy having a bit of fun.

Laurent would use close-ups and medium shots for those moments as well as some shots that play into the drama including some suspenseful moments that includes a climax where Laurent uses a tracking shot that goes on for a few minutes. Laurent also play into this air of intrigue as well as it play into Rocky and her relationship with Tiffany as Roy would have some discoveries but also deal with his own criminal ties as he’s become burned out to the point that he would threaten his own boss as a showdown would occur but with an aftermath that takes place 20 years later. Overall, Laurent crafts an evocative yet chilling film about a dying hitman trying to help a young prostitute and her young sister.

Cinematographer Arnaud Potier does brilliant work with the film’s cinematography with its usage of low-key lights for some of the interior/exterior scenes at night as well as natural lighting for many of the scenes in the daytime. Editor Joseph Krings does excellent work with the editing as it is largely straightforward with a few rhythmic cuts for dramatic effect. Production designer Lisa Myers and set decorator Teresa Strebler do fantastic work with the look of the motel that Roy, Rocky, and Tiffany live in as well as a factory that Roy works at. Costume designer Lynette Meyer does nice work with the costumes as it is largely casual that include some of the fashionable yet skimpy dresses that Rocky wears.

Special makeup effects artist Jamie Kelman does amazing work with the look of Roy late in the film as he deals with his health and the beatings he’s taken from other criminals. Visual effects supervisor Lucien Harriot does terrific work with some of the film’s minimal visual effects as it is mainly set dressing. Sound designer Roland Vajs does superb work with the film’s sound in capturing the atmosphere of the locations as well as in some of the intense moments involving the film’s violence. The film’s music by Marc Chouarain and Eugene Jacobson is wonderful for its low-key orchestral score with soothing strings, electronic textures, and hollow percussions while music supervisor Marissa Gallien provides a soundtrack that largely consists of country and blues with bits of heavy metal and a song from Big Star in Thirteen.

The casting by Kerry Barden, Tracy Kilpatrick, and Paul Schnee is marvelous as it feature some notable small roles from CK McFarland as a motel owner who is suspicious towards Roy and Rocky, Robert Aramayo as a low-level criminal who lives at the Galveston motel who tries to get Roy involved in a scheme, Adepero Oduye as a former flame of Roy in Loraine whom Roy hadn’t seen in more than a decade, Maria Valverde as a hooker friend of Roy in Carmen who is one of the few that Roy can trust, and Beau Bridges in a terrific small role as Roy’s boss Stan Pitco who tries to set Roy up. The performances of Anniston and Tinsley Price as the young Tiffany are a joy to watch with Lili Reinhart in a fantastic small appearance as the older Tiffany who appears towards the end of the film.

Finally, there’s the duo of Ben Foster and Elle Fanning in phenomenal performances in their respective roles as Roy Cady and Rocky. Fanning provides that air of naiveté as a young prostitute with little direction in her life as she is trying to do what she can for Tiffany while also trying to steer away from the world of prostitution despite her need for money. Foster’s performance is reserved in the anguish he carries as a man that is dying from terminal lung cancer while also dealing with the fact that someone tried to have him killed as he deals with impending death but also what to do with the remaining days of his life. Foster and Fanning together are a joy to watch as they display that air of uncertainty but also the fact that they’re two lonely people dealing with the cards they’ve been given.

Galveston is a remarkable film from Melanie Laurent that features great performances from Ben Foster and Elle Fanning. Along with its supporting ensemble cast, gorgeous visuals, a compelling yet intense screenplay from Laurent and Nic Pizzolatto, and a somber music score. The film is a fascinating look into two people who both encountered dark situations as they deal with uncertainty as well as to try find hope in a hopeless world. In the end, Galveston is a marvelous film from Melanie Laurent.

Melanie Laurent Films: (The Adopted) – Respire - (Tomorrow (2015 film)) – (Plonger) – (The Nightingale (2022 film)) – (The Mad Woman’s Ball)

© thevoid99 2021

Leave No Trace

Based on the novel My Abandonment by Peter Rock, Leave No Trace is the story of a PTSD war veteran who lives in the woods with his teenage daughter as they hide from society until they’re found as they struggle to adjust with the modern world. Directed by Debra Granik and screenplay by Granik and Anne Rosellini, the film is an exploration of a father trying to protect his daughter from the horrors of modern-day society as well as trying to find a place they can call home. Starring Ben Foster, Thomasin McKenzie, Jeff Kober, and Dale Dickey. Leave No Trace is a rapturous and somber film from Debra Granik.

The film is the simple story of a PTSD war veteran who lives in seclusion in the woods with his daughter as they are eventually found and taken into the modern world as the man struggles with his new surroundings though his daughter is intrigued by it. It’s a film with a simple premise as screenwriters Debra Granik and Anne Rossellini as there isn’t a lot of heavy dialogue in favor of its main protagonists in Will (Ben Foster) and his daughter Tom (Thomasin McKenzie) just living their life in the woods as the first act is about their life in the woods and how Will makes money to get supplies as it involves him and Tom going into the city where Will gets meds and sell them to the other troubled veterans. When Tom is accidentally discovered by a hiker, everything changes as the second act has the two evaluated and given a home where Will begrudgingly works for a Christmas tree farmer. It is there where Will and Tom’s relationship changes as the latter slowly befriends people and finds a community but Will’s own troubles forces them to flee as uncertainty becomes the norm. Even as Will and Tom struggle to find a new home despite the latter’s need for stability.

Granik’s direction is entrancing for not just the visuals she creates but also in the atmosphere she maintains in this battle of nature vs. the modern world as a backdrop between the relationship between father and daughter. Shot largely on location in Oregon with Portland being the city, the film does use a lot of wide shots not just to establish the locations but also in creating some unique compositions as it relates to the disconnect between Will and Tom and their own encounter with society. Even as it play into the growing separation between father and daughter as it relates to their encounter with the world. Granik also brings some intimacy into the medium shots and close-ups as the latter help play into the sense of fear and uncertainty that Will and Tom would face. Even as they also try to adjust to living at home where Will becomes uneasy with his new surroundings that includes a shot of a helicopter flying above him carrying trees.

Granik also maintains that atmosphere during the second act where Will and Tom return to their old home only to realize it’s gone while other people who were living nearby also lose their homes. Granik maintains that realism into the struggle to find a home within the woods away from modern society and cities but there is also this uncertainty into what they will find. The film’s third act has Granik showcase an alternative where Will and Tom don’t have to be in society but also a place that is stable and with a community of its own. It is a community that does feel like it isn’t totally disconnected from the modern world but offers a haven for someone like Will who continues to struggle with PTSD. Yet, Granik focuses on this father/daughter relationship that is trying to stay together but there are things that Will is unable to handle while Tom is eager to be part of something as its ending is about a father and daughter making a decision about the future and salvation for both of them. Overall, Granik crafts a heart-wrenching yet riveting film about a father-and-daughter trying to live their life away from the trappings of modern society.

Cinematographer Michael McDonough does brilliant work with the film’s cinematography with its approach to natural lighting for many of the daytime exterior scenes with a few filters for some of the scenes set in the rain along with low-key lighting for some of the interior scenes. Editor Jane Rizzo does excellent work with the editing as it is largely straightforward with a few jump-cuts for dramatic purposes as well as rhythmic cuts to play into the reaction of the characters. Production designer Chad Keith, with set decorator Vanessa Knoll and art director Jonathan Guggenheim, does amazing work with the look of the home that Will and Tom lived in at the woods as well as the house they would briefly stay in as it play into the contrast of the two worlds they encounter.

Costume designer Erin Aldridge Orr does fantastic work with the costumes as it is largely straightforward with casual clothes including knitted clothing and hats that both Will and Tom wear. Sound editor Damian Volpe does superb work with the sound to maintain that air of natural atmosphere of the locations in the woods as well as the chaotic sounds of the city. The film’s music by Dickon Hinchliffe is incredible for its rich mixture of folk and ambient music as it play into the air of uncertainty and drama that Will and Tom endure in their journey while music supervisor Susan Jacobs provide a soundtrack that features elements of folk and indie that feature contributions from Michael Hurley and Marisa Anderson who both appear in the film as musicians in the film’s third act and Kendra Smith with a song that appears in the film’s final credits.

The casting by Kerry Barden, Simon Max Hill, and Paul Schnee is wonderful as it feature some notable small roles from Isiah Stone as a teenage farm boy that Tom befriends, Derek John Drescher as a homeless veteran Will does business with, Michael Prosser as Will’s social worker, Dana Millican as Tom’s social worker, David M. Pittman as a former Army medic in the film’s third act that helps Will, Jeff Kober as a tree farm owner, and Dale Dickey in a terrific small role as a trailer park owner in the film’s third act who helps Will and Tom find a new home as well as a stable lifestyle. Finally, there’s the duo of Ben Foster and Thomasin McKenzie in phenomenal performances in their respective roles as Will and Tom. Foster brings that ragged tone to his character that is full of anguish and regret as a man that is trying to live away from society as he is unable to handle with a lot of the things that hurts him. McKenzie’s performance is the most revelatory as this young woman who had little encounter with the outside world and society yet finds some of its value as it relates to community and a sense of belonging. Even as she manages to be natural in her reaction to things while she has a great rapport with Foster as it adds to the understated tone of her performance.

Leave No Trace is a magnificent film from Debra Granik that features tremendous performances from Ben Foster and Thomasin McKenzie. Along with its ensemble cast, gorgeous visuals, minimalist story, a somber music score, and a study of a father/daughter relationship against the ideas of the modern world. It’s a film that explore two people living away from the trappings of society as they later cope with the modern world and what it would offer with one struggling to be part of and another wanting to be part of it. In the end, Leave No Trace is an outstanding film from Debra Granik.

Debra Granik Films: Down to the Bone - Winter's Bone - (Stray Dog (2014 film))

© thevoid99 2020

Hell or High Water

Directed by David Mackenzie and written by Taylor Sheridan, Hell or High Water is the story of two brothers who decide to rob banks to save their family ranch as they are being pursued by two Texas Rangers. The film is a crime thriller set in West Texas as it play into a battle between brothers and the two men trying to go after them. Starring Ben Foster, Chris Pine, Gil Birmingham, Marin Ireland, Katy Mixon, Dale Dickey, and Jeff Bridges. Hell or High Water is a rapturous yet gripping film from David Mackenzie.

A series of robberies in West Texas prompts an aging Texas Ranger and his new partner to investigate these robberies as they’re unaware that the two robbers are brothers trying to save their family ranch by robbing the banks that is taking away the ranch. It’s a film that play into a world that has two brothers becoming desperate over a reverse mortgage as the family ranch is about to foreclosed as the timing of it is bad since their mother had passed three weeks earlier. They would rob banks and go to Indian casinos to use the money to gamble and then use that money as a check to the banks they stole the money from. Taylor Sheridan’s screenplay is definitely play into the motivations of Toby Howard (Chris Pine) and his older ex-con brother Tanner (Ben Foster) as the latter wants to help his younger brother save the ranch as Toby is aware of how rich the land is and wants to pass it on to his sons.

While Tanner is definitely more experienced in robberies as he would do all of the yelling and intimidation tactics, it is Toby that remains quiet and makes sure things go quietly as he knows what he has to do for his sons and his ex-wife Debbie (Marin Ireland). Being aware of these robberies is Marcus Hamilton (Jeff Bridges) who is days away from retirement as he is joined by his new partner Alberto Parker (Gil Birmingham) as they drive around various small town in Texas wondering where the next bank will hit. Sheridan’s dialogue and portrayal of characters is key to the film in the way he portrays the Howard brothers as well as Hamilton as men who carry old ideas of the west where Hamilton does say politically-incorrect things toward his half-Native American/half-Mexican partner as well as the fact that he believes these robbers are robbing these specific banks for a reason. Especially as Parker says something about what is happening as there is a hint of irony into what the brothers are doing as it relates to how the Native Americans lost their homes except that things are much darker and more complicated.

David Mackenzie’s direction is definitely ravishing in the way he captures this feel of the American West in not just its vast beauty but also for being this area that is disconnected by the major cities of America where many of these small towns become stricken with poverty and almost become some short of ghost town. Shot on various locations in New Mexico as West Texas, the film does play as this idea of the West in a modern setting where Mackenzie would use wide shots to capture the beauty of these locations from the shots of the deserts and mountains. The locations don’t just play to this decline of the West due to modernism but also for the fact that the old ways are gone as it’s something the Howard brothers seem to fight for as it relates to their ranch. Mackenzie would use some close-up and medium shots to play into the characters interacting with each other as well as some long shots to capture the action as it plays out.

Even as Mackenzie would create elements of tension and dark humor in the film as some of the violent moments are restrained until the third act. Notably as there is an element of suspense and terror that looms throughout the film as Hamilton and the Howard brothers never interact or see each other. It just adds to this air of suspense as a showdown is inevitable but also play into the idea of what had been lost in the West prompting these two forces to finally meet and see what it’s all about. Overall, Mackenzie creates a gripping yet haunting film about a Texas Ranger trying to capture two brothers who are robbing banks to save their family ranch.

Cinematographer Giles Nuttgens does brilliant work with the film’s gorgeous cinematography to play into the sunny and dream-like look of the Texan skylines as well as the usage of unique lighting for some of the interiors including some of the scenes in the casinos and natural lighting for a restaurant Hamilton and Parker go to. Editor Jake Roberts does excellent work with the editing as it is straightforward with some rhythmic cuts to play into the suspense. Production designer Tom Duffield, with set decorator Wilhelm Pfau and art director Steve Cooper, does fantastic work with the look of Howard family ranch as well as some of the places that the characters go to.

Costume designer Malgosia Turzanska does nice work with the costumes from the cowboy-like clothes of the Howard brothers to the Texas Ranger uniform that Hamilton and Parker wear. Sound designer Frank Gaeta does amazing work with the film’s sound as it play into the suspense and some of the natural elements of the locations. The film’s music by Nick Cave and Warren Ellis is incredible as its mixture of eerie strings and keyboard music play into the drama and decline of the West as it is a major highlight of the film while director David Mackenzie and editor Jake Roberts supervise the film’s soundtrack that mainly features a mixture of country, rock, and blues.

The casting by Jo Edna Boldin and Richard Hicks is wonderful as it feature some notable small roles from screenwriter Taylor Sheridan as a cowboy getting his herd of cows out of a field fire, John Paul Howard and Christopher W. Garcia as Toby’s sons, Amber Midthunder as a young bank clerk, Melanie Paplia as a hooker trying to flirt with Toby, Alma Sisneros as a hotel clerk that Tanner woos, Dale Dickey as a bank employee who is taken hostage in the film’s opening sequence, Katy Mixon as a restaurant waitress that tries to woo Toby, and Marin Ireland as Toby’s ex-wife Debbie. Gil Birmingham is fantastic as Alberto Parker as Hamilton’s new partner who bears the insults that Hamilton gives him while dealing with the severity of the case as well as bringing his own insights about the ways of the world. Ben Foster is brilliant as Tanner Howard as the eldest of the two brothers who has been convicted for robberies and such as he knows how to rob banks as he’s a little unhinged but is also someone that is vulnerable as it relates to his own troubled relationship with his parents.

Chris Pine is amazing as Toby Howard as the younger of the two brothers who is also a father as someone who is levelheaded as he laments over the situation he’s in as well as making sure his sons don’t go through the struggles he went through as a child. Finally, there’s Jeff Bridges in a phenomenal performance as Marcus Hamilton as a Texas Ranger who is about to retire that takes on this case as he doesn’t just deal with the area he’s in but also the changes of the landscape that haunts him as well as his own ideas of why these robberies are happening.

Hell or High Water is a tremendous film from David Mackenzie that features great performances from Jeff Bridges, Chris Pine, and Ben Foster. Along with its brilliant ensemble cast, Taylor Sheridan’s riveting script, the chilling score of Nick Cave and Warren Ellis, dazzling visuals, and top-notch suspense. The film is definitely an unconventional yet evocative suspense-thriller that also acts as a true western. In the end, Hell or High Water is a spectacular film from David Mackenzie.

David Mackenzie Films: (The Last Great Wilderness) – (Young Adam) – (Asylum (2005 film)) – (Hallam Foe) – (Spread) – (Perfect Sense) – (You Instead) – (Starred Up) – (Outlaw King)

© thevoid99 2017

Rampart

Directed by Oren Moverman and written by Moverman and James Ellroy, Rampart is the story of a corrupt LAPD officer who finds himself in trouble as he tries to redeem himself during the Rampart scandal of 1997 for the Los Angeles Police Department. The film is a character study of a man dealing with his own actions as he tries to defend himself and save his career amidst a tumultuous period in the city of Los Angeles. Starring Woody Harrelson, Ice Cube, Ned Beatty, Robin Wright, Anne Heche, Cynthia Nixon, Brie Larson, Steve Buscemi, and Sigourney Weaver. Rampart is a compelling yet flawed film from Oren Moverman.

Set in 1999 Los Angeles during a dark period for the LAPD who is dealing with the Rampart scandal, the film is about a dirty and corrupt police scandal whose actions have finally caught up with him. Rather than quitting his job, officer Dave Brown (Woody Harrelson) tries to save his job and avoid any jail time but he becomes more troubling as even those who once bailed him out are unable to help him. Yet, Brown is also someone who is really a man that is just born to undo himself where he would eventually bring discomfort to authorities that want to help him as well as bring shame to his family. The film’s screenplay doesn’t just explore Brown and the things he does as a police officer but also a person who likes to take the law into his own hands. Sometimes it would be in the most gruesome way where he would be caught on tape beating someone who hit his car though Brown had every reason to beat up the guy.

While the script does paint Brown as a man who just hates everyone while doing all sorts of things. There are elements to him that try to show some goodness to him but his faults would often overwhelm everything as his own eldest daughter Helen (Brie Larson) really hates him. While the script does nice work in fleshing out Brown and his complexities, the script however doesn’t do much to get the story to move forward or really go anywhere. Especially as it relates to what Brown is trying to do but it tend to slow things down as he is given options that could’ve helped him. Whenever Brown is given these opportunities to redeem himself, the results become very frustrating as it play more into his character as someone that is just stubborn and not willing to see the bigger picture.

Moverman’s direction has some very intense moments in the way it showcases late 1990s Los Angeles as a world that is quite dangerous and unpredictable. Shot on location in some of the urban parts of Los Angeles as well as some of its downtown areas, the film does play into a world where a man is convinced that he is doing good for the city but is extremely corrupt in his actions. Moverman’s usage of close-ups and medium shots are engaging though there are some moments that aren’t very good. Notably a sequence where Brown meets two attorneys where the camera is constantly moving around to focus on one character in a repetitive pan where it is very annoying. It’s one of the aspects of the film that didn’t work while the script’s lack of a strong narrative does falter the pacing. Though Moverman’s usage of crane overhead shots and other stylistic moments are good, the film’s resolution is lacking in terms of any kind of redemption could be made for Brown as it ends up being unsatisfying despite Moverman’s observation on its protagonist. Overall, Moverman creates a intriguing but lackluster film about a dirty cop’s attempt to make things right.

Cinematographer Bobby Bukowski does excellent work with the film‘s cinematography from the stylish usage of lights and moods for many of the interior/exterior scenes set at night along with some grainy film stock for scenes set in the day. Editor Jay Rabinowitz does nice work with the editing as it does have some stylish jump-cuts and some unique rhythms for the suspense and drama though it does falter in that sequence where Brown is being interviewed by two attorneys. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does fantastic work with the look of the home that Brown lives in with this ex-wives (who are sisters) and the hotel rooms he would crash as well as the home of a lawyer he would sleep with.

Costume designer Catherine George does terrific work with the costumes as it is mostly casual along with the look of the police uniforms while the only character that plays into a sense of style is Helen. Sound designer Javier Bennassar does superb work with the sound in the way the police sirens and gunfire sounds along with the intimate moments at home and at the bars. The film’s music by Dickon Hinchliffe is brilliant for its somber-based score in the guitar and keyboards to play into the drama while music supervisor Jim Black creates a soundtrack that features a mixture of hip-hop, electronic, and Mexican music along with a song by Leonard Cohen.

The casting by Laura Rosenthal and Rachel Tenner is amazing as it features some notable small roles and appearances from Robert Wisdom as the Rampart station’s captain, Jon Foster and Jon Beranthal as a couple of fellow officers, Steve Buscemi as a district attorney official in Bill Blago, Stella Schnabel as Brown’s new partner early in the film who is perturbed by his actions, Sammy Boyarsky as Brown’s youngest daughter Margaret who questions about what her father has done, Audra McDonald as a one-night stand Brown would be with early in the film, and Ben Foster in a superb role as a homeless vet named the General who often hangs out at a fast food restaurant. Robin Wright is wonderful as the attorney Linda whom Brown would frequently sleep with while he is suspicious that she is spying on him. Ned Beatty is terrific as the former cop Hartshorn who tries to help Brown in any way including moments that would help him only to realize that Brown is his own worst enemy.

Cynthia Nixon and Anne Heche are excellent in their respective roles as the sisters Barbara and Catherine as two of Brown’s ex-wives who deal with the coverage of Brown’s activities with Nixon as the more calm of the two and Heche as the one who wants nothing to do with him. Brie Larson is fantastic as Brown’s eldest daughter who despises her father as she also feels humiliated and embarrassed by his actions where she also copes with his own hatred for everyone. Sigourney Weaver is brilliant as the assistant DA Joan Confrey who wants Brown to reveal all of his activities as well as give the man a chance to do what is right. Ice Cube is incredible as the investigator Kyle Timkins who works for the DA’s office as he also tries to implore Brown to do the right thing while revealing what is at stake. Finally, there’s Woody Harrelson in a phenomenal performance as Dave Brown as a dirty LAPD officer who finds himself a big target during one of the lowest points of the LAPD where Harrelson brings a very menacing performance as a man with very little care for the world where he is also his own worst enemy as well as be selfish to the point that he brings shame to his own family including his own daughters.

Rampart is a stellar yet flawed film from Oren Moverman. While it features a great cast led by Woody Harrelson along with Dick Hinchliffe’s score, it’s a film that had all of the tools to be an intriguing character study but it lacks a very cohesive narrative to keep things going. In the end, Rampart is a fine but underwhelming film from Oren Moverman.

Oren Moverman Films: The Messenger - (Time Out of Mind) - (The Dinner (2017 film))

© thevoid99 2016

Ain't Them Bodies Saints

Written and directed by David Lowery, Ain’t Them Bodies Saints is the story about a man who goes to prison for his wife after she had shot a police officer. Years later, he escapes prison in order to reunite with his wife while being pursued by the law and other forces. The film is an exploration into love as it plays to a couple who made a mistake as they deal with the forces who are after them. Starring Casey Affleck, Rooney Mara, Ben Foster, Rami Malek, Charles Baker, Nate Parker, and Keith Carradine. Ain’t Them Bodies Saints is a chilling yet evocative film from David Lowery.

Set in Texas, it’s a film where a man tries to return to his wife and the daughter he never met as he escapes prison. Serving time for wounding a police officer and other offenses though he took the blame for shooting the officer as his wife was pregnant at the time. Yet, it’s a story where Bob Muldoon (Casey Affleck) is eager to see Ruth Guthrie (Rooney Mara) and their daughter Sylvie (Kennadie and Jacklynn Smith) who is about to turn four as he would get warnings from an old friend in Skerritt (Keith Carradine) to not see Ruth. Though Bob would trek around different states to reach Texas and see Ruth as he knows there’s a price on his head.

David Lowery’s screenplay doesn’t really go for plot but it’s more about a man wanting to redeem himself and be there for his wife. Yet, the officer his wife shot in Patrick Wheeler (Ben Foster) checks on Ruth as he would befriend her and her daughter while he goes on the search for Bob. Unlike the intentions of the law and some bounty hunters that tried to give threaten Skerritt, Patrick has very different intentions to meet Bob. Much of the script involves a lot of letter-writing from Bob to Ruth in his attempts to maintain contact with her where Ruth would eventually receive the letters but she’s more concerned with her daughter and to live a good life. Bob’s impending return only causes a lot of grief and some regret for her actions as she has a hard time meeting Patrick as she is unaware of Patrick’s real intentions.

Lowery’s direction is truly mesmerizing as it recalls a lot of the visual language of Terrence Malick. Much of it involves a lot of images that play into a dream-like tone as well as shooting on locations around the hills of Texas as there is no real definition of when the film takes place. Lowery’s compositions in its use of wide-shots, medium shots, and close-ups has this loose yet enchanting quality that makes the film very engaging while playing up to the sense of naturalism that on display. Lowery also maintains that air of suspense in not just the sense of what would happen if Bob gets caught but who will catch him as well as what would happen if he does finally reach Ruth. It adds to that sense of what might happen or what might not happen as well as Patrick’s growing attachment towards Ruth and his intentions into meeting Bob. Overall, Lowery crafts a very gripping yet somber film about a man trying to come home to his family.

Cinematographer Bradford Young does brilliant work with the film‘s very understated yet gorgeous cinematography from the use of low-key lights for the interior and exterior scenes at night while playing to the use of natural lighting for many of its exteriors including one key scene at night. Editors Craig McKay and Jane Rizzo do amazing work with the editing with its use of dissolves and jump-cuts to create a sense of style in some of the narration when Bob is writing a letter to Ruth as well as some intense cuts for some of its suspenseful moments. Production designer Jane Healey and set decorator Adam Willis do nice work with the look of the house that Ruth lives in with Sylvie as well as the antiques shop that Skerritt runs.

Costume designer Malgosia Turzanska does terrific work with the costumes where it plays to a certain period in time but also has a realness that makes it much more ambiguous. Sound designer Kent Sparling does fantastic work with the sound from the way some of the voice-overs are presented to some of the moments in the film‘s locations. The film’s music by Daniel Hart does incredible work with the film’s music as it is largely based on string instruments ranging from folk to country with some orchestral string flourishes as it plays to the suspense and drama as it’s one of the film’s major highlights.

The casting by Vicky Boone and Avy Kaufman is superb as it includes some notable small roles from Rami Malek as a driver that Bob meets, Nate Parker as an old friend of Bob whom he lets crash in his place, Charles Baker as a brooding bounty hunter, and in the role of Sylvie, Kennadie and Jacklynn Smith as they do wonderful work in playing the young girl. Keith Carradine is excellent as the old town leader Skerritt who watches over Ruth while warning Bob not to go see her. Ben Foster is amazing as Patrick Wheeler as the man who got shot by Ruth four years earlier as he goes on the search to find Bob while looking out for Ruth and befriend her.

Rooney Mara is brilliant as Ruth Guthrie as a young woman who committed a sin in shooting Patrick as she tries to deal with what Bob has done for her while wondering if him returning would be good for her and their daughter. Finally, there’s Casey Affleck in a great performance as Bob Muldoon as this man eager to get back to his wife no matter what the cost is as it’s an entrancing yet somber performance of a man just wanting to come home and see the family he lost.

Ain’t Them Bodies Saints is a remarkable from David Lowery. Featuring tremendous performances from Casey Affleck, Rooney Mara, and Ben Foster, it’s a film that is a smart and compelling crime-drama that doesn’t play by the rules while focusing on its characters and themes of redemption. In the end, Ain’t Them Bodies Saints is a phenomenal film from David Lowery.

David Lowery Films: (Pete's Dragon (2016 film)) - (A Ghost Story) - (The Old Man & the Gun) - (The Year of Everlasting Storm) - The Green Knight - (Peter Pan & Wendy)

© thevoid99 2014

3:10 to Yuma (2007 film)

Originally Written and Posted at Epinions.com on 9/9/07 w/ Additional Edits & Revisions.

Based on Elmore Leonard's short story, 3:10 to Yuma is the story about an ex-Civil War sharpshooter who is asked to accompany a vicious criminal to a prison train as he and various men are being followed by the criminal's gang. Directed by James Mangold with a screenplay by Stuart Beattie, Michael Brandt, and Derek Haas with elements of the 1957 adapted script by Halstead Welles for Delmer Daves' version of the film. The film explores the world of temptation as a farmer and a criminal try to outwit each other. Starring Russell Crowe, Christian Bale, Gretchen Mol, Logan Lerman, Alan Tudyk, Ben Foster, Vinessa Shaw, Dallas Roberts, and Peter Fonda. 3:10 to Yuma is a sprawling yet adventurous film from James Mangold.

The film explores a rancher named Dan Evans (Christian Bale) whose life hasn't been great as his ranch is suffering from a drought while he's in debt as well as getting threatened by a man named Hollander (Lennie Lofton) who wants Evans' land for the railroad. When the criminal known as Ben Wade (Russell Crowe) has been captured after stealing money from the railroad barron Grayson Butterfield (Dallad Roberts), Evans volunteers to help the Pinkerton officer Byron McElroy (Peter Fonda) to accompany Wade to the prison train to Yuma along with Doc Potter (Alan Tudyk), Butterfield, and Evans' 14-year old son William (Logan Lerman). Yet, the party is being pursued by Wade's right-hand man Charlie Prince (Ben Foster)and the rest of Wade's gang as a battle of wits emerge between Evans and Wade about what to do where Wade tempts Evans into helping him while Wade isn't sure if he can take Wade's offer.

The original film version of 3:10 to Yuma was essentially a western that was part character-study, part suspense where it's about these two men trying to play a game of wits in seeing how far they'll go in dealing with their own morals. Director James Mangold, obviously a fan of the original, doesn't tinker with the film's old formulas very much. Instead, he helps expand the story, add a few new characters, and take the western genre back to form with some new methods. The film's script that was written by Stuart Beattie, Michael Brandt, and Derek Haas definitely brings back some of the original dialogue that was written by the film's original scribe Halstead Wells. What is very surprising is that the dialogue that is used again manages to be as relevant as it was heard back in the original 1957 version.

The script also works as a device of character study where it's really about both Ben Wade and Dan Evans. Wade, a sadistic man who can be very charming and witty while is also a ruthless killer who is even willing to kill one of his own men for gain. Yet, part of his redeeming qualities is how he reminds someone like William that he's not a good man despite the growth of respect he has for Dan for his bravey. Dan Evans is just as complex as a man who is forced to swallow a lot of his pride in order to maintain the survival of his family. Yet, he too has a dark side that he doesn't like to show that Wade manages to discover. What's surprising is that both men have similar morals, characteristics, and pride. It's where the film's script succeeds in.

The direction of James Mangold is very solid throughout the entire film in how he maintains the faithfulness to the original film. While the female characters like Alice Evans (Gretchen Mol) and Emmy (Vinessa Shaw) aren't as big as they were in the original film, they still play to what's expected in the plot. More importantly, the plot is expanded where the original film is 95 minutes and this version adding thirty more. While the violence and language is more confrontational in the original, it's definitely because Mangold adds elements of directors like Sergio Leone and in a lesser extent, Sam Peckinpah. There, he still manages to bring that quality that is expected in the genre in terms of the idea of men running lose, doing wild things, shootouts, and such. One complaint that might be understandable in comparison to the original film is the ending.

Probably because of what Mangold is trying to convey in terms of where the genre was then and now. It might work on some aspects but might not work with some audiences. Still, Mangold brings the genre right back to its essential that makes not just purists satisfied but also people new to the genre to be excited about.

Cinematographer Phedon Papamichael brings a wonderful look to the film with its gorgeous, epic-like photography with the film's inspiring location shot in New Mexico. The film's nighttime scenes from the outside with the blue sky is mesmerizing as is some of the daylight exteriors that manages to maintain its grittiness. It's definitely a highlight of the film. The location in New Mexico and with a $50 million budget definitely gives the production with the saloons, farms, and towns created by production designer Andrew Menzies and art directors Greg Berry and Jay Hart a look that is authentic and a reminder of what was great in that genre.

Costume designer Ariane Phillips definitely create some nice suits for Dallas Roberts while the cowboy clothing for the rest of the actors maintains its grittiness. The makeup also works since a lot of them wear beards or a mustache whether it's the clean, handlebar mustache look Roberts have to the dirtier, grimy look that both Ben Foster and Peter Fonda have.

Editor Michael McCusker definitely goes against the current fast-cut, fast-paced editing style of today's films that would've hurt this film. Instead, he goes for a more traditional, intense style that manages to keep the film's pacing while the action is definitely attentive for the audience. During the more suspenseful moments, the cuts are definitely slow but engaging to maintain the tension between the main characters. Sound editor Donald Sylvester also adds atmosphere by using the sounds of the wind, horses, whistles, and such to play true to the film and its genre in terms of its suspense.  Music composer Marco Beltrami adds a bit of symphonic orchestra to the genre but uses it in a low-key approach with the rest of the score performed on acoustic guitars and string instruments to play to that old-school atmosphere of the western.

Finally, there's the film's cast and what a hell of a cast does it have. Smaller performances from the likes of Sean Hennigan as the Contention City marshal, Rio Alexander and Johnny Whitworth as two of Wade's men, Forest Fyre, Luce Rains, and a un-credited cameo from Luke Wilson who gives a great performance as one of Boles' posse. Benjamin Petry is good as the little Mark Evans who has a great line that comes from the original film while Lennie Lofton is sleazy as the land-grabbing Hollander. Vinessa Shaw, playing the Felicia Farr role, is good as the sexy Emmy who is charmed by Wade. Kevin Durand is funny as the annoying Tucker, who manages to hate both Wade and Evans for different reasons while having a scene where he sings a song that angers Wade.

Alan Tudyk of Firefly/Serenity fame manages to give an excellent, yet funny performance as Doc Potter who manages to have some funny one-liners while admitting to not carrying a gun very much. Gretchen Mol is wonderful as the caring Alice Evans who loves Dan but also despises him a bit for his choices as she tries to maintain the household. Mol, who shows a more hardened maturity than in previous roles, is only a few scenes which is a shame since her performance really stands out by not playing a conventional farmer's wife.

Dallas Roberts from Walk the Line is great as the money-hungry Butterfield who thinks he has control only to realize that money can't buy everything while eventually becoming a tool for Evans' own pursuits. Logan Lerman is excellent as William Evans, a boy who seems to idolize Wade while losing respect for his own father. His development in the film is handled very realistically as he learns about sacrifice and why his father makes choices that sometimes aren&#146t right as he plays the character with maturity and energy.

Peter Fonda is brilliant in his small but mesmerizing role as the old, gruff Byron McElroy who manages to have a lot of hatred for Wade as Fonda's exchanges with Crowe are just fun to watch. Fonda, who has done westerns in the past, manages to bring that old school attitude that shows he's been there before and his performance is truly memorable that even his late, legendary father Henry would've been proud. Ben Foster is the film's sole scene-stealer as the psychotic Charlie Prince. Foster, sporting a beard and marks around his eyes, is a force that has to be seen where though he's a more sadistic, traditional villain. He has his loyalties and wit as he tries to save the man he's admired so much. It's a great performance from the young actor who proves he can act with the likes of Fonda, Crowe, and Bale.

Christian Bale gives one of his best performances as the troubled, prideful Dan Evans who was played by Van Heflin fifty years before. Bale's intense, layered performance shows the actor bringing a subtlety and grit that isn't seen very often but only expanding his range following his work in recent years. Though his character doesn't have a lot of humor, he still manages to have some wit and charm while maintaining his own stance against someone like Russell Crowe. Russell Crowe, in the role of Ben Wade that was played by Glenn Ford, is brilliant. Though Crowe didn't manage to play a great western character in Sam Raimi's The Quick & the Dead, this film proves he was born to be in a western.

Crowe's mix of charm, sadism, and antagonist attitude proves to be right as he plays the Wade character to the hilt. More importantly, he makes the audience to either love or hate him in whatever he's doing. The comradery between two great actors like Crowe and Bale are just amazing to watch and what's really great to see in those performances is how much fun they're having. Bottom line, both Crowe and Bale bring the kind of performances that purists of the genre will surely love.

The 20007 remake of 3:10 to Yuma is a marvelous film from James Mangold thanks to its cast led by Christian Bale and Russell Crowe as well as its devotion to pay true to the western genre. The film isn't just a faithful remake to Delmer Daves' 1957 film but also ensures the vitality of the western genre as both films would make a great double-feature. In the end, 3:10 to Yuma is an exciting and enthralling film from James Mangold.

James Mangold Films: (Heavy) - (Cop Land) - (Girl, Interrupted) - (Kate & Leopold) - (Identity (2003 film)) - (Walk the Line) - 3:10 to Yuma (2007 film) - (Knight and Day) - The Wolverine - Logan - Ford v Ferrari - (Indiana Jones 5)

© thevoid99 2013

X-Men 3: The Last Stand

Originally Written and Posted at Epinions.com on 5/28/06 w/ Extensive Re-Edits & Revisions.

When the X-Men comic books finally became feature films in 2000 with director Bryan Singer in the helm. The response at first was mixed but positive since it brought new fans a nice introduction to the cast of the X-Men team while giving Australian actor Hugh Jackman a real breakthrough as Wolverine. In 2003, Singer reunited with most of the cast for the sequel called X2: X-Men United that not only received better reviews but spectacular box office numbers as fans praised the film for a stronger story, more characters, and better performances from the cast. What really shocked fans in the second film was the sacrificial death of one of the story's major characters in Jean Grey. Yet, when fans heard she would return as the Dark Phoenix, it was clear that the X-Men franchise was getting into better storylines.

Unfortunately, plans for the third film was becoming very troubled as the development for the story was troubling as Bryan Singer chose to leave the franchise with his team to work on the much-delayed Superman movie. Problems also occurred when Halle Berry chose to leave the franchise for her own attempt in stardom but after 2004's Catwoman got destroyed in the box office, she returned awaiting to see who would become the new director. After Layer Cake director Matthew Vaughn was signed on and then chose to leave, Rush Hour director Brett Ratner came into the helm where to some fans, it leaves a lot of worries but Ratner ensured that he wouldn't screw it up. With the focus on the Dark Phoenix plot and the war between the X-Men and Magneto's Brotherhood in the story, X-Men 3: The Last Stand is well underway.

With a screenplay by Zak Penn and Simon Kinberg with Brett Ratner as director, X-Men 3: The Last Stand revolves around a vaccine that cures the mutation gene which gives mutants the chance to be cured. While neither Magneto or his former friend Charles Xavier are fond of the cure, it only increases Magneto's hatred for humans even more as he declares a war against them. Making things worse for the X-Men team is the re-discovery of Jean Grey's body that has evolved into something far worse as she becomes the Dark Phoenix who joins the Brotherhood. With the X-Men short on allies, it's up to Xavier, Logan, Storm, and company to save the humans and make a stand against the Brotherhood.

Returning from the previous parts of the franchise are Hugh Jackman, Patrick Stewart, Halle Berry, James Marsden, Famke Janssen, Anna Paquin, Shawn Ashmore, Daniel Cudmore, Ian McKellen, Aaron Stanford, and Rebecca Romijn. Joining the new cast are Ben Foster, Kelsey Grammer, Ellen Page, Shoreh Aghdashloo, Olivia Williams, Josef Sommers, Dania Ramirez, Vinnie Jones, and Cameron Bright. X-Men 3: The Last Stand has its moments but is a very un-compelling, messy film.

A new U.S. President (Josef Sommers) has maintained peace with mutants by being open to their cause with from its Secretary of Affairs in Hank McCoy/Beast (Kelsey Grammer).  When news about a cure for the mutant gene developed by Warren Worthington II (Michael Murphy), McCoy is worried as he turns to his old mentor Charles Xavier (Patrick Stewart) about the cure and its source in a young mutant named Jimmy (Cameron Bright).  Xavier worries that it will give his old friend Erik Lehnsherr/Magneto (Ian McKellan) more reasons to fight as his comrade Mystique (Rebecca Romijn) has been captured.  With Logan/Wolverine (Hugh Jackman) and Storm (Halle Berry) helping to train young mutants for combat, both are unsure if their pupils are ready with Scott Summers/Cyclops (James Marsden) still in mourning over the death of Jean Grey (Famke Janssen).

With news of the cure reaching Xavier's school, mixed feelings arrive among everyone though Rogue (Anna Paquin) sees it as a good thing as she isn't fond of her powers.  Even as her boyfriend Bobby/Iceman (Shawn Ashmore) has been taking interest towards Kitty Pryde/Shadowcat (Ellen Page).  Magneto meanwhile, uses the news of the cure as a rallying cry to forge the Brotherhood with help from his new protege Pyro (Aaron Stanford) and other new mutants in Callisto (Dania Ramirez) as they help retrieve Mystique along with a couple of mutants in Multiple Man (Eric Dane) and Juggernaut (Vinnie Jones).  When Scott goes to Alkali Lake where Jean has reappeared as Xavier senses Jean only to realize something is right.  Logan learns that Xavier used psychic blocks to prevent a dark personality in Jean in order to protect her as Logan's feelings for her lead to an escape.

With Magneto realizing that Jean is alive and more powerful, he tries to get her to his side as Xavier pleads to not to let her dark side control her while Logan and Storm try to fight off Magneto's Brotherhood.  Following a devastating loss and pondering what to do, Logan tries to find the Brotherhood and what Magneto is up to while Warren Worthington's mutant son Warren III (Ben Foster) joins the school as he helps out.  After returning from Magneto's secret base and learning his plans, Logan, Storm, and Hank along with younger, trained mutants decide to fight Magneto and his Brotherhood and the more dangerous Jean who is now Phoenix.

When the X-Men franchise was in the hands of Bryan Singer and his team, it allowed Singer to get a chance to develop the characters and create something that was more than a typical blockbuster action film.  Singer's departure along with his team changes things as the franchise goes into the hand of a much more commercial filmmaker in Brett Ratner.  While Ratner does have a good ear for humor and knows how to get the ball rolling.  The problem is that he along with screenwriters Zak Penn and Simon Kinberg cram too many ideas, storylines, and exposition into a film that becomes very messy.  The script doesn't allow the audience to figure out what's going on or to slow the story down.  Even as there's too many characters to follow where things needed to be simplified or have some of central figure to follow.

Ratner's direction does have a few excellent moments such as the training scene as well as some intimate scenes at Xavier's school.  For the rest of the film, it seems uninspiring and overblown at times.  The action scenes move a little too fast while the dramatic moments comes across as cheesy and unnecessary.  While Ratner does try to put some humor in scenes where he gets one notable humorous action moment right, the rest of it doesn't seem to work.  A lot of the big action moments don't feel very natural as the overall film is an excessive mess that doesn't stretch itself or simplify things for its audience. 

Cinematographer Dante Spinotti does an OK job with the photography though at times, he goes overboard with visual flair and digital coloring that makes the film seem unnatural in its look. Production designer Ed Verraux does excellent work in creating the look of the school and the meeting of the Brotherhood through its forests where most of it is shot in Vancouver. Visual effects supervisor John Bruno and team do great work on the visual effects, notably the final battle sequence and Magneto's movement of the Golden Gate Bridge. Sound designer Craig Henighan also does excellent work on the sound while editors Mark Goldblatt, Mark Helfrich, and Julia Wong do a decent job in the cutting work in giving the story some speed although the fast cuts tend to lose sight on the story.

Costume designer Judianna Makovsky does great work on the costumes while giving the X-Men suits a new look of sorts while make-up supervisor Rosalina Da Silva and her team do great work on the makeup, particularly for the character of Beast. John Powell also does good bombastic work on the film's score that plays up to the intensity of the action as well as the dramatic moments of the film.

The film's cast features some great, small performances from Anthony Heald as an interrogator, Haley Ramm as the young Jean Grey, Cayden Boyd as the young Warren III, and the cameos of Stan Lee, Olivia Williams as an associate of Xavier, and the voice of R. Lee Emrey. Bill Duke as General Trask and Josef Sommers as the President are decent in their brief roles while Oscar nominee Shoreh Aghdashloo as Dr. Rao is sorted of wasted in a thankless role. Michael Murphy is also good while Ben Foster is OK as Angel though he doesn't get much to do. Omahyra and Eric Dane are memorable in their role as Brotherhood mutants while Daniel Cudmore is somewhat wasted as Colossus since he only gets one line in the film. Rebecca Romijn is also wasted as Mystique since by the first 20-30 minutes, she's gone which is a shame to a very enjoyable character that only Romijn could do. Cameron Bright is terrible as Jimmy as he spends most of the film giving the creepy gaze that he's always done in a lot of his performances.

Dania Ramirez is awful as Callisto as she tries to be all tough when it doesn't really work as her dialogue delivery is very amateurish.  James Marsden's role as Cyclops is also brief as only becomes a plot device in the part of Jean Grey's evolution as Phoenix. Of all the newcomers to join the film, Ellen Page, in her brief moments, is a real standout in the role of Kitty Pryde as she reveals all the insecurities and attitude in what it takes to be a mutant of power.  Shawn Ashmore also stands out as Iceman as he develops from a character who finally gets to use the full potential of his powers for the use of good as he has a great scene with Aaron Stanford. Stanford really shines as Magneto's new right-hand man who apparently still has a lot to learn about morals in his scenes with Ian McKellan. Vinnie Jones is another big standout in the role of the Juggernaut as he has some great, hilarious one-liners and some cool moments where he quotes, "I'm the Juggernaut bitch!"

Of all the new actors to join the series, Kelsey Grammer is very good combining his intellectual wit that he brought from Frasier to the role of Beast. Grammer brings full advantage of a mutant who understands both prejudice and intolerance while he got to do some amazing fight scenes as well. Anna Paquin, unfortunately, despite her efforts couldn't make Rogue into a strong character that was expected from the comic book fans. Paquin is forced to act frustrated and lonely as she ends up being really wasted after having a flawed if strong performance in the first film. Ian McKellan is great, as usual, in the role of the villainous Magneto whose fury upon the humans reveals his prejudice and how blind he's become from the person he was early in the film's first few minutes in a flashback scene. Patrick Stewart is also great as the more tolerant Charles Xavier whose fear of Jean’s full powers show that he's a flawed man trying to do what is right for everyone including his students.

Famke Janssen delivers a good as Jean Grey/Phoenix as a woman whose emotional and mental disability clashes with the woman that fans knew in the previous film and the dark, maniacal Phoenix. Janssen reveals the troubles of the character full-on as it's a woman we all know we don't want to mess with but have pity for. Halle Berry is good as Storm can do and delivers a kick-ass performance by flying, shooting out lightning, and doing all sorts of stuff though her dramatic moments are weak due to the script's shortcomings. The franchise's breakout star Hugh Jackman is good though not great as Wolverine as he does what he's expected to do though he's not really given the chance to be more out there as it's a step-down from the more developed role he had in the previous film.

Despite some decent moments and some performances, X-Men 3:  The Last Stand is a very disappointing film in the X-Men franchise.  Blame should go to Brett Ratner for just trying to do too much and give people what they want except giving them a cohesive story and a central story to focus on.  It's no doubt it's the weakest of the first three films though it's not the worst film of the X-Men franchise which goes to the debacle that was the prequel X-Men Origins:  Wolverine.  It's a film that does have some entertaining moments but not enough to satisfy its fans who enjoyed the previous films as X-Men 3:  The Last Stand is a full-blown mess. 

X-Men Films: X-Men - X2: X-Men United - X-Men Origins: Wolverine - X-Men: First Class - The Wolverine - X-Men: Days of Future Past - X-Men: Apocalypse - Logan (2017 film) - Deadpool 2 – (X-Men: Dark Phoenix) - (New Mutants)

© thevoid99 2011

The Messenger (2009 film)

Directed by Oren Moverman with a script co-written with Alessandro Camon, The Messenger tells the story of a young U.S. army staff sergeant who accompanies a captain to give notice to families of fallen soldiers. During one trip, the young soldier falls for a widow as he deals with his own ethics issues while befriending his superior. A war drama that plays to the Iraqi war of the 2000s, it is a film that explores what families and soldiers go through when they have to deliver the news of death to families. Starring Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone, and Steve Buscemi. The Messenger is a harrowing yet mesmerizing film from Oren Moverman.

Staff Sergeant Will Montgomery (Ben Foster) has just returned from Iraq following a tour of duty that has left him battered while his left eye was nearly damaged. The only person waiting for him is his girlfriend Kelly (Jena Malone) who reveals during dinner that she is getting married to another man. With a few months left for his time as a soldier, Will is called by Lt. Colonel Dorsett (Eamonn Walker) to go on an assignment with Captain Tony Stone (Woody Harrelson) to give notices to the families of fallen soldiers. Stone gives Will specific instructions about what to do and what not to do during these assignments. With Will watching the cynical, hardened Stone what he does, it is very hard for Will to give out these notices.

Still reeling from his wounds, the trauma of war, and Kelly’s engagement, Will tries to deal with issues through drinking and being alone in his apartment. During an assignment where he and Stone are giving notice to a woman named Olivia Pitterson (Samantha Morton). The two are baffled by her behavior as Will is intrigued while he and Stone continue to socialize in bars as Will is still intrigued by Olivia as he sees her at a mall with her son Matt (Jahmir Duran-Abreau). Will suddenly spends time with her while dealing with the assignments he’s giving out as he’s having a harder time about Kelly when he receives an invitation to her engagement party.

With Will continuing to spend his time with Olivia as she reveals plans to move to another city, he helps her as she reveals stories about her late husband. Will realizes he is getting too close as during a trip to another notice, Will overhears a man’s name as he came to him and his wife giving them the notice about their son’s death as Will does something that he shouldn’t have done. Stone is upset as Will reveals he’s tired of what not to do. With Will finally given a break, he and Stone go out for the weekend with a couple of young ladies (Lindsay Michelle Nader and Merritt Weaver) for some fun. Everything seems fine until the two men get drunk over their own issues as they crash Kelly’s engagement party and later have a heart-to-heart about their own experiences.

The film is about a soldier becoming a messenger to give notices to families of fallen soldier with a hard-ass captain while falling for a woman. That’s essentially the film’s plot as it’s mostly told through a loose form of storytelling. In reality, the film is a character study about a young man trying to deal with his new assignment along with his own issues from the war and at home. For Will Montgomery, he’s leading a complicated life where has to go see doctors about his left eye and at one point, he meets a returning soldier (Jeremy Strong) as that soldier tries to live a life in denial. Stabilizing his life is his assignment to give notices to families though it isn’t easy where at one point, he gives notice an angry father (Steve Buscemi). It’s in this widow named Olivia where Will finds not just comfort but a life outside of duty though he realizes that she is having a hard time with her own issues.

The screenplay that Oren Moverman and co-writer Alessandro Camon not only create a wonderful center into Will’s emotional struggle as well as his conflict in being a man and soldier. The writers also do some study on a few supporting characters, notably Olivia and Stone. Olivia’s reaction to the news of her husband’s death at first is baffling but once Will gets to know her and her son. Olivia is revealed to be just as complicated where there’s a great 8-minute scene of her talking about her late husband. What is revealed isn’t just a turning point for Will but also reveals why Olivia acted so strange about the news.

Then there’s Tony Stone, a man who is a hardened man who is concerned about his duty on the outside. On the inside is someone who is very fragile while dealing with his own issues. A recovering alcoholic for three years who fought on Desert Storm is someone that is just trying to keep things in order while at night, he flirts and sleeps with a bartender (Lisa Joyce). When he and Will go out for some fun, an eventual relapse happens as once the film nears its end. There is a poignant conversation about their own experiences and how hard it was for both of them. Another supporting character, though minor, that gets a bit of attention is Kelly. While she isn’t in the story very much, she does serve as motivation for Will while dealing with the fact that despite her love for him, she is moving on. The script overall is definitely brilliant in its study and looseness for its story.

Moverman’s direction is truly astounding in not just the way he portrays the dramatic elements of the film. It’s also how he avoids clichés and finds something else that doesn’t give in to conventions. For many of the scenes where Will and Tony are to give notices, it’s all presented in a hand-held style that isn’t very shaky. For the rest of the film, it’s all about wide shots and simple shots to complement not just Will’s sense of isolation but also his need to connect. Even as he allows scenes of humor along with other scenes from Will’s perspective about things happening around him.

Moverman also succeeds in fleshing out the relationship Will has that includes the 8-minute scene of Olivia talking about her husband as it’s presented in one single take. It’s a slow but captivating scene as it’s all about the dialogue and restrained acting. It’s Moverman being observant while keeping the camera away as he wants the audience to be engaged by the conversation. The conversations that Moverman shoots which includes Will and Tony’s war stories is presented with few edits so the actors remain in character and just act. The simplicity and non-stylized approach to the direction is definitely wonderful as Moverman creates what is certainly an engaging yet hypnotic directorial debut.

Cinematographer Bobby Bukowski does a great job with the film‘s photography that is mostly straightforward with a heightened brightness for its daytime exterior scenes. Even as the nighttime exterior and interior scenes are shot with dark lights to complement the troubled moods some of the characters are going through as Bukowski’s work is worth noting. Editor Alexander Hall does a superb job with the editing in creating cuts that plays to the sense of longing and emotion in Will’s journey. Even as there’s some rhythmic cuts to play up to reactions while creating a leisured pace throughout the entirety of the film.

Production designer Stephen Beatrice and set decorator Cristina Casanas do some excellent work in the set pieces that includes Olivia’s home and Will’s apartment. Notably the lack of decorations and openness in Will’s apartment that reveals his own isolation. Costume designer Catherine George does a very good job with the costumes from the uniforms Will and Tony wear along with the casual clothes while creating a great red dress for the character of Kelly in her engagement party. Sound editors Leslie Shatz and Javier Bennassar do a fantastic job with the sound from the sparse world of Will‘s apartment to the chaos of the bars he and Tony frequent. Even as it helps with the quiet moments of the film as it’s just about the conversation and the low mix on the surroundings.

The music by Nathan Larson is wonderful for its sparse, guitar driven tone that plays up to Will‘s troubled mood as Larson dominates the score with a plaintive, arpeggio-laden guitar track throughout the film. Music supervisor Tracy McKnight also plays to that sparseness by having music be played on location rather as an accompaniment. Whether it’s a song like Home On the Range where Will and Tony sing drunkenly or music that’s on a bar or the radio. The soundtrack includes music by the Band, David Bowie, Brian Wilson, Rilo Kiley, Clutch, the Hold Steady, Willie Nelson, and other acts.

The casting by Laura Rosenthal and Ali Farrell is definitely spectacular with its array of memorable performances from well-known actors to some very small roles. Among the memorable small roles include Eamonn Walker as Will and Tony’s superior, Michael Chernus as Kelly’s fiancee Alan, Jahmir Duran-Abreau as Olivia’s son Matt, Jeremy Strong as a returning soldier, Fiona Dourif as the returning soldier’s wife, Lindsay Michelle Nader and Merritt Weaver as a couple of girls Will and Tony go out with, and Lisa Joyce as a bartender Tony sleeps with. In the roles of families giving notice, there are memorable appearances from Yaya DaCosta as a girlfriend, Kevin Hagan and Marceline Hugot as an old couple Will meets at a market, Halley Feiffer as a young woman carrying a secret about her boyfriend, and Peter Friedman as that girl’s father.

Steve Buscemi is phenomenal as an angry father who gets a notice. Though it’s a small role, Buscemi’s presence and performance is truly mesmerizing as he channels the anger of a man who just encountered loss as it’s a great performance from the always enjoyable Buscemi. Jena Malone is superb in a small but crucial role as Kelly, Will’s ex-girlfriend. Malone brings a lot of gravitas to a character that is in conflict for her love for Will but also the fact that she’s moved on. Even as there’s moments in her engagement party where she seems really uncomfortable as she could’ve gone over the top but restrains herself as it’s one of her finest performances.

Samantha Morton is amazing as Olivia, a widow who befriends Will as they find comfort in each other’s presence. Particularly the scene where Morton delivers a monologue about her husband as the sense of restraint in the performance as well as the mix of sadness and anger that is very startling. It’s a scene where Morton really shines as she delivers front and center throughout the film as it’s one of her best performances so far. Woody Harrelson is magnificent in his role as Captain Tony Stone. Harrelson brings a hardened exterior to his role of someone just wanting to do his job in a way where he doesn’t have to be emotional. By the time his character isn’t in his role as a soldier, Harrelson brings a fragility to his character that is having a hard time with his own war experience.

Finally, there’s Ben Foster in what is definitely a career-defining performance as Staff Sgt. Will Montgomery. Foster brings an intensity and dramatic weight to his role as a young man dealing with the aftermath of war and the sense of alienation upon his return home. Notably when he is trying to deal with Kelly’s engagement along with his new role as a messenger to families. Yet, Foster also brings some humor in his scenes with Woody Harrelson where they have some fun while he gets to be quiet and relaxed in his scenes with Samantha Morton. It’s a remarkable performance from the young actor who is surely going to be getting more attention in the years to come.

The Messenger is a haunting yet powerful film from Oren Moverman featuring an outstanding leading performance from Ben Foster. Audiences who want to see a war film without any political message or heavy-handed ideas about war will definitely see this as something more refreshing. While it’s not an easy film to watch due to its approach, it is a film that doesn’t go for conventions. Featuring incredible supporting performances and appearances from Woody Harrelson, Samantha Morton, Jena Malone, and Steve Buscemi. It’s a film that is very real but also has poignant ideas about what families and soldiers go through with loss. In the end, The Messenger is a brilliant yet chilling film from Oren Moverman.

Oren Moverman Films: Rampart - (Time Out of Mind) - (The Dinner (2017 film))

© thevoid99 2011