The film is about a former revolutionary whose teenage daughter is being pursued by a corrupt military official who wants to eliminate her as he sees her as a threat to society as well as to be part of a secret white supremacist society. It is a film that explores a man dealing with not just the past as he was part of a revolutionary group until the arrival of his daughter who would become the target of this military official. Paul Thomas Anderson’s screenplay has a straightforward narrative yet there are elements in the narrative that plays into the chaotic atmosphere of underground revolutionaries. The first act introduces this group known as the French 75 where it is led by Perfidia Beverly Hills (Teyana Taylor) who is a firecracker that always takes charge while her partner “Ghetto” Pat Calhoun (Leonardo DiCaprio) is part of the group along with several others. During an event where they break out detained immigrants from a detention center, Perfidia meets the center’s commander Captain Steven Lockjaw (Sean Penn) whom she seduces as he falls for her to the point that they would have an affair that eventually becomes troubling.
Even as Perfidia gives birth to Charlene where Calhoun chooses fatherhood over revolutionary activities. Perfidia would continue until a botched bank robbery has her captured as she reluctantly makes a deal with Lockjaw where Calhoun, Charlene, and a few others go hiding for 16 years. The film’s second act begins with the 16-year-old Charlene who is under the name Willa Ferguson living with her father who is now Bob Ferguson as he laments over his failure as a revolutionary as he drinks and smokes weed to cope with his failure. When Lockjaw is given a chance to be part of a secret society while being promoted as a colonel in handling immigration. He decides to pursue Charlene/Willa seeing her as a threat while capturing former surviving members of the French 75 where Willa would gain refuge from a former French 75 member in Deandra (Regina Hall) who rescues her at a school dance. Calhoun would learn about Lockjaw pursuing Charlene as he evades capture while also seeking help from Willa’s martial arts instructor Sensei Sergio St. Carlos (Benicio del Toro) who is also a community leader who shelters immigrants in his community. The third act is not just about revelations from Deandra about Perfidia but also Calhoun’s own issues about how he disconnected himself with the French 75 after what happened to Perfidia. Even with Lockjaw becoming a liability himself with the society he wants to be a part of.
Anderson’s direction is stylish in the way he opens the film on a highway in California where a detention center is held as it sets the stage for a whirlwind of genres to emerge within the film. Shot on various locations in California including parts of San Diego and Sacramento and El Paso, Texas, Anderson creates a film that is set in a modern world though it is inspired by events from the 1960s and 1970s in the way the French 75 create their robberies, bomb attacks, and other things all in the idea of revolution. The usage of wide and medium shots do play into the scope of the locations including scenes in the desert for much of the film’s third act that includes this entrancing chase sequence around these hilly desert roads. Anderson’s usage of close-ups add to the drama and suspense in the way characters interact with one another. Even in intense moments where Willa/Charlene finds herself in danger as she deals with her own situation as well as the danger of what her parents did.
Anderson’s direction also play into this sense of reality into the idea of revolution and its fallacies with Calhoun being burned out by his own experiences where he becomes disconnected with everything that is happening as he lives off the grid. Spending his time drinking beer, smoking weed, and watching old films to cope with failure as a person and as a father to Charlene/Willa feeling he has not done enough for her. There are elements of humor that Anderson puts in such as a house of the secret society that Lockjaw wants to be in as it is an odd scene considering how elaborate the whole set up is. The scenes in the second act where Calhoun and Sensei St. Carlos try to help immigrants and others while later going on the road through California while drinking beer shows some of the absurdity of two men who both try to do the right thing yet do some bad things on the road.
Anderson also employ the sense of reality in what Lockjaw is doing as he deals with capturing undocumented immigrants as well as create trouble during protests and riots in escalating things for his forces to deal with rioters in extreme measures. Even as there are scenes where the authorities interrogate people and push them to reveal information with threats as it has this air of realism. The film’s third act relates to Lockjaw capturing Willa/Charlene with Calhoun trying to find them displays the level of what Lockjaw will as he hired a bounty hunter in Avanti (Eric Schweig) who has his own issues in what Lockjaw wants to do with Willa/Charlene. Its ending is a wholesome one as it relates to what people can do in relation to activism but also remind themselves that they can make sure to not repeat the mistakes of the past. Overall, Anderson crafts a riveting and whimsical film about a former revolutionary trying to save his daughter from an evil military officer from the past.
Cinematographer Michael Bauman does brilliant work with the film’s cinematography with its usage of available and lush lighting for some of the daytime exterior scenes set in the morning as well as scenes at night while creating some unique lighting for some nighttime interior scenes including the places that Sensei St. Carlos houses undocumented immigrants. Editor Andy Jurgensen does excellent in utilizing unique transitional dissolves as well as some jump-cuts to play into the suspense and humor as well as allowing shots to linger in some of the long shots. Production designer Florencia Martin, along with set decorator Anthony Carlino and supervising art director Andrew Max Cahn, does amazing work with the look of the home Calhoun and Charlene/Willa live in that feels remote as well as the secret room where the secret society have a secret meeting. Costume designer Colleen Atwood does fantastic work with costumes as it ranges from loose and stylish to play into the style of the revolutionary to a more buttoned-down look that Lockjaw and this secret society wears including polo shirts.
Special makeup effects artists Thomas Floutz and Christopher Allen Nelson do wonderful work for the look of a character late in the film that plays into the chaotic aftermath of everything this character went through. Special effects supervisor Jeremy Hays, along with visual effects supervisors Ed Bruce and Laura J. Hill, do terrific work with the special effects for some scenes involving some of the robberies and attacks as well as bits of set dressing for a few scenes set at night. Sound editor Christopher Scarabosio does superb work with the sound in capturing the atmosphere of the locations as well as how gunfire sounds from afar and up close as well as maintaining that sense of dread into some of the action as it is a highlight of the film.
The film’s music by Jonny Greenwood does incredible work with the film’s music score with its usage of orchestral arrangements and discordant textures that includes drums and percussions from his Smile bandmate Tom Skinner as it is a major highlight of the film. Music supervisor Linda Cohen creates a fun music soundtrack that mixes all kinds of music as it feature contributions from Jon Brion, Steely Dan, the Shirelles, Ramsey Lewis Trio, Sheck Wes, Travis Scott with Kendrick Lamar, Walk the Moon, El Fantasma with Banda Los Populares Del Llano, Survivor, Ella Fitzgerald, the Jackson 5, Los Panchos, Gil Scott-Heron, and Tom Petty & the Heartbreakers.
The casting by Cassandra Kulukundis is marvelous as it feature some notable small roles and appearances from Carlos McFarland, Elisabeth Pease, Colton Gantt, and Autumn Crosswhite as classmates of Willa who get interrogated, Tony Goldwyn, Kevin Tighe, James Downey, and John Hoogenakker as members of the secret society known as the Christmas Adventurers Club, Tisha Sloan as Willa’s teacher that Calhoun meets for a parent-teacher meeting, Starletta DuPois as Perfidia’s mother, Elijah Joseph Sambrano as a skateboarder named Latino Heat who helps Calhoun escape during an immigration raid, April Grace as a nun at a secret convent in Sister Rochelle, and Jena Malone in a voice cameo as the greeting code voice. Other notable small roles as members of the French 75 include Alana Haim as Mae West, Shayna McHayle as Junglepussy, Wood Harris as Laredo, Paul Grimstad as Billy Goat, and Dijon Duenas as Talleyrand. D.W. Moffett is terrific as a Christmas Adventurers Club member in Bill Desmond who is asked to take care of some problems for the society while Eric Schweig is superb as a Native American bounty hunter in Avanti who does some things for Lockjaw while he becomes uneasy about what he has to do with Willa/Charlene.
Teyana Taylor is fantastic as Perfidia Beverly Hills as a revolutionary leader who is full of intensity and charisma while also finding ways to seduce Lockjaw that would eventually get her into trouble. Even as she deals with becoming a mother as she has a hard time letting go of her revolutionary ideals. Regina Hall is excellent as Deandra as a former French 75 member who would save Willa/Charlene from being captured as she is also someone who is resentful towards Willa’s mother over how the French 75 was captured and disbanded. It is a performance that is reserved as a woman who knows the danger of what Willa/Charlene is facing as well as her refusal to compromise.
Benicio del Toro is brilliant as Sensei Sergio St. Carlos as Willa’s martial arts teacher who is also a community leader who helps Calhoun in trying to retrieve Willa through some conventional means. It is a performance where del Toro provides a lot of wit as well as some unique wisdom that would help Calhoun. Sean Penn is amazing as Steven Lockjaw as a corrupt military official with a terrible haircut and odd facial ticks that adds to his eccentric nature as he is also someone that is in love with Perfidia and her ass. Penn brings this element of dark comedy to his performance as someone that is trying to maintain a sense of power as well as his desire to be part of an elite society group.
Chase Infiniti is phenomenal as Charlene Calhoun/Willa Ferguson as a 16-year-old girl who is being pursued by Lockjaw because of who her mother as she deals with her newfound situation as well as revelations about her mother. It is a performance that carries a lot of youthful exuberance as well as someone who is trying to comprehend who her parents are and what she can do with her life while she is still young. Finally, there’s Leonardo DiCaprio in a tremendous performance as “Ghetto” Pat Calhoun/Bob Ferguson as a former revolutionary who has disconnected himself with the underground as he copes through drugs and marijuana over his failures while he is brought back to action when Lockjaw pursues Charlene. It is a performance where DiCaprio brings a lot of humor as well as someone who is just trying to makeup for his own failures as a man and as a father as it is one of DiCaprio’s finest performances of his career.
One Battle After Another is a magnificent film by Paul Thomas Anderson that feature a great leading performance from Leonardo DiCaprio and a breakout performance from Chase Infiniti. Along with its supporting cast, a riveting and somber screenplay, gorgeous visuals, Jonny Greenwood’s hypnotic score, and a killer music soundtrack. It is an unconventional yet rapturous film that bends all kinds of genres to create a story about a father trying to save his daughter from an evil figure from the past as well as deal with his own past as a revolutionary. In the end, One Battle After Another is an outstanding film by Paul Thomas Anderson.
P.T. Anderson Films: Hard Eight/Sydney - Boogie Nights - Magnolia - Punch-Drunk Love - There Will Be Blood - The Master (2012 film) - Inherent Vice - Junun - Phantom Thread - Licorice Pizza
Related: The Shorts & Videos of Paul Thomas Anderson - The Auteurs #15: Paul Thomas Anderson
© thevoid99 2025
Set in the 1950s, the film follows a wealthy industrialist who has named his only daughter as his sole heir as the two along with a tutor traveling around the fictional European country of Phoenicia to deal with various investors over money, he skimmed over to salvage a project that he hopes would help Phoenicia. It is a film that explores a man who had been through many near-death experiences involving plane crashes and assassination attempts on his life where he decides to bring his eldest child into the fold even though she is about to become a nun as she is reluctant to take part in his criminal activities. Wes Anderson’s screenplay has a narrative that is straightforward with some strange yet surreal sequences that involves its protagonist Zsa-Zsa Korda (Benicio del Toro) often visiting the afterlife following every near-death experience. These events forces him to name his estranged daughter Liesl (Mia Threapleton) as his sole heir as he has 10 other sons who are all adolescent and unable to help Korda in his schemes. Joining them on this trip through Phoenicia is a Norwegian entomologist in Bjorn (Michael Cera) whom Korda hired as a tutor in his own increasing interest in insects.
The script also has a unique structure into the group of people that Korda has to meet to cover his losses that includes a consortium led by two American brothers in Leland (Tom Hanks) and Reagan (Bryan Cranston), the heir to Phoenicia in Prince Farouk (Riz Ahmed), a French nightclub owner in Marseille Bob (Mathieu Almaric), an American investor in Marty (Jeffrey Wright), Korda’s second-cousin Hilda (Scarlett Johansson), and his half-brother Uncle Nubar (Benedict Cumberbatch) whom Korda believes killed Liesl’s mother many years ago. Korda would endure a series of challenges and events upon his journey as it would play into a character arc of his own as a man that is constantly dealing with assassins trying to kill him and other things while he gets to know Liesl. Liesl would have an arc of her own while also revealing her own quirks such as the fact that she carries a dagger and smokes with a pipe. Notably as she gains a view of the world though remains committed to her faith and becoming a nun. Bjorn is a character that is full of intrigue as he is fascinated by Liesl while he is also ambiguous in the things he talks about while often surrounds himself with insects as they fascinate him. The film also has a subplot relating to a government agent led by Excaliber (Rupert Friend) who is tailing Korda and his activities in the hope of disrupting everything for Korda.
Anderson’s direction is entrancing as it does play into his stylish usage of symmetrical compositions and diligence to everything he captures on film. Shot on location at the Babelsberg Studio in Germany and in a 1:48:1 aspect ratio format that is an unconventional presentation that is atypical with a lot of films. Anderson does maintain some unique compositions in some of the wide shots he creates to play into the fictional country of Phoenicia as it is a country between Europe and the Middle East. Anderson does maintain some stylish framing in the way he puts his actors in a medium shot or a close-up along with some intricate tracking shots where characters would move from one room to another. Anderson’s presentation of the scenes set in the afterlife are shot in black-and-white as there is an element of surrealism where Korda meet some people including his first wife (Charlotte Gainsbourg), a young Liesl (Beatrice Campbell) and a few others as it plays into his own brush with death.
The film also plays into the ideas of faith as it relates to Liesl who often prays during her journey while the sequence in which Korda meets with Bob at his nightclub that is being robbed by Communist revolutionaries led by Sergio (Richard Ayoade) as Korda, Liesl, and Bjorn would meet them again as they are all Atheists. There is a humorous take in how Anderson presents Atheism as it would help play in both Korda and Liesl’s character arcs as it relates to faith. Notably the former whose encounters with the afterlife through his near-death experiences forces him to contend with his own existence. The film’s climax relates to the final meetings with those he counted upon to help him save the project as well as confront Uncle Nubar who is the last investor who is also ambiguous into answering Liesl’s own questions about her mother. It would be followed by a ridiculous fight scene as well as other outlandish things followed by an epilogue that plays into the fate of Phoenicia, its project, and those close to Korda. Overall, Anderson crafts an evocative and enchanting film about a business tycoon trying to make amends with his estranged empire to save his criminal empire.
Cinematographer Bruno Delbonnel does incredible work with the film’s cinematography with its stylish usage of lighting for interior scenes in the day and night as well as in the way some of the exterior scenes are lit including scenes at night such as a scene inside a crashed airplane with the usage of lamps and available light. Editor Barney Pilling, with additional work from Andrew Weisblum, does excellent work with the editing with its usage of jump-cuts, slow-motion shots, and other stylish cuts to play into the suspense, action, and humor also knowing when to have shots linger on for around a minute. Production designer Adam Stockhausen, with set decorator Anna Pinnock plus art directors Marc Bitz, Neneh Lucia, Anja Muller, Esther Schreiner, and Mariana Vasconcellos, does brilliant work with the look of the Korda estate, the unfinished train tunnel, and other places including interiors of the planes that Korda flies in as it is a highlight of the film. Costume designer Milena Canonero does amazing work with the costumes in the design of the suits that Korda and Bjorn wears as well as the nun outfit that Liesl wears and the clothes of some of the other characters including the sweatpants and shoes that Leland and Reagan wear.
Hair/makeup designer Heike Merker and prosthetics designer Mark Coulier do terrific work with the look of the characters in the hairstyles that Liesl and Bjorn have as well as the big beard that Uncle Nubar has. Special effects supervisor Gerd Nefzer, along with visual effects supervisors Craig Crawford and Steve Murgatroyd, does fantastic work with the look of some of the models and miniatures used in the film along with a few bits of visual effects as set dressing. Sound editors Wayne Lemmer and Christopher Scarabosio do superb work with the sound in the way planes sound from the inside as well as the sounds of certain objects including weapons. The film’s music by Alexandre Desplat is wonderful for its low-key piano-based orchestral score that plays into the suspense and drama with some soft percussive and a low-key string arrangement to play into some dangerous scenes. Music supervisor Randall Poster cultivated a soundtrack that features classical music pieces from Igor Stravinsky, Ludwig Van Beethoven, Johann Sebastian Bach, and Modest Mussorgsky as well as music from Gene Krupa and Dizzy Gillespie.
The film’s casting by Douglas Aibel is marvelous as it feature some notable small roles and appearances from Beatrice Campbell as a young Liesl, Donald Sumpter as a chairman that Excaliber works for, Alex Jennings as Korda’s butler, Jason Watkins as Korda’s attorney, Stephen Park as Korda’s pilot, and in the roles of Korda’s 10 adolescent sons in Edward Hyland, Ogden Dawson, Kit Rakusen, Milo James, Hector Bateman-Harden, Benjamin Lake, Gunes Taner, Gabriel Ryan, Mohamad Momo Ramadan, and Jonathan Wirtz. Other notable small roles as figures of people that Korda sees in the afterlife include Charlotte Gainsbourg as Korda’s first wife, Willem Dafoe as an attorney in Knave, F. Murray Abraham as a prophet, and Bill Murray as God. Hope Davis is fantastic as the Mother Superior who arrives in the film’s third function as Liesl’s mentor who learns about Liesl’s journey as well as getting to know Korda where she decides to join him in his own scheme for the good of Phoenicia.
Tom Hanks and Bryan Cranston are superb in their respective roles as the brothers Leland and Reagan as two American investors who are upset over their own financial loss as they would settle this dispute through a game of horse where Hanks and Cranston display their skills in the game. Riz Ahmed and Richard Ayoade are excellent in their respective roles as the Phoenician heir Prince Farouk and the guerilla leader Sergio with the former being an investor who believes that Korda will do good while the latter is a Communist revolutionary who decides to join Korda in the film’s third act in dealing with enemies of Korda. Rupert Friend and Mathieu Almaric are brilliant in their respective roles as the bureaucratic Excaliber and the nightclub owner Marseille Bob with the former being a government agent trying to disrupt Korda’s activities and the latter being another investor who has issues with what Korda wants only for his encounter with Sergio changes everything.
Jeffrey Wright and Scarlett Johansson are amazing in their respective roles as the American investor Marty and Cousin Hilda with the former being an investor who is also upset over what Korda wants while the latter is Korda’s second cousin who is unsure about wanting to marry Korda to save his business as she is also trying to handle things for herself. Benedict Cumberbatch is great as Uncle Nubar as Korda’s half-brother who is also an investor yet remains mysterious in his own dealings while is also unwilling to answer questions about the death of Liesl’s mother. Michael Cera is incredible as Bjorn as a Norwegian entomologist who is hired as a tutor for Korda while also being an administrative assistant where he is full of humor and intrigue as he is also someone that is fascinated by Liesl.
Mia Threapleton is tremendous in a break-out performance as Liesl as Korda’s estranged daughter who is becoming a nun as she is reluctant to join her father on a trip through Phoenicia where she gets to see many wonders of the world while also being someone who smokes a pipe and carries a dagger where she has quirks of her own like her father. Finally, there is Benicio del Toro in a phenomenal performance as Zsa-Zsa Korda as a business tycoon who has created schemes to swindle people out of money where he is ruthless in his pursuits until a series of near-death experiences forces him to make some changes in saving a project for the country of Phoenicia where he gains some insights about the ways of the world. It is a witty performance from del Toro who brings a lot of complexities of a man with irredeemable qualities, yet he puts in things that would make him redeemable during his journey as he also has some amazing low-key chemistry with Threapleton.
The Phoenician Scheme is a sensational film by Wes Anderson that features a great leading performance from Benicio del Toro and a major discovery in Mia Threapleton. Along with its ensemble cast, dazzling visuals, a sumptuous music soundtrack, and a story of redemption and meaning amidst bad decisions and near-death experiences. The film is an offbeat yet compelling film that does mark a newfound maturity from Anderson in its exploration of family dysfunction as well as characters trying to find redemption from their bad habits. In the end, The Phoenician Scheme is a phenomenal film by Wes Anderson.
Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison (2023 short) - The Auteurs #8: Wes Anderson
Wes Anderson Film Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) – (The Grand Budapest Hotel) – (Isle of Dogs) – (The French Dispatch) – (Asteroid City) – (The Wonderful Story of Henry Sugar) – (The Phoenician Scheme)
© thevoid99 2023
Set in 1975 in the small town of Ennui, France, the film revolves a French foreign bureau newspaper whose editor had just died prompting its staff of American writers to finish its final issue that consists of three different stories. It is a film that explore the world of this magazine and the stories they tell as it all takes place in this small town in France that include three different stories plus a prologue, a small story about the town from a cycling reporter named Herbsaint Sazerac (Owen Wilson), and an epilogue. Wes Anderson’s screenplay is definitely inspired by the stories and the works of writers from The New Yorker as he play into this world of culture, politics, and adventure through the recollection of these writers. Sazerac’s story is just about the town this magazine is based on as it explore the many changes the town went through though its editor in Arthur Howitzer Jr. (Bill Murray) wonders why Sazerac also talks about some of the seedier aspects of the town as it sets the tone for the entire film.
The first story entitled The Concrete Masterpiece from the writer J.K.L. Berensen (Tilda Swinton) who hosts a lecture about the works of the artist Moses Rosenthaler (Benicio del Toro) and his own views on art including his relationship with his muse/prison guard in Simone (Lea Seydoux). It is a story that explore a man whose art is strange and abstract as a fellow prisoner in the art dealer Julien Cadazio (Adrien Brody) wants to show it to the world including Berensen’s old boss Upshur “Maw” Clampette (Lois Smith) while hoping Rosenthaler would make a grand masterpiece. The second story entitled Revisions to a Manifesto by Lucinda Krementz (Frances McDormand) explore a student protest revolution lead by Zeffirelli (Timothee Chalamet) whom Krementz gets close with yet finds herself having to deal with its complexities as well as vying for Zeffirelli’s affections with another student in Juliette (Lyna Khoudri). The third and final story entitled The Private Dining Room of the Police Commissioner by Roebuck Wright (Jeffrey Wright) was supposed to be about a dinner with Ennui’s police commissioner (Mathieu Almaric), that includes a revered chef/detective in Nescaffier (Stephen Park), where the commissioner’s son Gigi (Winston Ait Hellal) is kidnapped by a criminal syndicate over the arrest of an underworld accountant known as the Abacus (Willem Dafoe).
Anderson’s direction definitely bear a lot of the trademarks that he’s known for in his attention to detail in his framing, dolly-tracking shot camera movements, and other aspects that do play into his visual style. Shot largely on studios and locations in Angoulme in southwestern France, Anderson creates a world that is unique as the town of Ennui is this character where so much had happened as the first story by Sazerac as he’s riding on a bike revealed the town’s evolution as it is filled with these grand compare/contrast of what it looked like back in the first half of the 20th Century and what it would like in 1975. Shot largely on the 1:37:1 aspect ratio with some shots on different widescreen formats as well as some split-screens, Anderson uses the ratio to play into this world that is unique for this small town while much of the presentation is also shot in black-and-white except for much of the scenes at the magazine period and other bits in the three stories.
Anderson also draws upon some of the visual elements of the French New Wave in some of the compositions he creates in the medium and wide shots as he often captures so much detail into a room or in an entire setting. There are also some close-ups that Anderson uses to play into some of the drama and humor throughout the film as there is a lot of detail he brings that include moments of fantasy or reality. One of the stories also involve some comic-style animation supervised by Gwenn Germain in the style of The Adventures of Tintin for a key scene late in the film. The magazine itself that is illustrated by Javi Aznarez definitely owe a lot to the visuals of The New Yorker as it play into this idea of how a magazine can present stories for people to read with these interesting stories. While the narrative is straightforward though it is messy in some parts of the stories that are told as there’s small subplots and such in these stories. Anderson does play into the world of journalism in how they see things while the film is dedicated to many of those writers who did write for The New Yorker which some of the characters are based on. Overall, Anderson crafts a whimsical and exhilarating film about a French magazine run by Americans and the stories they tell in a small French town.
Cinematographer Robert D. Yeoman does incredible work with the film’s cinematography with its stylish usage of black-and-white film stock and its approach to lighting for some scenes as well as some of the colorful and vibrant lighting for the scenes in color including the scenes at night. Editor Andrew Weisblum does excellent work with the editing as its usage of jump-cuts help play into the humor and action as well as straightforward cuts to help play into the drama. Production designer Adam Stockhausen, with set decorator Rene DeAngelo and supervising art director Stephanne Cressend, does phenomenal work with the sets from the home of Zeffirelli and the place he hung out to the prison asylum that Rosenthaler does his work as well as the office at the magazine. Costume designer Milena Canonero does amazing work with the costumes from the look of the journalists as well as the many characters they encounter as it play into a lot of style with so much detail that include the motorcycle helmet that Juliette wears.
Hair/makeup designer Frances Hannon and hair/makeup supervisor Fabienne Robineau do brilliant work with the look of the characters as they each have a distinctive personality as it adds to the film’s whimsical charm. Special effects supervisor Jean-Christophe Magnaud and visual effects supervisor Keith Devlin do terrific work with some of the film’s practical effects in some of the action as well as the design for some set pieces involving miniatures. Sound editor Christopher Scarabosio does superb work with the sound in the sound effects used for some of the objects and such including the sparse atmosphere for some scenes inside a room. The film’s music by Alexandre Desplat is tremendous for its rich and intricate music score filled with unique brass and string arrangements with elements of melodic string pieces and usage of harmoniums as well as piano solos performed by Jean-Yves Thibaudet while music supervisor Randall Poster cultivates a soundtrack that features score pieces by Georges Delerue and Ennio Morricone as well as music from Grace Jones, Charles Aznavour, the Swingle Sisters, Chantal Goya, Gene Austin with Candy and Coco, Gus Viseur, and Jarvis Cocker as a French singer named Tip-Top.
The casting by Douglas Aibel, Antoinette Boulat, and Jina Jay is marvelous as it feature some notable small roles and appearances in the different sections of the film. In the roles of the film’s magazine staff, there’s Anjelica Bette Fellini as a proofreader for the magazine, Wally Wolodarsky as a writer for the magazine who has finished an article, Pablo Pauly as a waiter at a café in the same building as the magazine is at, Griffin Dunne as the magazine’s legal advisor, Fisher Stevens as the magazine story editor, Jason Schwartzman as the magazine cartoonist Hermes Jones, and Elisabeth Moss as the magazine’s copy editor Alumna. From The Concrete Masterpiece, the small performances from Morgane Polanski as a girlfriend of the young Rosenthaler, Felix Moati as the head caterer at the big event, Denis Menochet as a prison guard, Henry Winkler and Bob Balaban in their respective roles as Cadazio’s uncles in Joe and Nick, and Tony Revolori as the young Rosenthaler are a joy to watch.
From Revisions to a Manifesto, the performances of Rupert Friend, Alex Lawther, Toheeb Jimoh, and Tom Hudson as stage actors in a play, Guillaume Gallienne and Cecile de France as Zeffirelli’s parents, Mohamed Belhadjine as a student named Mitch-Mitch, and Christoph Waltz as a family friend of Zeffirelli in Paul Duval are fun to watch with Waltz being the stand-out. From The Private Dining Room of the Police Commissioner, the performances from Mauricette Coudivat as Gigi’s mother, Hippolyte Girardot as the commissioner’s friend who used to work for the police, Saoirse Ronan as a drug-addicted showgirl who befriends Gigi, and Edward Norton as a kidnapper who is also a chauffeur for the underworld. In the roles of the journalists who tell these respective stories, Owen Wilson, Tilda Swinton, Frances McDormand, and Jeffrey Wright are brilliant in their respective roles as Herbsaint Sazerac, J.K.L. Berensen, Lucinda Kremetz, and Roebuck Wright as they’re all based on real writers from The New Yorker with Wilson providing a calm persona to his character while Swinton and McDormand both provide low-key humor to their roles and Wright brings a charisma a gay writer.
Bill Murray is fantastic as the magazine editor-in-chief Arthur Howitzer Jr. who is based on The New Yorker co-founder Harold Ross as a man who doesn’t like anyone crying in his office while is also wondering about all of the things his writers does but is also someone that knows talent. The quartet of Benicio del Toro, Adrien Brody, Lea Seydoux, and Lois Smith are amazing in their respective roles as the artist Moses Rosenthaler, the art dealer Julien Cadazio, the prison guard/muse Simone, and the art collector Upshur “Maw” Clampette with del Toro providing a gruff persona to his role while Brody is this comical man determined to get rich. Seydoux’s performance is definitely the best in the segment as someone who is the embodiment of discipline including the way she poses nude in certain ways as well as being Rosenthaler’s greatest motivator. Smith’s small performance as Clampette is full of humor but also someone who understands great art.
Timothee Chalamet and Lyna Khoudri are excellent in their respective roles as student activists Zeffirelli and Juliette with the former being the leader of a revolutionary who would befriend Kremetz who gives him ideas while the latter is a woman who is suspicious over Kremetz yet has feelings for Zeffirelli. The incredible performances of Liev Schreiber, Mathieu Almaric, Stephen Park, Willem Dafoe and Winston Ait Hellal in their respective roles as the TV talk show host, the police commissioner, the chef Nescaffier, the underworld accountant Abacus, and the commissioner’s son Gigi with Schreiber providing some wit in a role inspired by Dick Cavett while Almaric and Park both provide some humor in their respective roles with Park being the most restrained as a cook who makes great recipes. Dafoe provides humor as this accountant who is aware he’s in deep shit but is also hungry for food while Hellal brings a restraint to a kid who is quite intelligent but also knows Morse code.
The French Dispatch is a marvelous film from Wes Anderson. Featuring a great ensemble cast, dazzling visuals, incredible art direction, and an exhilarating music soundtrack. It is a film that explores the world of journalism as a magazine publishes its final issues that is filled with wonderful stories set in a small town in France. In the end, The French Dispatch is a remarkable film from Wes Anderson.
Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - Asteroid City – The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson
Wes Anderson Film Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) – (The Grand Budapest Hotel) – (Isle of Dogs) – (The French Dispatch) - (Asteroid City) - (The Wonderful Story of Henry Sugar)
© thevoid99 2022
Written for the screen and directed by Rian Johnson that is based on characters created by George Lucas, The Last Jedi (Star Wars: Episode VIII) is the story of a continuing conflict between the First Order and the Resistance as a young woman finds Luke Skywalker in the hopes he can help out the Resistance while being trained in the art of the Force. The second part of a trilogy that explore the chaos of war, the film is also an exploration into the evolution of the Force in which Skywalker discovers a power that drove him away many years ago as he is played by Mark Hamill. Also starring Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Domhnall Gleeson, Lupita Nyong’o, Andy Serkis, Gwendoline Christie, Anthony Daniels, Kelly Marie Tran, Laura Dern, Benicio del Toro, Joonas Suotamo, Jimmy Vee, and Carrie Fisher in her final performance as General Leia Organa. The Last Jedi is a visceral yet rapturous film from Rian Johnson.
Picking up where the previous film left off, the film revolves around a resistance who find themselves trying to evacuate their base to find a new one as they’re forced to confront the First Order who have been tracking them. With Resistance forces dwindling and little options left, the Resistance led by General Leia Organa is on a cruiser that is damaged and running low on fuel. Meanwhile, Rey (Daisy Ridley) is trying to get Luke Skywalker back on board as he is reluctant to help the Resistance as he’s still coping with his own faults believing he failed his apprentice Kylo Ren (Adam Driver). Rian Johnson’s screenplay, with contributions from Carrie Fisher, is filled with a lot of complexities as well as a lot of narrative arcs that relate to the Resistance struggling to survive as their fleet is in tatters. Rey's character arc with Luke that include Chewbacca (Joonas Suotamo) and R2-D2 (Jimmy Vee) has her trying to find her place as well as get Luke to train her where he realizes the power that she has. Yet, Rey would find herself communicating with Ren through the Force which lead to some trouble and revelations about why he betrayed Luke.
Another narrative arc involves a leadership struggle in the Resistance following an attack on a large First Order ship where Poe Dameron (Oscar Isaac) has to deal with the Resistance’s deputy leader Vice Admiral Amilyn Hodo (Laura Dern) who is trying to decide what to do next knowing that the First Order can still track the Resistance through light-speed. Poe would strategize a plan to disable a tracking device from a Star Destroyer with Finn (John Boyega) and the droid BB-8 (voice of Ben Burtt and Bill Hader) teaming with a mechanic in Rose Tico (Kelly Marie Tran) to find a hacker to disable that tracking device. It’s an arc that showcases not just Poe’s own development as someone who is very impulsive and reckless in his actions as he needs to know how to be a leader as well as Finn trying to find his place in the Resistance where he befriends Rose who is dealing with loss. Another arc play into Ren’s rivalry with First Order leader General Hux (Domhnall Gleeson) in trying to win the approval of the First Order’s leader Supreme Leader Snoke (Andy Serkis) who wants to destroy the Resistance while that narrative also showcases Ren’s own struggle with himself.
Johnson’s direction is definitely astronomical into not just the different worlds that the characters go to but also have half the film’s narrative set in space where the Resistance is being pursued by the First Order. With much of the film shot on Pinewood Studios in London as well as scenes shot on location in Ireland, Iceland, Mexico, and Bolivia, the film showcases a world that is starting to come apart as well as see some of the darkest aspects of war. The film begins with the Resistance in evacuation mode where it is immediate as it showcases what the Resistance tries to do but also how the First Order would retaliate. It’s a massive sequence which also has elements of character development that showcases what Poe would do to confront the First Order but it comes at a great cost as there is a lot of drama that goes on where General Leia rightfully scolds Poe for his recklessness.
Johnson’s usage of the wide shots capture not just some of the damage that goes on in war but also into the vast world of the galaxy that the characters are in that include Rose and Finn’s journey to this planet that houses a casino for the galaxy’s wealthiest people. It’s a sequence that is strange as it play into a reality about war where it’s a world of decadence and riches that Rose knows and despises where she and Finn try to find this mysterious hacker where they meet this mysterious man named DJ (Benicio del Toro). There are some close-ups and medium shots that Johnson would use as it include these unique Force conversations between Rey and Kylo who are both dealing their place in the Force. It’s told with some unique reverse shots and scenes that are surreal while Johnson would also include a flashback sequence of what really happened when Kylo betrayed Skywalker.
It’s among these chilling moments as well as the scene where Rey meets Snoke for the first time as it would lead an intense sequence that is about the ideas of the Jedi and the Sith. Johnson would also infuse some humor into the film as it include moments of humility for Poe as well as Snoke’s confrontation towards General Hux. Yet, it is all about this battle between good and evil where the latter has put the former into a corner where the film’s climax is about survival with all that is left for the Resistance. It’s a majestic sequence that has a lot happening as well as characters coming together for a moment that could be the end of everything or just the beginning. Overall, Johnson crafts a riveting and gripping film about a group of resistance fighters trying to survive against an evil empire intent on ruling the galaxy.
Cinematographer Steve Yedlin does brilliant work with the film’s cinematography from the naturalistic look of the scenes set in the planet of Ahch-To where Luke has been hiding out to the low-key and stylish lighting for the scenes in the spaceships, the casinos, and at the caves in an old Rebellion fortress. Editor Bob Ducsay does excellent work with the editing with its usage of stylish dissolves and match-cuts as well as some rhythmic cutting into the action and suspense as it add some intrigue and establishing what is at stake. Production designer Rick Heinrichs, with set decorator Richard Roberts and senior art director Phil Sims, does amazing work with the look of the cruiser and transport for the Resistance in its interiors to the look of the lavish casino that Finn and Rose go to as well as Snoke’s main room inside the large Star Destroyer.
Costume designer Michael Kaplan does fantastic work with the costumes from the dresses that General Leia and Vice Admiral Hodo wears to the clothes of the people at the casino. Hair/makeup designer Peter King does superb work with the look of Vice Admiral Hodo with her purple hair as well as the people at the casino who look very posh and decadent. Creature designer Neal Scanlan does incredible work with the look of the tiny creatures at the planet of Ahch-To known as the Porgs as well as some of the inhabitants of the planet and at the casino and the caves. Special effects supervisor Chris Corbould and visual effects supervisor Ben Morris do marvelous work with the design of some of the visual effects for the scenes in space as well as in the design of some of the creatures with its mixture of old-school practical effects and computer-created visual effects.
Sound designers Ben Burtt and Ren Klyce, with sound editor Matthew Wood, do remarkable work with the sound with the sound effects in how the droids make their sounds including an Imperial BB-unit and the sounds of some of the creatures in the film. The film’s music by John Williams is phenomenal for its bombastic orchestral score that is filled with lush string arrangements and themes that range from heavy to somber as it is one of the film’s major highlights.
The casting by Nina Gold, Milivoj Mestrovic, and Mary Vernieu is great as it feature some notable small roles from Timothy D. Rose as Admiral Ackbar, Mike Quinn as Nien Nubb, Veronica Ngo as Rose’s bomber sister Paige, Billie Lourd as Resistance lieutenant Connix, Jimmy Vee as Luke’s old droid R2-D2 who is dealing with Porgs and wanting Luke to come home, the voice of Ben Burtt and Bill Hader as the droid BB-8 who provide some funny and cool moments in the film, Justin Theroux as a big-time gambler at the casino, Joonas Suotamo as Chewbacca with special consultation by Peter Mayhew who deals with trying to get Luke home and the Porgs, Anthony Daniels as the protocol droid C-3PO who frets over the situation of the Resistance, Lupita Nyong’o as the famed pirate Maz Kanata who provides Poe some information while dealing with a war involving other pirates, and Gwendoline Christie as the Stormtroopers commander Captain Phasma who has a huge grudge towards Finn as she is willing to go after him anyway she can. Benicio del Toro is superb as a codebreaker/hacker named DJ as a man who is willing to help anyone all for money to display his own cynical views on war.
Domhnall Gleeson is fantastic as General Hux as a First Order military leader that is hell-bent on destroying the Resistance and wanting to win over Snoke where he’s not afraid to be a punching bag in some of the most hilarious moments. Laura Dern is amazing as Vice Admiral Amilyn Hodo as a Resistance leader that briefly takes over for an injured Leia as she spars with Poe over what to do as she is someone that knows what is at stake and what needs to be done as it’s a very graceful performance from Dern. Kelly Marie Tran is wonderful as Rose Tico as a Resistance mechanic who aids Finn and BB-8 in a mission to find a codebreaker to help the Resistance evade the First Order as she is someone who is aware of the corruption of the galaxy as well as being someone that is willing to fight for what is right. Andy Serkis is brilliant as Supreme Leader Snoke as the mysterious Sith lord and leader of the First Order who is eager to know who Rey is and what he can do for her as well as ordering Kylo to bring her in an attempt to get back in his favor.
Oscar Isaac is excellent as Poe Dameron as the Resistance pilot who copes with the leadership struggle in the Resistance as he tries to create a secret mission as he’s forced to deal with some of the reckless decisions he’s made in his need to learn how to be a leader. John Boyega is marvelous as Finn as a former Stormtroooper who decides to take part in a secret mission created by Poe as he would see exactly what is happening and what the First Order is trying to do. Adam Driver is remarkable as Kylo Ren as Luke’s former apprentice who has turned to the dark side of the Force as he copes with failures in the past as well as his own internal conflict into the role he wants to take. Daisy Ridley is incredible as Rey as a scavenger who is trying to find out who she is and her place in the galaxy while trying to get Luke back into the Resistance while dealing with all sorts of things as it’s a powerful performance from Ridley.
Mark Hamill is phenomenal as Luke Skywalker as the famed Jedi master who has distanced himself from the art of the Jedi as there’s an air of nihilism about Luke’s view on the Jedi due to the fact that he’s consumed with guilt over Kylo and his reluctance to train Rey which lead to some revelations over his failures as a Jedi master. Finally, there’s Carrie Fisher in a radiant performance as General Leia Organa as the Resistance leader who is trying to carry a sense of hope for the Resistance as she knows how grim things are as it’s a performance of grace and elegance where Fisher delivers a performance that is one for the ages as it’s a fitting finale for the late Carrie Fisher.
The Last Jedi is a tremendous film from Rian Johnson. Featuring a great cast, dazzling visual effects, a riveting script with many revelations and character arcs, John Williams’ sumptuous score, and high-octane action. It’s a film that manages to be a lot of things expected in a sci-fi epic while also taking some risks to showcase some of the dark aspects of war and the idea of failure and redemption. In the end, The Last Jedi is a spectacular film from Rian Johnson.
Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Rise of Skywalker
Anthology Series: Rogue One - Solo: A Star Wars Story – (Untitled Star Wars Anthology Film)
Related: The Star Wars Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas
George Lucas Films: THX 1138 – (American Graffiti)
Rian Johnson Films: Brick - The Brothers Bloom - Looper - Knives Out - Glass Onion: A Knives Out Mystery - (Knives Out 3)
© thevoid99 2017
(Played in Competition for the Palme d’Or at the 2015 Cannes Film Festival)
Directed by Denis Villeneuve and written by Taylor Sheridan, Sicario is the story of a FBI agent who is asked to join a government task force to take down a drug cartel where she finds herself dealing with the dangers of her new job. The film is an exploration of the drug world where a young woman with ideals is given a harsh look of reality into the new job she’s in. Starring Emily Blunt, Josh Brolin, Victor Garber, and Benicio del Toro. Sicario is an eerie yet gripping film from Denis Villeneuve.
The film follows a FBI agent whose work in busting homes has gotten the attention of a CIA officer to be part of a task force to stop a drug cartel with the aid of mysterious man who knows a lot about the drug world. It’s a film that explore the war on drugs as it’s set entirely in the American Southwest as well as Mexico with the city of Juarez as the center of this drug trade. Even in the eyes of an idealist who is hoping to do what is right as she then copes with not just the dangers of this drug war but also some of the darkest aspects of what some will do to ensure the fall of the drug trade. Taylor Sheridan’s screenplay is filled with a lot of ambiguities as it relates to the war on drugs where it is told from multiple perspectives. Yet, it’s the protagonist in Kate Macer (Emily Blunt) who is just a simple FBI agent that goes in to bust houses of suspects and make sure people are OK. Still, she isn’t sure if she wanted to be part of this task force headed by the CIA agent Matt Graver (Josh Brolin) as he’s joined by his partner Alejandro Gillick (Benicio del Toro).
The script’s first act is about Kate being part of this task force and seeing everything as an observer while the second act has her taking a fellow FBI agent in Reggie Wayne (Daniel Kaluuya) to an assignment where they get a very close look at what Graver and Alejandro does. Even as Kate realizes that she just can’t simply sit by idly and watch all of these happening as these guys in the task force are doing things in their own will. Though Kate does get some sympathy from Gillick as he is aware of her reluctance, he also tells her that she is now in a world that is very unforgivable. Sheridan’s script also showcase glimpses of a policeman in Mexico named Silvio (Maximiliano Hernandez) as someone who could be working for a cartel as it shows not just what some are willing to do to survive but also be part of this drug war.
Denis Villeneuve’s direction is definitely intoxicating in its beauty but also has something that is very unsettling due to the subject matter and the environment in which the story takes place. Shot on locations in Albuquerque, New Mexico and areas nearby as well as El Paso, Texas and various locations in Mexico, the film does play like a world where the drug trade is near the American suburbs but also has this feel of the West. Villeneuve’s usage of the wide shots play into the vastness of the locations where it is quite eerie. Even in scenes which includes a climatic raid through desert tunnels showcase the grandness of the drug war where it is also quite frightening where Villeneuve would also use some medium shots and close-ups to play into the suspense. There are moments that are quite violent such as the opening sequence which doesn’t really involve any major gunplay but it would have something that would play into the harsh world that Kate is in.
Villeneuve would also create some low-key dramatic moments as it play into not just the investigation but also the world of the drug war as there’s a scene of Kate on a rooftop looking at Mexico noticing the war between various drug factions at Juarez. There are also moments where Villeneuve would maintain a sense of ambiguity which relates to Gillick as he’s about to torture someone but it is never shown. He is also key to the film’s third act during its climax where it features usage of thermal and night-vision filters in those scenes. The climax would also showcase what some will do to keep the drug wars alive as it would definitely shape everything Kate believes in as it is all about the bigger picture in the war against drugs. Overall, Villeneuve creates a visceral yet harrowing film about a FBI agent being part of a dangerous task force to bring down a drug cartel.
Cinematographer Roger Deakins does incredible work with the film’s cinematography as it is a major highlight of the film with its usage of gorgeous exterior daytime lighting for the scenes in the desert as well as some of its interiors and the exterior scenes at night and in the morning. Editor Joe Walker does brilliant work with the editing as it utilizes some rhythmic cutting to play into the action and suspense as well as establishing what is going on without deviating into fast-cutting styles. Production designer Patrice Vermette, with set decorator Jan Pascale and supervising art director Paul D. Kelly, does amazing work with the look of the motels and homes where some of the characters live in as well as the base and offices of the government task forces. Costume designer Renee April does nice work with the costumes as it is mostly casual from the rugged clothes and camouflage of the task force as well as the clothes the characters wear outside of work.
Visual effects supervisor Alexandre Lafortune does terrific work with some of the film’s minimal visual effects for a few scenes which include the scene of Kate witnessing a drug battle from afar. Sound designer Tom Ozanich and sound editor Alan Robert Murray do fantastic work with the sound as it help play into the intense atmosphere of the violence as well as in the moments of suspense. The film’s music by Johann Johansson is phenomenal as it play into the drama and suspense with its dark-ambient textures with droning bass sounds and eerie electronic arrangements while music supervisor Jonathan Watkins creates a low-key soundtrack filled with mostly country music for a scene at the bar and traditional Mexican music in Mexico.
The casting by Francine Maisler is great as it feature some notable small roles from Bernardo Saracino as a drug boss in Manuel Diaz, Raoul Trujillo as a drug hitman, Julio Cesar Cedillo as a mysterious drug lord, Jeffrey Donovan as an aide of Graver in Steve Forsing, Maxamiliano Hernandez as the Mexican cop Silvio, and Victor Garber as Kate’s boss Dave Jennings who tell her about what she needs to do in order to be part of this dangerous task. Jon Bernthal is terrific as a man named Ted that Kate meets in the bar during the film’s second act while Daniel Kaluuya is fantastic as Kate’s fellow FBI agent Reggie as a rookie-of-sorts who also shares Kate’s ideals while also know a lot more about the law.
Josh Brolin is amazing as Matt Graver as a CIA agent heading a drug task force to take down a drug cartel as someone who doesn’t reveal a lot into what he does as he brings some humor to his role as well as moments that play into the real ideas of the drug war. Benicio del Toro is incredible as Alejandro Gillick as a mysterious man who is part of the task force as someone who is quite ambiguous in what he does as he’s got no qualms in killing people while he understands Kate’s own reluctance into what they have to do. Finally, there’s Emily Blunt in a sensational performance as Kate Macer as a FBI agent who reluctantly volunteers to be part of task force to stop a cartel hoping she would make a difference where she realizes not just the things that has to be done but also the rules that need to be broken as it veers into the world of cynicism as Blunt is quite understated in scenes as well as knowing when to react into everything she encounters.
Sicario is a tremendous film from Denis Villeneuve that features great performances from Emily Blunt, Benicio del Toro, and Josh Brolin. Along with a strong ensemble cast, engaging themes on the war on drugs, and some incredible technical work by its crew. It’s a film that isn’t willing to play nice as well as showcase many of the dark aspects of the drug world and how both sides in the drug war try to engage one another. In the end, Sicario is a magnificent film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Arrival (2016 film) - Blade Runner 2049 - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah) - The Auteurs #68: Denis Villeneuve
© thevoid99 2017
Based on the Marvel Comics by Dan Abnett and Andy Lanning, Guardians of the Galaxy is the story of a space warrior from Earth who teams up with a group of misfit aliens to stop an evil lord from destroying the galaxy. Directed by James Gunn and screenplay by Gunn and Nicole Perlman, the film is the story of a formation of a group of individuals who shouldn’t work together but manage to do whatever it takes to save the universe. Starring Chris Pratt, Zoe Saldana, Dave Bautista, Lee Pace, Karen Gillan, Michael Rooker, Benicio del Toro, John C. Reilly, Glenn Close, Djimon Hounsou, and the voices of Bradley Cooper and Vin Diesel. Guardians of the Galaxy is an adventurous and fun film from James Gunn.
Set in a galaxy just billions of miles away from Earth and its solar system, the film revolve around a group of misfits who are forced to come together to battle an evil lord who is eager to retrieve a mysterious object in the hopes he can rule the galaxy. While it is a plot that is very simple, it is more about these very odd individuals who are the last group of people that should be working with each other. One of which is a thief from Earth named Peter Quill (Chris Pratt) who had been abducted by alien bandits on the day his mother had died when he was a kid as he would steal this artifact for money. Yet, he would be pursued by an alien warrior named Gamora (Zoe Saldana), who is affiliated with the dark lord Ronan (Lee Pace), who also wants the artifact to betray Ronan. Adding into the mix is a genetically-engineered raccoon named Rocket (Bradley Cooper), a tree-like humanoid named Groot (Vin Diesel), and another alien warrior named Drax the Destroyer (Dave Bautista) who has a grudge towards Ronan for killing his wife and daughter.
The film’s screenplay by James Gunn and Nicole Perlman not only delve into who these characters are but also their motivations as Drax and Gamora both have issues with Ronan while Rocket is just looking for a big payday as he is hiding his own sense of pain as it relates to who he is. There is an element of loss that looms over the film as it relates to the walkman that Quill often carries that features a mixtape that his mother had made for him before her passing along with an unopened present. Groot is just an innocent character only says the words “I am Groot” yet proves to be a vital asset to other four in their conflict with Ronan. The film also establishes this galaxy the people live in as there’s human beings living with aliens in other planets while a peace treaty has been made which Ronan threatens to destroy. The artifact may serve as a MacGuffin but it does hold some key importance into the motivation of the characters into saving the galaxy from being destroyed by Ronan.
Gunn’s direction is quite lavish not just into the world that is created but also in how diverse the galaxy is. Even as it isn’t afraid to be silly and comical such as an opening sequence of Quill walking into a mysterious planet while listening and dancing to a song from his walkman. It sets the tone for exactly what Gunn wants to do which does deviate from the conventions of most comic-book based superhero films. Especially as Gunn balances a lot of humor with some adventure and character-driven moments to play into the development of this band of misfits coming together. Presented with some unique wide and medium shots, Gunn does establish the sense of a group having to work together as he includes some moments that are funny. Most notably a conversation scene involving Rocket, Quill, and Gamora about a plan to escape a prison is shot in the foreground while Groot is in the background doing something with Drax watching him. It’s among these moments in the film where the humor and adventure not only manage to mix well but also play into the personality of these characters.
The action is quite intense where Gunn knows how to set up many sequences that include some dogfights involving little spaceships and moments of suspense as it plays into the discovery of this artifact that involves a mysterious man known as the Collector (Benicio del Toro). It would add into the stakes of what these characters should do as they’re facing Ronan and his army where its climax is quite vast. Notably as it manages to mix in elements of humor, suspense, action, drama, and adventure all into one. It is clear that Gunn is trying to give his audiences what they want but also have them wanting more and have a good time with it. Overall, Gunn creates a thrilling and exciting film about a group of misfits trying to save the galaxy from an evil lord.
Cinematographer Ben Davis does excellent work with the film‘s cinematography with its sunny and vibrant look of the Xandar planet where things are peaceful to lighting schemes for some of the scenes such as the prison and the darker planets where the villains rule. Editors Fred Raskin, Craig Wood, and Hughes Winborne do amazing work with the editing in creating unique rhythms for the humor and actions scenes while not delving into conventional fast-cutting styles. Production designer Charles Wood, with supervising art director Ray Chan, set decorator Richard Roberts, and 3D set decorator Chris “Flimsy” Howes, does brilliant work with the design of Quill‘s spaceship as well as the home of the Collector and Ronan‘s home ship to play into the personality of these characters.
Costume designer Alexandra Byrne does terrific work with the clothes from the look of Ronan and the Collector as well as the clothes of the main characters to play into their personalities. Makeup designer David White and hair designer Elizabeth Yianni-Georgiou do fantastic work with the look and design of the characters including the aliens in their skin color as well as the look of Gamora, Drax the Destroyer, and several others. Visual effects supervisors Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner, and Paul Corbould do incredible work with the visual effects from the design of Groot and Rocket as well as some of the spaceships and the look of the galaxy itself with its different planets.
Sound designer David Acord, along with sound editors Christopher Boyes and Matthew Wood, does superb work with the sound from the sound effects that are created as well as the sense of atmosphere that occurs in some of the action scenes. The film’s music by Tyler Bates is wonderful for its bombastic orchestral score with some chilling themes to play into the drama while music supervisor Dave Jordan creates an absolutely fun soundtrack that features a lot of music from the 60s and 70s with acts like Blue Swede, Marvin Gaye and Tammi Terrell, the Raspberries, Norman Greenbaum, David Bowie, the Runaways, Rupert Holmes, Redbone, Elvin Bishop, 10cc, The Jackson 5, and Five Stairsteps that is part of the mixtape Quill’s mother made for him.
The casting by Sarah Finn and Reg Poerscout-Edgerton is phenomenal as it features small appearances from Gregg Henry as Quill’s grandfather, Sean Gunn as a first-mate of the bandit Yondu, Laura Haddock as Quill’s mother, Wyatt Oleff as the young Quill, Christopher Fairbank as an alien black markets dealer, Peter Serafinowicz as a Nova Corps officer who dislikes Quill, Melia Kreiling as an alien fling of Quill early in the film, Alexis Denisof as vizier for the dark lord known as Thanos, Ophelia Lovebond as a slave of the Collector, and Stan Lee in a cameo appearance as a ladies’ man. Other noteworthy small roles include Glenn Close as a Nova Corps leader who is trying to keep peace in the planet of Xandar, John C. Reilly as a Nova Corps officer who often arrests Quill, and Josh Brolin in a cameo appearance as the evil dark lord known as Thanos who is the adoptive father of Gamora and Nebula.
Benicio del Toro is fantastic as an eccentric man known as the Collector who likes to collect all sorts of things as is eager to have the object that Quill and the gang has. Djimon Hounsou is terrific as an ally of Ronan in Korath as a hunter who is eager to help Ronan in bringing terror. Karen Gillan is excellent as the cyborg hunter Nebula who despises Gamora as she is loyal to Ronan in the hope that she can destroy the world. Michael Rooker is superb as the bandit Yondu who is Quill’s adoptive father who has issues with Quill as he also hopes to retrieve the artifact for Thanos. Lee Pace is amazing as Ronan the Accuser as a dark lord hell-bent on destroy Xandar and the galaxy in the hope that he can rule all. Vin Diesel is brilliant as Groot as this tree-like humanoid who only says a few words but possesses an innocence that is so endearing as Diesel also brings that sensitivity into the physical performance which was done by motion-capture.
Bradley Cooper is hilarious as Rocket as this genetically-engineered raccoon with a feisty attitude and a warped sense of humor as he is more concerned with getting paid. Dave Bautista is marvelous as Drax the Destroyer as this big alien who seeks vengeance for the death of his wife and daughter as he copes with his grief and is eager to do whatever it takes to get Ronan. Zoe Saldana is sensational as Gamora as an alien assassin who is trying to retrieve the mysterious artifact in the hope that it stays away from Ronan while dealing with Quill’s persona and being affiliated with Ronan. Finally, there’s Chris Pratt in a remarkable performance as Peter Quill/Star Lord as this thief who is very off-the-wall and funny while proving to be a cunning warrior that can rally everyone and kick ass.
Guardians of the Galaxy is a spectacular film from James Gunn. Armed with a great cast, a fun soundtrack, thrilling visual effects, and an engaging story about a group of misfits teaming up to save the galaxy. It’s a film that manages to bring in a lot of joy and wit as well as characters to root for while going along for the ride. In the end, Guardians of the Galaxy is a tremendous film from James Gunn.
James Gunn Films: (Slither (2006 film)) - (Super (2010 film)) - The Suicide Squad (2021 film) - Superman (2025 film) - (The Auteurs #76: James Gunn)
Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers (2012 film)
Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - The Avengers: Age of Ultron - Ant-Man
Marvel Phase Three Films: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2015
Directed by Alejandro Gonzalez Inarritu and written by Guillermo Arriaga, 21 Grams is the story of three people who are each connected by the death of a person as they each cope with loss and faith. The second part of a trilogy that explores death, the film is a multi-layered story that plays into the lives of three people who don’t know each other but become connected by tragedy. Starring Sean Penn, Naomi Watts, Benicio del Toro, Charlotte Gainsbourg, Melissa Leo, Danny Huston, Clea Duvall, Denis O’Hare, and Eddie Marsan. 21 Grams is an ominous yet exhilarating film from Alejandro Gonzalez Inarritu.
When a hit-and-run claimed the lives of a man and two little girls, the lives of three different people are affected in drastic ways as the film is about tragedy and its after effects. Much of it involves the life of a critically-ill mathematician who is need of a heart transplant, a grieving widow who also lost her daughters in this tragedy, and a born-again ex-convict whose faith is tested over what had happened. Through Guillermo Arriaga’s complex and multi-layered screenplay, it is told in a non-linear fashion as it plays into not just the tragedy but also the search for meaning as one man tries to find redemption, another man is trying to find answers into why he’s alive, and a woman is caught in the middle over what she had lost. All of which plays into those dealing with mistakes and such as well as several other things where everyone tries to find answers.
For the mathematician Paul Rivers (Sean Penn), he is given a second chance to live but his own marriage to Mary (Charlotte Gainsbourg) starts to fall apart as he becomes obsessed with the identity of the heart he had received which would lead him to Cristina (Naomi Watts). Cristina would learn about Paul and what he has to do with the death of her family as it has the two come together to track the man who was responsible for changing their lives in the ex-convict Jack Jordan (Benicio del Toro). Yet, there are elements into both Cristina and Jack that are interesting as the former was a former drug addict who was saved by her husband as she found a reason to live as that loss drove her back to drugs and alcohol.
In the latter, here is someone who is trying to redeem himself as he devotes himself towards Christianity and swear off drugs and alcohol but his involvement in this tragedy forces him to question his own faith and being as he has no clue what to do as he carries the guilt. All of which forces all three characters to converge into a heavy confrontation about loss as it is, once again, told in a non-linear fashion. There’s moments that play into the drama where all three have to work together as it becomes clear that none of them have anything to gain in this tragedy that their connected by. Even as they all know that there is nowhere else to go as some try to find redemption while others seek an answer.
Alejandro Gonzalez Inarritu’s direction is very entrancing not just for how dreary he presents the drama but also into the many layers that the story takes. Much of it is presented with a sense of intimacy as Inarritu’s approach to close-ups and medium shots play into the anguish that occurs throughout the film. Even in scenes where Jack eats dinner with his family as he is trying to be a good father but his approach might seem harsh as it relates to his own children. Much of Inarritu’s approach is shot with hand-held cameras but it’s never overly shaky as he maintains something that is very steady and to the point. Notably as Inarritu would create scenes to tease various storylines coming together such as Mary waiting for Paul as he does surgery as she gets a glimpse of Cristina walking out of the hospital with her family.
Since it is a film told in a non-linear narrative, Inarritu is able to create moments in the film where it allows a scene to be told in very different ways. Even as he would shift moments that is supposed to be in the third act back into the first or second act as it plays into the drama. There’s also moments in the film where things do intensify on an emotional level as it relates to Cristina’s grief and Jack’s own guilt such as the scene of him returning home as he reveals to his wife what he had done. Inarritu’s approach to the compositions in how he frames his actors are also intense such as its climax in the third act as it is about who is where in the frame and such. Overall, Inarritu creates a very brooding yet somber film about death, faith, and understanding.
Cinematographer Rodrigo Prieto does amazing work with the film‘s grainy and colorful cinematography where it adds to the very grimy sense of despair that looms in the film with its gritty approach to daytime exteriors to its usage of low-key lights and dark shades for the interior scenes whether it‘s day or night. Editor Stephen Mirrone does brilliant work with the editing with its usage of jump-cuts and other stylish cuts to play into the drama and its offbeat, non-linear narrative. Production designer Brigitte Broch, with set decorator Meg Everist and art director Deborah Riley, does excellent work with the look of the different homes of the three characters to showcase who they are as well as some of the places they go to including the swimming pool center that Cristina goes to.
Costume designer Marlene Stewart does terrific work with the costumes as it‘s mostly casual for the look of the characters to play into their sense of loss. Sound designers Martin Hernandez and Roland N. Thai do fantastic work with the sound to capture the intensity of the emotions as well as some of the chaotic moments of violence and drama that occurs in the film. The film’s music by Gustavo Santaolalla is superb for its very ominous and eerie score with its emphasis on folk guitars and somber electric guitars to play into the drama while music supervisor Lynn Fainchtein brings in a nice soundtrack that features different kinds of music from acts like War, Ozomatli, Ann Sexton, and Dave Matthews.
The casting by Francine Maisler is remarkable as it features notable small roles from Carly Nahon and Claire Pakis as Cristina’s daughters, Paul Calderon as a friend of Jack in Brown who tries to get him work, Denis O’Hare as Paul’s heart surgeon, John Rubenstein as Mary’s gynecologist who tries to help her chances to be pregnant, Clea Duvall as Cristina’s friend Claudia, Danny Huston as Cristina’s husband Michael, and Eddie Marsan as Reverend John who tries to help Jack following the tragedy. Melissa Leo is excellent as Jack’s wife Marianne who tries to cope with what Jack had done as she tries to help him. Charlotte Gainsbourg is superb as Paul’s wife who is eager to start over with him after a separation period as well as taking care of him as she copes with the changes in their life after his surgery.
Benicio del Toro is brilliant as Jack Jordan as a former convict turned born-again Christian who becomes the catalyst for the tragedy that is shaped in the film as he spends much of the film questioning his faith and ponders if he can be redeemed. Naomi Watts is amazing as Cristina Peck as a recovering addict who falls back into her addition following the loss of her family as Watts display the sense of anguish that looms over her as she searches for answers and satisfaction. Finally, there’s Sean Penn in a marvelous performance as Paul River as a mathematician who was dying until he received a new heart as he ponders whose heart does he have as he tries to find answers while coping with his own mortality and existence.
21 Grams is a phenomenal film from Alejandro Gonzalez Inarritu that features very strong performances from Sean Penn, Naomi Watts, and Benicio del Toro. It’s a film that doesn’t explore the severity of death and tragedy but also plays into the world of existence and faith. It’s also a film that doesn’t play by the rules of conventional narrative thanks in part to Guillermo Arriaga’s inventive screenplay. In the end, 21 Grams is a tremendous film from Alejandro Gonzalez Inarritu.
Alejandro Gonzalez Inarritu Films: Amores Perros - The Hire-Powder Keg - 11' 9' 01 September 11-Mexico - Babel - To Each His Own Cinema - Biutiful - Birdman or (The Unexpected Virtue of Ignorance) - The Revenant - The Auteurs #45: Alejandro Gonzalez Inarritu
© thevoid99 2014
