The life and career of Marilyn Monroe is a story that’s been told through many films, documentaries, and in books that ponder how a woman who was one of the biggest film stars in the 1950s die so tragically in 1962 through an overdose of barbiturates. There have been a lot of stories about Monroe that wonder a woman who had entertained millions of people yet was also insecure about her skills as an actress as well as having to please people through three failed marriages as well as many rumors about her life. What Andrew Dominik does with this story of Monroe is take Joyce Carol Oates’ largely fictional novel about the film star and turn it into this unsettling and discomforting film that is mainly the anti-bio-pic. Notably as the film is more about the woman who inhabits the role of Marilyn Monroe in Norma Jeane Baker who would find success as Monroe but would have trouble trying to balance in being Baker and Monroe.
Dominik’s screenplay is straightforward in its narrative as it goes from Baker as a child (Lily Fisher) living with a mentally-ill mother in Gladys (Julianne Nicholson) to her final years being all alone and searching for her father (Tygh Runyan) whom she had never met yet would receive letters from him during her period of stardom as it becomes an obsession she has in trying to find him. The first is about Baker’s life as a child and then a pinup model who also did nude photos as she aspires to be an actress where she would get early film roles and attention as well as be in a polyamorous relationship with Cass Chaplin (Xavier Samuel) and Eddy Robinson (Evan Williams) who are the sons of famous actors. Yet, Baker’s desire to have a normal life and a family would often be pushed aside for her career as its second act is about her relationship with a former baseball player, in this fictionalized version of Joe DiMaggio (Bobby Cannavale), who would later be angered by the attention she gets as a sex symbol. The third act begins in New York 1955 when she met a playwright (Adrien Brody) who would treat her kindly and give her a life away from the glitz and glamour but tragedy and addiction would lead to her downward spiral.
Dominik’s direction is definitely stylish in not just the overall presentation with the usage of different aspect ratios with the 1:33:1 and 1:66:1 aspect ratios used commonly throughout the film. Shot largely on location in Los Angeles and areas in Southern California, Dominik creates a film that play into a woman being caught in the middle of this idea of fantasy and reality as one notable sequence in the first act is when the 7-year old Baker is woken up by her mother to see the Hollywood Hills being burned where Gladys claims that Baker’s father lives there. Yet, it is this scene that do play into a world that Baker is going into where she would later describe as Hell as it would be followed by Gladys having a mental breakdown. There are some usage of the 1:85:1 and 2:39:1 aspect ratios in a few scenes that play into Baker’s own ascent but also her own desires to have some freedom as she becomes an adult. Dominik’s usage of close-ups and medium shots do help play into Monroe not only interacting with people but also showcase a woman whose desire for stardom also would have her in some degrading moments. Notably as she meets a studio boss who pulls down her panties and fucks her up in the ass in an act of rape.
The film’s sexual content isn’t exactly explicit except for a scene late in the third act involving an American president (Caspar Phillipson) that doesn’t exactly show anything but it is clear what Monroe is doing as it is later followed by an unseen act. Dominik doesn’t shy away from the fact that Monroe is seen as an object of desire that men want but there are also moments that are surreal where there’s a shot of the playwright’s face being blurred along with men’s jaws getting larger during a film premiere. It is among some of the surreal elements that includes an image of a womb in Baker’s stomach that play into her desire to have a family but the specter of Monroe overtakes Baker’s first chance while there is a more gruesome depiction of abortion late in the film that is also surreal yet terrifying as it add to Baker’s own declining mental state.
It is clear that the film isn’t just about a woman coping with mental illness and misogyny at a time when women didn’t get much say in their role in the entertainment industry. It is really a film that blends genres in not just drama but also horror as it play into this nightmare that Baker had put herself into. Even as Monroe would become this troubled figure that is difficult to work with on film as she struggles to connect with someone who will see her as just Baker. Though there are men such as Cass, Eddy, the playwright, and her assistant Whitey (Toby Huss) who do treat her kindly along with care and love. They were unable to deal with the chaos that is Monroe and her road to self-destruction as well as being used by others who treat her like meat or just another woman they can just fuck and find the next piece of ass they can sodomize. Overall, Dominik crafts a visceral and harrowing film about a woman wrestling with a persona that she created that gave her everything as well as nothing.
Cinematographer Chayse Irvin does incredible work with the film’s cinematography with its usage of black-and-white stock for some scenes in the film to play into the period of the times as well as some colorful work including the Hollywood Hills fire scene as well as some scenes at Monroe’s home in her final days. Editor Adam Robinson does excellent work with its usage of slow-motion shots, jump-cuts, and other stylish cuts to play into the drama. Production designer Florencia Martin, with set decorator Erin Fite and art director Peter Andrus, does amazing work with the look of the apartment that the young Baker and her mother lived in as well as the homes and film sets that Baker/Monroe would be in. Costume designer Jennifer Johnson does fantastic work in creating some of the clothes that Baker/Monroe wear including some of her iconic clothing in the films she’s been in.
Makeup artist Tina Roesler Kerwin does brilliant work with the look of Baker/Monroe from the hair and the look she would having including aspects of her body during her final years. Special effects supervisor Jeremy Hays, along with visual effects supervisors Jindrich Cervenka, Jason Melcher, and Phillip Moses, does terrific work with some of the visual effects including the design of Baker’s womb in her stomach as well as some of the surreal bits in the film. Sound designer Leslie Shatz does superb work with the sound in the way flash bulbs pop and other sparse elements in the sound to play into the drama and horror. The film’s music by Nick Cave and Warren Ellis is phenomenal in this haunting and disconcerting music score that mixes elements of electronic and ambient music that help play into Baker’s own psyche as it is a highlight of the film.
The casting by Victoria Thomas is marvelous as it feature some notable small roles and appearances from Chris Lemmon as his father Jack, Michael Masini as Tony Curtis, Scoot McNairy as Tommy Ewell, Garrett Dillahunt in an un-credited appearance as a film producer, Ravil Isyanov as filmmaker Billy Wilder, Lucy DeVito as the ex-athlete's niece who is one of the few in his family that is kind to her, Eric Matheny as Joseph Cotten, Sara Paxton as Gladys’ neighbor who brief takes the young Baker in, Tygh Runyan as a picture of Baker’s father, Lily Fisher as the young Norma Jeane, Dan Butler as an industry boss of Monroe in I.E. Shinn, and David Warshofsky in a fictionalized version of Darryl F. Zanuck who would rape Baker/Monroe in their first meeting. Toby Huss is terrific as Monroe’s personal assistant Allan “Whitey” Snyder who helps with her makeup as well as doing what he can to help including getting her pills. Caspar Phillipson is superb in his brief role as a fictionalized version of JFK as a man who is trying to run a country but also fuck as many beautiful women as he can as he treats Monroe like shit.
Xavier Samuel and Evan Williams are fantastic in their respective roles as Charles “Cass” Chaplin III and Edward “Eddy” G. Robinson Jr. as the sons of two film icons who become Baker’s lovers as they help her with their acting career but also do what they can to protect her despite their own flirtation with danger. Julianne Nicholson is excellent as Gladys as a woman that feels cursed by being daughter to a young girl as she exhibits serious mental problems while feeling distant when she meets Baker as an adult. Bobby Cannavale and Adrien Brody are brilliant in their respective roles as the fictionalized versions of Joe DiMaggio and Arthur Miller with Cannavale displaying a man that does love Monroe but becomes troubled by her fame as a sex symbol while Brody exhibits a sensitivity as a playwright who cared about her but is pushed away as he is unable to help her.
Finally, there’s Ana de Armas in a phenomenal performance as Norma Jeane Baker/Marilyn Monroe as a woman who is just trying to find love and be accepted as who she is only to go into a tumultuous and chaotic world where she is unable to really be herself. It is a performance that has de Armas take on an American accent as well as display that sense of anguish and longing of a woman that is desperate to be loved. Even as she had to endure not just humiliating moments but also moments that are degrading and horrifying as she succumbs to madness as well as a loss of identity in having to play a persona that ends up being just a nightmare. For de Armas, this is definitely a career-defining performance for the Cuban-Spanish actress who definitely proves that there’s a lot she can do while it is also proof that she’s really just getting started.
Blonde is an outstanding film from Andrew Dominik that features a towering leading performance from Ana de Armas. Along with its ensemble cast, rapturous visuals, a brooding music score, and its exploration of misogyny, identity, madness, and fame. It is a film that isn’t easy to watch while it is also willing to provoke the idea of myth and legend by showcasing a woman being trapped in a nightmare where she had no control of. In the end, Blonde is a magnificent film from Andrew Dominik.
Related: All About Eve - Some Like It Hot - Insignificance - My Week with Marilyn - Arthur Miller: Writer
Andrew Dominik Films: Chopper - The Assassination of Jesse James by the Coward Robert Ford - Killing Them Softly - One More Time with Feeling - This Much I Know to Be True
© thevoid99 2022
Directed by Craig Gillespie and written by Steven Rogers, I, Tonya is the story of the figure skater Tonya Harding and the notoriety she gained when she had supposedly planned the attack on rival skater Nancy Kerrigan in 1994 before its Winter Olympics. The film is an unconventional bio-pic of sorts that explores Harding’s troubled life as well as her tumultuous relationship with her mother and husband as Margot Robbie plays Harding. Also starring Sebastian Stan, Julianne Nicholson, Caitlin Carver, Bobby Cannavale, and Allison Janney. I, Tonya is a witty and entertaining film from Craig Gillespie.
In 1994, the world of figure skating went upside down when figure skater Nancy Kerrigan had been attacked just a month before the Winter Olympics at Lillehammer, Norway was to happen. News then emerged that a rival skater in Tonya Harding was involved in the attack because of her ex-husband who conspired with a friend to hire two men to put a hit on her yet Harding would deny her involvement that unfortunately lead to the end of her figure skating career. The film is about Harding as it’s told in a documentary-style of sorts set nearly 20 years after the incident where Harding, her ex-husband Jeff Gillooly (Sebastian Stan), former coach Diane Rawlinson (Julianne Nicholson) and her mother LaVona Golden (Allison Janney) give their take on what happened and about Harding from her desire to be a figure skating champion to later becoming a woman of great notoriety.
Steven Rogers’ screenplay takes a back-and-forth narrative of various characters reflecting on the events in Harding’s life including Harding herself as well as moments that played into the many different versions of the truth. Notably in a moment where Harding and Gillooly have their marital problems where Harding tries to shoot Gillooly with a shotgun but Harding said “that didn’t happen” to the camera yet Gillooly disputes that. Yet, the story is all about Tonya as she was someone who had to endure the physical and verbal abuse of her mother as a child and later as a teen and an adult while having to create her costumes herself with the little money she makes as an adult. For all of her skills and being the first American skater to complete the triple axel that would give her a victory at Nationals in 1991. Many in the world of figure skating feel that she doesn’t have the look nor the typical background that she needs to be the poster girl for figure skating which is something she would battle during the course of the film. Even as she would have to endure the scrutiny she would receive in her supposed involvement over the Kerrigan attack.
Craig Gillespie’s direction does bear elements of style yet much of the compositions are straightforward in its mixture of documentary and dramatic recreation. Shot on various locations in and around Atlanta, GA as well as parts of Macon, GA as Portland and bits of Detroit, Gillespie captures a period in time before the era of 24-hours news and rampant media coverage that was to become prevalent during the 1990s. While there are some wide shots of the location including some of the skating scenes that are shown to get a scope of how big figure skating was in the early 1990s. Much of Gillespie’s direction rely on close-ups and medium shots to play into the dramatic events in Harding’s life with elements of dark humor as it relate to these moments where the fourth wall is broken. While much of the film is shot in a 2:39:1 aspect ratio, the documentary interviews are shot in the 1:33:1 full-frame aspect ratio as it play into the characters that include a TV producer in Martin Maddox (Bobby Cannavale) talking about the Kerrigan attack.
It all play into the events and versions of what had happened with Harding knowing that her story and her denials over what happened won’t be heard by anyone. There is some truth to what she would say as it adds to the notoriety that she’s unfortunately gained as it relates to what the public wants and what figure skating wants. At the end of the day, all Harding wanted to do was skate as there is an element of heartbreak as it relates to Harding’s fate but there is that comfort to the fact that amidst all of the abuse from her mother and her ex-husband and all of the bullshit that she had to endured. All she wanted was to be loved as there was that brief moment where America did love her. Overall, Gillespie creates a compelling yet exhilarating film about a figure skater and the notoriety she gained over the assault of rival competitor.
Cinematographer Nicolas Karakatsanis does excellent work with the film’s cinematography from the usage of low-key lighting for some of the scenes at night including the fantasy of Harding killing Kerrigan as well the usage of grainy film stock and video for some of the documentary footage. Editor Tatiana S. Riegel does brilliant work with the editing as it play into some of the film’s humor with its rhythmic cuts as well as some montage-style editing for some of the training sequences. Production designer Jade Healy, with set decorator Adam Willis and art director Andi Crumbley, does fantastic work with the look of the interiors of the homes Harding had lived in as well as the look of the skating rink where Harding learned her craft. Costume designer Jennifer Johnson does nice work with the costumes as it play into the period of the late 80s/early 90s as well as the dresses that figure skaters had to wear for competition.
Hair designer Adruitha Lee and prosthetic designer Vincent Van Dyke do terrific work with the look of the characters from the hairstyles Harding had as a teenager and as an adult as well as the look of LaVona. Special effects supervisors John S. Baker and Jeffrey D. Woodrel, with visual effects supervisor Jean-Marc Demmer, do amazing work with some of the visual effects in not just elements of set-dressing but also in the skating scenes for some of the big jumps that Harding makes. Sound editor Dave Paterson does superb work with the sound as it play into the atmosphere of the skating performances as well as some of the domestic chaos that Harding endures. The film’s music by Peter Nashel is wonderful for orchestral bombast as well as some somber pieces to play into the drama while music supervisors Susan Jacobs and Jen Moss create a killer soundtrack that features a lot of the music from the 70s, 80s, and 90s from acts/artists like Fleetwood Mac, ZZ Top, Supertramp, En Vogue, Heart, Siouxsie & the Banshees, Dire Straits, Cliff Richard, Christopher Stills, Violent Femmes, Chicago, Bad Company, Laura Branigan, Mark Batson, and Doris Day with the Paul Weston Orchestra.
The casting by Lindsay Graham and Mary Vernieu is great as it feature some notable small roles from Dan Triandiflou as Diane’s lawyer husband Bob Rawlinson, Bojana Novakovic as one of Harding’s coaches during her early 90s time, Ricky Russert as the dim-witted hitman Shane Stant who would hit Kerrigan, Anthony Reynolds as the driver for Stant in Derrick Smith, Caitlin Carver as Nancy Kerrigan, and McKenna Grace as the young Tonya who loves to skate but still deals with the abuse of her mother. Paul Walter Hauser is superb as Gillooly’s idiot friend Shawn Eckhardt who does speak in interviews dated in the late 90s as someone who claims to do all of this shit involving espionage and such yet is a total moron as he thinks he does all of these things but ends up making things much worse.
Julianne Nicholson is fantastic as Diane Rawlinson as Harding’s coach from childhood till the late 80s early in her professional career who is aware of Harding’s gift and passion for skating as she would return for the 1994 Olympics to make sure things go right for her. Bobby Cannavale is excellent as Martin Maddox as former TV producer for the 90s tabloid show Hard Copy who talks about the whole Kerrigan incident as well as display that sleaziness that was emerging in the media that he admits to being a part of. Sebastian Stan is brilliant as Jeff Gillooly as Harding’s husband whom she falls for while in her teens as someone that is fascinated by Harding but is also frustrated by her leading to him beating her up at times where Stan brings a complexity to someone who is a screw-up but also a well-meaning person who loves Tonya but also despises her.
Allison Janney is phenomenal as Tonya’s mother LaVona as a woman that is also quite complex despite the fact that she’s a very awful person and a terrible mother. Yet, Janney’s performance is filled with a lot of dark humor as she is seen in interviews wearing an IV while smoking a cigarette, drinking alcohol, and having a parrot on her shoulder as there’s something about her that is just filled with cynicism as a way to drive her daughter to greatness but it comes with a fault as it’s really Janney in one of her best roles to date. Finally, there’s Margot Robbie in a spectacular performance as Tonya Harding in the way she brings in this sense of childlike desire to be loved but also someone with a real chip on her shoulder. Robbie has this sense of energy in the way she deals with her life but also a humility into someone that knows she doesn’t have much to offer as her only real escape from reality is on the skating rink. With the help of choreographer Sarah Kawahara and skating doubles Heidi Munger and Anna Malkova for the wide shots in the skating scenes. Robbie would showcase that energy and determination of a woman just wanting to be the best only to be blindsided by what her husband did as there is a sadness that Robbie displays as someone who just wanted to skate but also this sense of contentment into a woman that at least knew she was the best for a while as it is a crowning achievement for Robbie.
I, Tonya is a sensational film from Craig Gillespie that features top-notch performances from Margot Robbie and Allison Janney. It’s a film that doesn’t play by the rules of the ideas of the bio-pic while displaying some ideas of what could be true and what could be false in this story that was part of something strange and surreal during that period of sensationalized media of the 1990s. It’s also a film that explores the life of a young woman who was part of that culture for all of the wrong reasons as it’s that part of notoriety that will be around her for all of her life. In the end, I, Tonya is a phenomenal film from Craig Gillespie.
Craig Gillespie Films: (Mr. Woodcock) – Lars and the Real Girl - (Fright Night (2011 film)) – (Million Dollar Arm) – (The Finest Hours) - I, Tonya
© thevoid99 2018
Directed by Sean Anders and screenplay by Anders, Brian Burns, and John Morris from a story by Burns, Daddy’s Home is the story of a mild-mannered man who finds himself having to compete for the attention of his step-children once their father appears to try and put himself into their relationship. The film is a comedy that pits father against stepfather all to try and see who can be the best father. Starring Will Ferrell, Mark Wahlberg, Linda Cardellini, Bobby Cannavale, Hannibal Burress, and Thomas Haden Church. Daddy’s Home is a funny and exciting film from Sean Anders.
The film is a simple story of a man who works as an executive at a smooth-jazz radio station as he had been a stepfather to a couple of kids for years as he is trying whatever he can to help them when that all changes when his wife’s former husband arrives for a visit and all hell breaks loose. What happens is that it becomes this kind of mental competition and one-upmanship between two men who both want to become the best father to these two kids. The film’s screenplay by Sean Anders, Brian Burns, and John Morris doesn’t just explore the two different men in this scenario in the mild-mannered and sensitive Brad Whitaker (Will Ferrell) and the more macho and adventurous Dusty Mayron (Mark Wahlberg) in how they deal with each other but also in their idea of raising kids. Watching all of this is Brad’s wife Sara (Linda Cardellini) who married Dusty many years ago but divorced due to his immaturity and lack of commitment to family as she isn’t sure if Dusty is really there for noble reasons. Even though Brad finds Dusty intimidating physically and mentally, Dusty would see what Brad can bring to the table as it would force him to raise his gain but also deal with the challenges in being a full-time father.
Sean Anders’ direction is very straightforward in terms of the compositions he creates as well as emphasizing on a few stylish moments in the film such as a skateboarding sequence with the usage of the GoPro camera. Still, Anders just goes for something simple as the film is shot mainly in and around New Orleans as it does have a few wide shots though Anders would favor medium shots and close-ups to focus on the characters and the comedic moments. Some of these moments involve Brad trying to upstage Dusty by doing crazy stunts only for it to go wrong as it does deliver. Anders would wisely know not to emphasize too much on gags in order to focus on Brad and Dusty to get an understanding on fatherhood as it would it add a common goal for these two men. Notably a scene where Brad and Dusty help the latter’s son Dylan (Owen Wilder Vaccaro) in dealing with a bully as well as wanting to dance with Dusty’s daughter Megan (Scarlett Estevez) for an upcoming father-daughter dance at her school shows that these two men do bring the best in each other. Overall, Anders creates a charming and hilarious film about a stepfather competing with a father for the affection of their children.
Cinematographer Julio Macat does excellent work with the film’s cinematography as it’s straightforward for many of the daytime exterior/interior scenes with some lights for the scenes at night. Editors Eric Kissack and Brad Wilhite do nice work with the editing as it has elements of style with some of the rhythmic cuts to play into the humor as well as some of the gags. Production designer Clayton Hartley, with set decorator Jan Pascale and Elliott Glick, does fantastic work with the look of the home that Brad and Sara live with the children as well as the look of the few places they go to. Costume designer Carol Ramsey does terrific work with the costumes as it is mostly casual from the sweater vest look of Brad to the more rugged look of Dusty.
Visual effects supervisor Paul Linden does very good work with some of the film’s visual effects as it relate to a few of the big gags in the film as it relates to Brad trying to one-up Dusty. Sound editors Andrew DeCristofaro and Michael Payne does superb work with the sound as it if straightforward to play into the atmosphere of some of the locations including a basketball arena and other locations for the activities Brad does with the kids. The film’s music by Michael Andrews is wonderful for its mixture of jazz and light-hearted orchestral music to play into the film’s humor while music supervisors Dave Jordan and Jojo Villanueva create a fun soundtrack that features an array of music from the Pixies, AC/DC, Metallica, the Hives, Jay-Z, the Offspring, the Commodores, T.I. with Rihanna, the Temptations, and Leo Sayer.
The casting by Allison Jones is great as it feature some notable small roles and appearances from Paul Scheer as a basketball radio DJ, Chris Henchy as a smooth jazz DJ, Hannibal Burress as a handyman named Griff who would be at the house due to befriending Dusty, and Bobby Cannavale in a funny performance as Dr. Emilio Fernandez as the famed fertility doctor who checks on Brad as he also knows Dusty. Owen Wilder Vacarro and Scarlett Estevez are fantastic in their respective roles as Dylan and Megan Mayron as two kids who aren’t fond of Brad as they’re excited to have their father around as they go to both of them for advice. Thomas Haden Church is excellent as Brad’s boss Leo Holt who gives Brad some bad advice as well as tell some hilarious stories of his own failures in the marriages he had been in.
Linda Cardellini is brilliant as Sara Whitaker as Brad’s wife/Dusty’s ex-wife who isn’t initially fond of having Dusty around though she realizes that he is trying to prove to be a good father while wanting to have another child despite the fact Brad might not be able to. Mark Wahlberg is incredible as Dusty Mayron as a rugged guy who does all sorts of things that makes him popular as he tries to do whatever he can to win back his children by playing mind games with Brad while dealing with his own faults as a father. Finally, there’s Will Ferrell in a marvelous as Brad Whitaker as a radio executive who is trying to win over Dylan and Megan as well as understanding them where he feels threatened by Dusty forcing to try all sorts of things where it’s a manic and wild performance from Ferrell.
Daddy’s Home is a remarkable film from Sean Anders that features great performances from Will Ferrell and Mark Wahlberg. Along with its supporting cast, engaging story, and some very funny moments, it’s a film that isn’t just enjoyable for families but also a comedy that is edgy but also sensible for children. In the end, Daddy’s Home is an amazing film from Sean Anders.
© thevoid99 2017
Based on the Marvel comic series by Jack Kirby and Stan Lee, Ant-Man is the story of a recently-convicted thief who is given a chance to find redemption when he meets a scientist, who had created a shrinking technology many years ago, who wants his help to stop his former protégé from creating something similar to what he made in the hopes of global domination. Directed by Peyton Reed and screenplay by Joe Cornish, Adam McKay, Paul Rudd, and Edgar Wright from a story by Cornish and Wright, the film is an origin story of sorts where this thief is given a chance to do good and fulfill the legacy of the man who was once donned the suit known as Ant-Man. Starring Paul Rudd, Evangeline Lilly, Corey Stoll, Bobby Cannavale, Wood Harris, Martin Donovan, Michael Pena, Judy Greer, Tip “T.I.” Harris, Damian Dastmalchian, and Michael Douglas as Dr. Hank Pym/the original Ant-Man. Ant-Man is an exhilarating and whimsical film from Peyton Reed.
The film is a simple origin story of sorts of a man who shrinks to the size of an ant where he fights off bad guys and can go back to normal size whenever he can. Yet, it’s so much more as it is about redemption not just for the man who created the suit and myth but also the one who would don the suit and stop the creator’s former protégé from creating one of his own for his own gain. Plus, it’s also the story of what happens when something so brilliant as its creator realizes what could wrong as he also bears the weight of responsibility over what happened as it relates to the loss of his own wife. The film’s screenplay which was largely written by Adam McKay, with Rudd writing much of the comic dialogue, doesn’t just explore two men wanting to do things right but also cope with the responsibilities of themselves.
For Dr. Hank Pym, he was the man that found the formula to shrink himself into the size of an ant and succeeded to the point that he would become Ant-Man and would create a suit for his wife as Wasp. Yet, a mission that involved the two led to Wasp’s death where Pym felt deeply responsible as he had become somewhat estranged with his daughter Hope Van Dyne (Evangeline Lilly) who works for Pym’s protégé Darren Cross (Corey Stoll). Adding to the chaos for Pym is the fact that he refused to share his knowledge of what he created to anyone including his friends in S.H.I.E.L.D. where he realizes that Cross’ work on Pym’s formula is getting closer as he becomes uneasy about not in what could go wrong. It’s also in what happens if it goes into the wrong hands and used in ways that could make the world even worse where Van Dyne is aware of her father’s worries where she also works as a spy for her father. Upon meeting this recently-released thief in Scott Lang (Paul Rudd), Pym realizes that there is a way he could fix the mistakes in his life.
The Lang character is also very interesting as he is just this brilliant thief that has just been released from prison as he also has a young daughter that he wants to be there for. Unfortunately, his criminal record prevents from finding work as well as be able to see and support his daughter while his ex-wife is about to marry a cop who doesn’t like Lang. When Lang meets Dr. Pym and Van Dyne, he isn’t sure about donning the suit which he stole early in the story while being unaware of its powers. Yet, he realizes that his skills as a thief and breaking into some of the most highly secure places can benefit where he would also bring in a group of criminals to help him and Dr. Pym in getting the suit that Cross has created. While the script does have a lot of exposition and a narrative structure that is expected from the world of superhero origins. It does have a lot of humor but also some big dramatic stakes as it relates to what Cross is up to and the people he plans on making money with that includes one of Pym’s former colleagues from S.H.I.E.L.D.
Peyton Reed’s direction is quite straightforward in terms of what is expected from a superhero origin story yet manages to find ways to bring in a sense of style into the story. Shot largely on location in San Francisco with some shots set in Atlanta, the film does maintain something that is more homegrown as it plays into Lang’s attempt to set his life back on course while Dr. Pym is forced to sit in the sidelines as his business has grown into something bigger than he realized under Cross’ leadership. Reed’s usage of wide and medium shots do play into some of the big moments in the film while using the latter for some of the intimate moments where Van Dyne would reluctantly train Lang in becoming Ant-Man in combat fighting. The meshing of genres do work where it’s not just in the action and suspense but also in the humor.
Much of the humor doesn’t just involve some of the action sequences and Lang’s banters towards situations and those he would meet. It’s also in the supporting characters such as Lang’s former cellmate Luis (Michael Pena) who would provide some of the funniest moments that involve people he know and what he heard in these dizzying sequences that are ridiculous but fun. Reed would also create an air of suspense that is part of a homage to heist films as it relates to the climax that would involve Lang and Cross where it is elaborate but also thrilling. Even as Reed maintains the idea of what is stake but also uncover some huge revelations about a world that Lang would encounter. Overall, Reed creates an engaging and fun film about a man who shrinks to the size of an ant to save the world.
Cinematographer Russell Carpenter does excellent work with the film‘s cinematography as it is largely straightforward with some stylish lights for scenes set at night as well as well as the way some of the film‘s action sequences are lit. Editors Dan Lebental and Colby Parker Jr. do nice work with the editing as it is quite straightforward with some stylish flair in some of the montages and in some of the action scenes without deviating into intense fast-cutting editing styles. Production designers Shepherd Frankel and Marcus Rowland, with set decorator Leslie A. Pope and supervising art directors Nigel Churcher and David Lazan, do amazing work with the look of Cross‘ lab as well as the home of Dr. Pym and the apartment where Lang lives with other former convicts. Costume designer Sammy Sheldon does fantastic work with the look of the Ant-Man suit as well as the Yellow Jacket suit that Cross is designing while much of the clothes are very casual.
Visual effects supervisors Jon Capleton, Dinesh K. Bishnoi, Jake Morrison, Greg Steele, Dan Sudick, and Alex Wuttke do brilliant work with the visual effects from the look of the ants as well as the way Ant-Man would shrink and reverse at times along with a very surreal sequence set during the film‘s climax. Sound designers David Farmer, David C. Hughes, and Shannon Mills, with co-sound editor David Laurie, do superb work with the sound in the way some of the sound effects are mixed along with some of the natural moments in some of the locations and how Lang hears them when he‘s shrunk. The film’s music by Christophe Beck is terrific for its bombastic orchestral score that plays into the sense of adventure and comedy along with some of the dramatic moments while music supervisors Alejandro de la Llosa and Dave Jordan create a fun soundtrack that features music from Camilo Azuquita, Roy Ayers, the Commodores, HLM, and the Cure.
The casting by Sarah Finn is incredible as it features appearances from Hayley Atwell and John Slattery as S.H.I.E.L.D. co-founders Peggy Carter and Howard Stark, respectively, who deal with Pym’s departure knowing they’ve screwed things up while Anthony Mackie makes a fun appearance as Sam Wilson/Falcon who has a big encounter with Lang in a key scene. Other notable small roles include comedian Garrett Morris as a man in a car Lang meets, Gregg Turkington as a Baskin-Robbins manager who reluctantly fires Lang, Abby Ryder Fortson as Lang’s daughter Cassie, Judy Greer as Lang’s ex-wife Maggie who is reluctant to let Lang back into their daughter’s life, Wood Harris as a police detective named Gale, Tip “T.I.” Harris and David Dastmalchian as a couple of Luis’ friends who help Lang and Pym out for the film’s climax, and Martin Donovan in a superb performance as former S.H.I.E.L.D. executive Mitchell Carson whom Cross wants to make a deal with.
Bobby Cannavale is terrific as Maggie’s new boyfriend Paxton who is also a police detective that isn’t very trustful towards Lang as he later tries to find him after Lang escaped from jail. Michael Pena is great as Luis as a former criminal who has a lot of connections as he tries to help Lang out while later being part of a scheme to help Lang and Pym stop Cross as he is also the most hilarious character in the film. Corey Stoll is excellent as Darren Cross as Pym’s former protégé who created a formula similar to what Dr. Pym has created as he plans to make it into something bigger as it’s a role filled with some dark, comical humor and a sense of bravado. Evangeline Lilly is amazing as Hope Van Dyne as Dr. Pym’s estranged daughter who works for Cross as a spy for her father as she also deals with the fact that her father is hiding some things from her as it relates to her mother.
Michael Douglas is phenomenal as Dr. Hank Pym as the creator of a shrinking formula that he would use to be the original Ant-Man as he copes with the dangers of what happens when his formula is into the wrong hands while he deals with his own regrets as it’s a role filled with a lot of weight as well as some humor. Finally, there’s Paul Rudd in a marvelous performance as Scott Lang as a notorious thief who is trying to start over and do right for his daughter only to be forced back into crime where he meets Dr. Pym and get his chance at redemption where Rudd definitely exudes the idea of being a hero while also providing some funny banter along the way to make Lang more engaging as a person as it’s one of his finest roles to date.
Ant-Man is a remarkable film from Peyton Reed that features amazing performances from Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, and Michael Pena. Not only is it a fun action-adventure film but also a compelling one as it relates to the themes of redemption and wanting to do the right thing in a world that is often very complicated. Even as it is told in an entertaining fashion without deviating too much from the story. In the end, Ant-Man is an excellent film from Peyton Reed.
Peyton Reed Films: (The Computer Who Wore Tennis Shoes (1995 film)) - (The Love Bug (1997 film)) - (Bring It On) - (Down with Love) - (The Break-Up) - (Yes Man)
Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier
- Guardians of the Galaxy - The Avengers: Age of Ultron
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 2016
Written and directed by Paul Feig, Spy is the story of a CIA office worker who becomes a field agent for an assignment once the identity of many of its field agents have been compromised as this woman has to stop a crime boss’ daughter from revealing the location of a nuclear bomb. The film is sort of a spoof on spy films where the person that is to save the world is an unlikely person as she doesn’t have the physical requirements to be one but has the heart and determination to get the job done. Starring Melissa McCarthy, Jude Law, Rose Byrne, Jason Statham, Miranda Hart, Bobby Cannavale, Peter Serafinowicz, and Allison Janney. Spy is a witty and adventurous film from Paul Feig.
When the identities of top field agents for the CIA trying to find the location of a nuclear bomb have been revealed to the daughter of a recently deceased crime boss. An analyst who wants to seek vengeance for the death of a spy she cared for is tasked to take part in the assignment where she is initially excited about doing the job but things don’t exactly go her way. The film is essentially a spoof of sorts on spy films where it plays into the idea of a woman, who might not have the typical yet superficial image of spies, as she is given the chance to save the world. Yet, she would endure some humiliating moments in trying to catch her targets while having to deal with a rogue field agent who is trying to do her work in ways that makes him look even stupider than he already is.
It is all part of a world where the villains are dealing with this woman who might be a whole lot easier to kill considering that she doesn’t fit the mold of other spies but it’s also an advantage for the character of Susan Cooper (Melissa McCarthy) who manages to do more than everyone expects from her. Paul Feig’s screenplay does follow conventional elements that is expected in spy films but also creates characters that are very engaging. While Cooper is just a nice analyst who is very good at helping field agents find their way out of a situation where she becomes close with the spy Bradley Fine (Jude Law). When Fine is killed in a mission by the target’s daughter Rayna Boyanov (Rose Byrne), Cooper wants to take the mission to avenge Fine though she is forced to wear a series of humiliating disguises and identities while having her best friend and fellow analyst Nancy (Miranda Hart) to guide her through an earpiece.
The script would also allow moments that are funny such as the antics involving former CIA agent Rick Ford (Jason Statham) who is upset that Cooper gets the assignment which prompts him to go rogue and do stupid things. His character is sort of a play on spies for not just how tough they are and how much bullshit they tend to talk but it is presented in a funny way as Ford is a man who is all brawn but no brains. While Rayna is an antagonist, she is not a traditional one since she is essentially a woman who is a pawn of a bigger scheme while feeling she’s not getting any kind of respect where she and Cooper seem to have a rapport despite the fact that they’re enemies. Even smaller characters like Nancy, CIA boss Elaine Crocker (Allison Janney), and an Italian agent named Aldo (Peter Serafinowicz) manage to do a lot more which add to the story and its comedic tone.
Feig’s direction definitely pays an ode to spy films while managing to be something that is of its own. Notably as it isn’t afraid to not take itself so seriously where some of the comedy is played very loosely and natural. Though much of it is shot largely on location in Budapest with a few second-unit shots of Rome, Paris, and Washington D.C., the film does have a look that is very worldly and lively which is expected in spy films but also manages to have something where it does have this woman be a fish out of water in these places. Most notably where Cooper would think she would have the time of her life traveling to Rome, Paris, Sofia, and Budapest but would often stay in the worst hotels and in the most horrific disguises as a mother of four or a woman with 9 cats. While many of Feig’s compositions are simple, he does manage to create something that is visually exciting while matching it with a naturalist approach to comedy.
Feig is also able to find a sense of energy in the action scenes while knowing where to put in some funny moments that do feel natural and realistic with elements of disbelief for laughs. Feig would also include some very crude humor that involves Cooper having her first kill and her reaction to it is very funny while it is followed by a scene where the CIA analysts are looking into the dead man’s phone and photos where they find some very personal things. The film’s climax which involves this Italian playboy named Sergio de Luca (Bobby Cannavale) and the deal of this nuclear weapon not only continues to find the balance between humor and action but it would also have a payoff that isn’t just funny but also satisfying. Overall, Feig has created a very thrilling and hilarious film about a woman who becomes a spy.
Cinematographer Robert Yeomen does excellent work with the cinematography as it‘s very straightforward and colorful to play into the vibrancy of the locations as well as some inspired usage of lights some of the interiors and for scenes at night. Editors Don Zimmerman and Dean Zimmerman do amazing work with the editing where it allows itself to play into conventional action-style cutting but also with a sense of timing and rhythm to play into the comedy and find ways to mesh both styles. Production designer Jefferson Sage, with art directors Tom Brown and Bence Erdelyi and set decorator Kelly Berry, does brilliant work with the set designs from some of the hotels Cooper goes to as well as the lavish homes and hotels she would meet Rayna and other targets. Costume designer Christine Bieselin Clark does nice work with the costumes from the tuxedos that Fine and Ford would wear to some of the humiliating clothes Cooper would wear in disguise along with some stylish clothes that she and Rayna would wear.
Makeup artist Kati Jatkos and hair stylist Peter Gyongyosi do terrific work with the disguises that Cooper would wear including the different hairstyles along with one notable disguise for Ford. Visual effects supervisor William Mesa does wonderful work with some of the film‘s minimal visual effects that often involve some of the action scenes. Sound editors Beau Borders and Becky Sullivan do superb work with the sound from the way some of the fighting occurs as well as some of the social events and action scenes that the characters encounter. The film’s music by Theodore Shapiro does fantastic work with the film‘s music score as it is quite bombastic for its action scenes while going for something low-key for its comedic moments while music supervisor Erica Weis brings in a fun soundtrack filled with music that ranges from electronic, hip-hop, rock, and pop to bring in an air of excitement.
The casting by Zsolt Csutak does great work with the cast as it features notable small roles from Carlos Ponce and Will Yun Lee as a couple of CIA spies, Jessica Chaffin and Katie Dippold as a couple of CIA analysts who deal with rats and bats in their offices, Zach Woods as a guy putting something mysterious in Rayna’s cocktail, Mitch as a pilot named Colin (no it’s Frederick), Raad Rawi as Rayna’s dad, Michael McDonald as a CIA gadgets man who gives Cooper some unimpressive gadgets, Morena Baccarin as a beautiful CIA spy that Nancy mocks, Nargis Fakhri as an assassin that tries to kill Ford and Cooper, and Bjorn Gustafsson as a bodyguard of Rayna that Cooper would insult. Peter Serafinowicz is fantastic as the Italian spy Aldo who likes to sexually harass Cooper as he thinks she is the most beautiful woman in the world. Allison Janney is superb as CIA head Elaine Crocker where Janney plays it straight while being very cool and calling Cooper out early about her pink eye.
Bobby Cannavale is excellent as the playboy/dealer Sergio de Luca who brings a suave charm to his role as someone who just wants to cash in and sell weapons to the highest bidder. Jude Law is brilliant as Bradley Fine as a CIA agent that has a great working relationship with Cooper as he trusts her while being very good to her. Miranda Hart is amazing as Cooper’s friend Nancy as a CIA analyst who also wants to be a spy as she later joins Cooper in a mission where she gets to do some of the funniest things in the film. Rose Byrne is remarkable as Rayna Boyanov as a crime boss’ daughter who decides to create chaos while trying not to reveal the location of a nuclear weapon where she also has some funny moments with Cooper to show how alike they’re sort of are.
Jason Statham is phenomenal as Rick Ford as it’s a performance where Statham makes fun of the action film persona he’s known for and bring a lot of laughs. Most notably as he’s a guy that talks tough, acts tough, and is very tough but is also an idiot as he has no idea what he is doing half the time while being a risk to everything as it’s just one of the funniest performances ever. Finally, there’s Melissa McCarthy in an incredible performance as Susan Cooper where it’s not jut McCarthy being very funny in enduring all sorts of humility and intense physicality. It’s also in the way she brings a sense of heart into the character that makes her very endearing while not being afraid to show some guts as it is one of her finest performances.
Spy is a marvelous film from Paul Feig that features a winning performance from Melissa McCarthy. Armed with some very exciting and funny moments along with a strong supporting cast that includes scene-stealing performances from Rose Byrne, Miranda Hart, Jude Law, and a hilarious Jason Statham. It’s a film that isn’t just a smart spoof of the spy films but also one that manages to be very funny and extremely entertaining. In the end, Spy is a sensational film from Paul Feig.
Paul Feig Films: (I Am David) - (Unaccompanied Minors) - (Bridesmaids) - (The Heat) - Ghostbusters (2016 film)
© thevoid99 2015
Originally Written and Posted at Epinions.com on 7/5/05 w/ Additional Edits & Revisions.
Written and directed by Don Roos, Happy Endings is a multi-layered film that revolves around many characters as they not only cope with changes in their lives but also the search for happiness while they deal with themselves. The film explores many different storylines that features characters who are connected with one another as they all involve themselves into very different situations. Starring Lisa Kudrow, Steve Coogan, Laura Dern, Tom Arnold, Bobby Cannavale, Jesse Bradford, David Sutcliffe, Sarah Clarke, Jason Ritter, and Maggie Gyllenhaal. Happy Endings is an offbeat yet whimsical film from Don Roos.
Mamie (Lisa Kudrow) lives a nice, carefree life with her masseuse lover Javier (Bobby Cannavale) while her British stepbrother Charley (Steve Coogan) runs a restaurant he inherited from their late parents. Charley is leading a family life with his boyfriend Gil (David Sutcliffe) who enjoys being an uncle to the son of his oldest friend Pam (Laura Dern) and her lover Diane (Sarah Clarke). Working in Charley's restaurant is Otis (Jason Ritter) who has a crush on Charley but denies that he is gay while he meets up with a mysterious woman named Jude (Maggie Gyllenhaal) who he invites to sing for his band who rehearses in the garage of his father Frank (Tom Arnold). One day, Mamie receives a note about the whereabouts of her long-lost son from a friend of her son in Nicky (Jesse Bradford) who is an aspiring filmmaker. Mamie isn't sure as she and Javier wants to know what's going on as they break into Nicky's apartment only to be caught as Mamie makes a deal to make a documentary about Javier’s work as a masseuse. Charley meanwhile, tries to wonder if Gil is the father of Pam’s son as he tries to investigate the whole thing. Jude joins Otis' band as she wonders about his sexuality as she confronts him sexually while he continues to deny that he's gay, especially from his millionaire father.
When Frank learns that Otis broke up with Jude claiming he's with another girl, Frank takes a shining to Jude as the two become attracted to each other. Charley's investigation meanwhile gets out of control as he tells Pam that Gil is suffering from a disease but once the truth is revealed, everything starts to fall apart. Mamie helps Nicky with his documentary on Javier where they learn more about him and each other. Especially since Mamie knows who the father of her child is which she gave up for adoption several years ago. After a series of legal battles, Pam confesses to Charley's accusations only to reveal a shocking secret that crumbles his relationship with Gil. With Jude being engaged to Frank, Otis become uncomfortable as he wonders what Jude's intentions are, especially with being pregnant all of a sudden. Mamie learns more about Javier after an encounter with a woman named Shauna (Tamara Davies) and all hell breaks loose as she and Nicky fall out. With everyone learning about their own secrets within the coming months of their lives, everyone tries to figure out about their own happy endings.
Don Roos' interest towards not just sex and morals not only showcase some of its downside but also the sense of curiosity over how it can be used for bad reasons. Nothing is safe within the subject matter of the film where he explores everything about homosexual family life, gold-diggers, misogyny, and everything else. While the film's script is structured in a non-linear format, it doesn't miss a beat in its idiosyncratic rhythm as well its use of inter-card titles that keeps popping up during the film that gives the characters a bit of a background or the idea of what the audience could be thinking. It's a very confrontational piece of writing and it's one that is bold and honest with a nice, healthy dose of humor.
Roos' ability as a writer shines while he goes into the world of handheld camera works to bring a realism to the film. Roos brings in strange camera movements that work where at times, it seems like everything is stilled but there’s something behind the shots to look at with the inter-cards just popping up into what might happen. Even with the third act of the film that just keeps on shocking, including a brutal scene that opens with the film that is revealed near the end. Overall, Roos crafts a very witty yet compelling film about people lost in their own rules and what they want in life.
Helping Roos with his strange, handheld vision is cinematographer J. Clark Mathis who uses that shaky movement and natural lighting that gives the film a realistic, beautiful look. Production designer Richard Sherman and art director Lorin Flemming help give the film a very suburban, bohemian-like look on some of the production leaving most of the film's location just as it is. Even costume designer Peggy A. Schnitzer plays to that realism in its look with Jesse Bradford sporting old hard rock t-shirts. Editor David Codron helps bringing in that off-kilter rhythm to the film with a nice, solid editing style, even with the inter-card titles that pop up during the film. The film itself has a strange mix of music with cuts from Calexio, Dirty Three, Black Heart Procession, Hugh Burns, and Asturd Gilberto along with a few karaoke cuts in the film with some original songs sung by Maggie Gyllenhaal herself, who has a wonderful singing voice.
For an ensemble film like this, you need a great cast and Don Roos delivers with some nice small performances from Halle Hirsh, Eric Jungman, Roos regular Johnny Galecki, Tamara Davies, and Sarah Clarke. David Sutcliffe is excellent in his role as confused Gil who becomes an innocent victim in a bad scheme made by his lover Charley while Laura Dern shines in the more emotional part of her story with Charley in a masterful, complex performance. Tom Arnold is a real surprise in the film where he brings a restraint to his comedic performance with a sense of charm and warmth to the role as he brings in some great chemistry with Gyllenhaal and Jason Ritter. Jason Ritter is also good in his role as the sexually-confused Otis with light-hearted performance that brings reminder of the same kind of sympathy and humor that his late father John had brought as this role serves a fine breakthrough.
Bobby Cannavale is very funny in his role as Mexican-born masseuse Javier who steals the scene every time he’s in front of the documentary camera while revealing a strange dark side that gives him more edge into his performance. Jesse Bradford gives probably his finest and most abrasive performance to date as a scruffy-looking wannabe filmmaker with his artistic drive and surefire attitude. Bradford really gives the film not just a comic edge but also a brooding tone as he shines in his scenes with Cannavale and Lisa Kudrow. Kudrow also steals the show in her best performance to date as the cautious, secretive Mamie as she just brings a bit of humor but shows more range in her ability in drama as she really brings the emotional center of the film with Bradford as her confrontational partner.
Maggie Gyllenhaal gives a fantastic, dark performance as a malcontent bohemian who is looking for ways to break things down. Gyllenhaal uses her sassiness, sexiness, and demeanor to give her character an angst that is needed for the film. The film's best performance overall goes to Steve Coogan as the openly-gay but troublesome Charley who tries to be opportunistic but fails. Coogan uses his British, slapstick-comedy style in classy ways for lighthearted humor while delivering some of his best dramatic work in heart-punching scenes as his character represents the flaws and foolishness of all the characters in this film.
Happy Endings is a phenomenal film from Don Roos. Featuring an amazing ensemble cast that includes Maggie Gyllenhaal, Steve Coogan, Lisa Kudrow, Tom Arnold, Bobby Cannavale, and Jesse Bradford. It's a film that explores people trying to find elements of happiness in a world where sex and morals often drive their motivations or confuse them. In the end, Happy Endings is a remarkable film from Don Roos.
© thevoid99 2015
Directed by David R. Ellis and screenplay by Sebastian Gutierrez, John Heffernan, and David J. Taylor from a story by Heffernan, Taylor, and David Dalessandro, Snakes on a Plane is about a FBI agent trying to protect a witness and passengers from a crate full of poisonous snakes unleashed by an assassin. The film is obviously inspired by B-movies with a B-movie plot where it’s title is everything that is needed to know about the film’s premise. Starring Samuel L. Jackson, Julianna Marguiles, Nathan Phillips, Rachel Blanchard, Sunny Mabrey, Elsa Pataky, David Koechner, Kenan Thompson, Flex Anderson, Lin Shaye, and Bobby Cannavale. Snakes on a Plane is a stupid and ridiculous yet one fun-ass mother-fucking film from David R. Ellis.
The film’s title says it all as there’s really no need for any kind of plot summary or description other than the fact that a FBI agent is trying to protect his witness, passengers, and a co-pilot from poisonous snakes unleashed inside a plane from Hawaii to Los Angeles. Yet, it’s a film that is absolutely aware that it has a B-movie plot and doesn’t do anything to embellish while it does have some substance in the characters they do create such as the FBI agent Neville Flynn (Samuel L. Jackson) and a stewardess on her last tour of duty. Much of the story takes place inside this plane where a small group of people try to survive these snakes while the FBI tries to find those who put the snakes in the plane. In the meantime, there’s tension, deaths, and all sorts of things that occur as it pushes Flynn to the limit as he does say a line that is expected which is, “I have had it with these mother-fucking snakes on this mother-fucking plane”.
David R. Ellis’ direction definitely plays to the conventions of thrillers as well as B-movie aesthetics in terms of its lack of strong plot as well as characters that range from archetypes to horny young couples as well as the typical asshole passenger. Yet, it has this awareness that it knows what it is and have some fun with it. At the same time, Ellis does infuse some substance into the film as it does have a sense of claustrophobia inside the plane where there’s a lot of terror as characters have to deal with the snakes. There’s also scenes outside the plane where Flynn’s old partner in Special Agent Hank Harris (Bobby Cannavale) tries to find the man who sent the snakes as well as the antidote to help the survivors. Even as it would play to the drama as time is crucial to the story where the plane has to reach Los Angeles or else everyone dies from the snakes. Overall, Ellis creates a very enjoyable and gripping film about snakes on a plane.
Cinematographer Adam Greenberg does nice work with the film’s cinematography from the usage of lighting schemes low-lights for many of the film’s interior setting inside the plane. Editor Howard E. Smith does excellent work in maintaining some rhythmic jump-cuts to play into the action and suspense. Production designer Jaymes Hinkle and art director John Alvarez do terrific work with the design of the planes as well as some of its interiors to maintain the sense of claustrophobia. Costume designer Karen L. Matthews does wonderful work with the costumes from the design of the flight attendant clothes as well as the casual clothing of the other characters.
Visual effects supervisor Erik Henry does amazing work with the design of the snakes to play into the sense of terror as they manage to be major highlights of the film. Sound designer Tim Walston does fantastic work with the sound from the way the snakes sound to the plane engines from inside the plane. The film’s music by Trevor Rabin is pretty good for its orchestral score that ranges from bombastic to somber as the film’s soundtrack features a mix of pop, rock, and hip-hop
The film’s cast includes some notable small roles from Casey Dubois and Daniel Hogarth as a couple of adolescent passengers, Byron Lawson as the drug lord Eddie Kim, Terry Chen as a kick boxer who fights off the snakes, Mark Houghton as Flynn’s partner, Gerard Plunkett as the asshole passenger, Taylor Kitsch and Samantha McLeod as a young couple who have sex in the plane’s bathroom, Todd Luiso as a creepy snake experts who helps the FBI, Tom Butler as the plane’s lead pilot, Elsa Pataky as a young mother with an infant child as she is also a nurse, Keith Dallas and Kenan Thompson as bodyguards for the rap star Three Gs, and David Koechner in a very funny performance as the co-pilot Ricky who says some funny things while dealing with the snakes. Lin Shaye is terrific as the veteran flight attendant who would deal with the snakes as she tries to save a baby while Sunny Mabrey is pretty good as a flight attendant who has a thing for the FBI witness.
Nathan Phillips is OK as the witness Sean Jones as he is just kind of bland while Flex Anderson has his moments but not a lot as this germophobic rapper named Three G’s. Rachel Blanchard is alright as a socialite who brings her pet Chihuahua as she has a thing for Three G’s. Julianna Marguiles is excellent as the flight attendant Claire who is on her last tour of duty as she deals with all of the chaos of the snakes as she helps Flynn. Bobby Cannavale is superb as Flynn’s former partner Special Agent Hank Harris who tries to find the person that sent the snakes as well as the antidote. Finally, there’s Samuel L. Jackson in a phenomenal performance as Neville Flynn as this FBI agent who tries to save people in a plane full of snakes as he also leads the charge as Jackson just brings it every time including the line that needed to be said.
Snakes on a Plane is a truly idiotic but absolutely entertaining film from David R. Ellis that features a very cool performance from Samuel L. Jackson. It’s a film that refuses to take itself so seriously as it knows it’s low art but low-art with brain. Even as it goes for the entertainment factor and shock value where it’s B-movie schlock at its finest. In the end, Snakes on a Plane is a superbly fun film from David R. Ellis.
© thevoid99 2014
Written, directed, and starring Jon Favreau, Chef is the story of a once-revered chef who becomes creatively frustrated as a public meltdown forces him to start all over again as he buys a food truck and takes his young son on a cross-country trip to regain his love for cooking. The film is a return to Favreau’s independent roots after a period of high-budget blockbuster features as the film explores a chef not only returning to his own roots but also try to remember why he wanted to become a chef. Also starring Sofia Vergara, John Leguizamo, Bobby Cannavale, Oliver Platt, Scarlett Johansson, Robert Downey Jr., EmJay Anthony, Amy Sedaris, and Dustin Hoffman. Chef is a dazzling and enjoyable film from Jon Favreau.
What happens to a chef when he is forced to make the food he doesn’t enjoy making as he is forced to start over again by going on his own and run a food truck? That is essentially what the film is about where Chef Carl Casper (Jon Favreau) was someone who used to enjoy cooking but working in a posh Los Angeles restaurant where he is forced to cook meals he’s done so many times has him stifled as well as becoming neglectful towards his 10-year old son Percy (EmJay Anthony). After a negative review from a food critic who once championed him, he sends the critic a message on Twitter unaware that his response when viral forcing Carl to meltdown and lose his job. With the help of his ex-wife Inez (Sofia Vergara) and her ex-husband Marvin (Robert Downey Jr.), Carl buys a food truck as he takes Percy and his loyal friend Martin (John Leguizamo) across the country in the hopes to find joy again as a chef and regain the family he had neglected.
Jon Favreau’s screenplay doesn’t just explore a man being compromised by food critics and people he is forced to work for but also have him lose sight of what is really important in his life. For Carl, being a chef was something he was good at as he wanted to make some good food for people to enjoy but his boss (Dustin Hoffman) wants him to make the same menus that had made their restaurant one of the best in Los Angeles. For Favreau, it’s a story that showcases the frustrations of doing something for other people and not enjoy it as he allows the character of Carl to try and find something where he can enjoy cooking again. By taking Percy on the road with Martin, Carl not only tries to find ways to find that joy in cooking but sharing it with his son who would inspire him to be not just a better cook but also a better father. Though it’s a story that is predictable, it is filled with a lot of heart as well as humor where Favreau blends all sorts of genres and more.
Favreau’s direction is pretty simple in the way he presents these different storylines while going for compositions and such that are very simple. Even with the use of social media and cell-phone cameras, Favreau would use these tools to express a man trying to get his name and reputation back in a new world where everything is almost public. Shooting in various locations such as Los Angeles, Miami, New Orleans, Austin, and other places in America. Favreau goes for a lot of a medium shots and close-ups while also infusing some stylish shots to play in to Carl Casper’s desire to find happiness again. The food truck that he would eventually buy would become a character in the film as it represented Carl’s rebirth while the food itself is just as important. It showcases the beauty and love Carl has in making food where it looks so good that it will have the audience wanting to eat it so bad. Overall, Favreau crafts a very delightful and delicious film about a chef seeking to regain his love for cooking with the help of family and friends.
Cinematographer Kramer Morgenthau does excellent work with the cinematography from not just the vibrancy of the many locations in its exterior scenes but also the low-key lighting in some of its interiors such as the restaurants and kitchens. Editor Robert Leighton does amazing work with the editing as it‘s straightforward in its approach to humor and drama while using some stylish montages including one notable montage in the film‘s third act that proves to be very effective. Production designer Denise Pizzini, with set decorator Bryan Venegas and art director Alicia Maccarone, does fantastic work with the set pieces from the look of the restaurant that Carl worked at to the food truck where he would find his joy again.
Costume designer Laura Jean Shannon does nice work with the costumes as it‘s mostly casual with the exception of the clothes that Inez wears. Visual effects supervisor Bryan Godwin does terrific work with the minimal visual effects which involved tweet pop-ups appearing and the little Twitter bird flying around so it would help Carl get a good word of mouth. Sound editor Steve Slanec does superb work with the sound from the way the kitchens sound to some of the raucous atmosphere of the locations. Music supervisor Mathieu Schreyer does great work with the film‘s soundtrack with its mix of soul, jazz, and Cuban-jazz music to play into its sense of vibrancy that includes some low-key jazz-inspired pieces by Lyle Workman.
The casting by Sarah Finn is incredible as it features some notable appearances from Amy Sedaris as Inez’s publicist Jen who suggests to Carl to do a reality show, Jose C. Hernandez as Inez’s musician father, Bobby Cannavale as Carl’s sous chef Tony who would reluctantly replace Carl after he got fired, and Robert Downey Jr. in a very funny performance as Inez’s ex-husband Marvin who would give Carl the food truck. Scarlett Johansson is wonderful as the restaurant hostess Molly who is a lover of sorts for Carl as she thinks it’s best that he quit his job while Oliver Platt is terrific as the food critic Ramsay Michel who blasted Carl’s cooking at the restaurant. Dustin Hoffman is fantastic as Carl’s boss Riva who forces Carl to make the same menu that had made him famous as Hoffman has this great monologue about playing the hits that would frustrate Carl.
EmJay Anthony is amazing as Carl and Inez’s son Percy who wants to be with his dad while learning the ropes in being a good cook. John Leguizamo is excellent as Carl’s loyal line chef Martin who joins Carl on the road while being very funny as he provides lots of laughs and enthusiasm to his role. Sofia Vergara is superb as Carl’s ex-wife Inez who is still friendly with her ex-husband as well as wanting to help him where it’s a low-key yet effective performance from the actress. Finally, there’s Jon Favreau in a marvelous performance as Carl Casper as this chef who used to love to cook but becomes frustrated by being compromised as well as being a neglectful father as he tries to regain his joy to cook and his family as it’s a role where Favreau gets to be funny as well as show some heart in his performance.
Chef is a remarkable film from Jon Favreau. Joined by a superb ensemble cast and a fun soundtrack, the film is a truly delightful comedy that explores the world of cooking and a chef’s desire to find joy again in cooking. For people who enjoy films about food and cooking, this film will definitely have them desiring the food they see and wish it was available to them. In the end, Chef is a phenomenal film from Jon Favreau.
Jon Favreau Films: (Made) - (Elf) - (Zathura) - Iron Man - Iron Man 2 - (Cowboys & Aliens)
© thevoid99 2014
Written and directed by Woody Allen, Blue Jasmine is the story about a woman whose husband had been arrested over his criminal activities forcing her to live with her estranged sister in San Francisco as she tries to get her life back on track. The film is an exploration into a woman trying to start over as she had been nearly thwarted by scandal as she turns to her younger sister for help despite her middle-class lifestyle. Starring Cate Blanchett, Sally Hawkins, Peter Sarsgaard, Andrew Dice Clay, Bobby Cannavale, Louis C.K., Michael Stuhlbarg, and Alec Baldwin. Blue Jasmine is a brilliant yet captivating film from Woody Allen.
What happens to a woman whose wealthy life comes crashes down when her husband is revealed to be a crook as she is forced to move in with her working-class sister? That is essentially the premise of the film where Jasmine Francis (Cate Blanchett) has lost everything as she spent the last of whatever little money she had left to fly from New York City to San Francisco to live with her estranged adopted sister Ginger (Sally Hawkins) and her two kids. Yet, Jasmine is appalled by her sister’s lower-middle class lifestyle and her choice of men as she is desperate to get herself back to the upper-class life but her mental state as well as reflections of her old life with her former husband Hal (Alec Baldwin) would make her uneasy around many people including Ginger.
Woody Allen creates a very interesting narrative where it moves back-and-forth from the new life that Jasmine has to live in San Francisco and the old life she had in New York City where she had money, lived in expensive houses, wore expensive clothes, and have the finest social gatherings out there. Though Ginger and her ex-husband Augie (Andrew Dice Clay) were impressed by what Jasmine and Hal had during their trip to NYC, they preferred the simpler life though Ginger would be the one to discover something about Hal that she had kept a secret until everything went wrong. Due to Hal’s financial schemes, Augie’s chance to have his own business is finished that led to him and Ginger getting a divorced as Ginger is trying to have a new relationship with a mechanic named Chili (Bobby Cannavale).
One aspect of the script that is very interesting is Jasmine’s own sense of elitism and narcissism as she criticizes her sister for the life she lives and the idea that Ginger is always around men whom she thinks are losers. Though Ginger would later meet a sound engineer named Al (Louis C.K.) at a party where Jasmine would meet an aspiring politician named Dwight (Peter Sarsgaard). Ginger’s relationship with Al would only make her feel insecure as she becomes confused of whether to be with Al or Chili. Jasmine’s own pursuit of Dwight would eventually be her own undoing as she would lie to win Dwight’s heart but elements of her past would come back to haunt her.
Allen’s direction is quite straightforward in the way he presents the film while he gives the scenes set in New York City and San Francisco different atmospheres into the way it plays to Jasmine’s life. For the flashback scenes in New York City, everything is vast and posh where it’s all set in very rich sections including some of the beach homes that Jasmine and Hal lived in. Yet, it’s also quite artificial in some ways to showcase that not everything is as it seems to be. Allen’s approach for the scenes set in San Francisco is far more grounded with the exception of a few scenes where Jasmine is with Dwight as he turns to her about what to do with his new house.
Still, the places that Ginger and her friends take Jasmine to is a mixture of working-class environments and such that is definitely removed from the world that Jasmine is used to. Even as Jasmine reluctantly takes a job working as a receptionist for a dentist (Michael Stuhlbarg) where the direction is tighter but also quite entrancing. Even in the scenes where Jasmine is in a location talking to herself unaware of how mentally ill she’s becoming. Allen would put Jasmine often at the edge of the frame to showcase how detached she’s becoming while everyone around her is either moving on without or are just disturbed by her behavior. Overall, Allen creates a very mesmerizing film about a woman on the verge of collapse as she reluctantly faces reality.
Cinematographer Javier Aguirresarobe does amazing work with the cinematography from the lush and colorful look of New York City to the more simplistic look of San Francisco. Editor Alisa Lepselter does fantastic work with the editing by playing to the film‘s back-and-forth structure to help establish Jasmine‘s dramatic state of mind. Production designer Santo Loquasto, with set decorators Kris Boxell and Regina Graves and art directors Michael E. Goldman and Doug Hustzi, does excellent work with the set pieces from the homes that Jasmine and Hal lived in to the more quaint, simpler apartment that Ginger lives in.
Costume designer Suzy Benzinger does superb work with the costumes from the posh clothes that Jasmine wears to the more blue-collar look of Ginger to display the two different worlds the women live in. Sound editor Robert Hein does nice work with the sound from the chaotic world of Ginger‘s apartment to the more serene world that Jasmine used to live in. The film’s wonderful soundtrack largely consists of jazz music from Louis Armstrong, King Oliver, Jimmy Noone, Lizzie Miles, Conal Fowkes, Julius Block, and Trixie Smith as it all would play to Jasmine’s state of mind as she would often say how Blue Moon reminds her of how she met Hal.
The casting by Juliet Taylor and Patricia Kerrigan DiCerto is brilliant for the ensemble that is created as it features some notable small performances from Max Rutherford and Daniel Jenks as Ginger and Augie’s sons, Charlie Tahan as the adolescent version of Hal’s son Danny, Tammy Blanchard and Annie McNamara as a couple of Jasmine’s friends, and Max Casella as a friend of Chili’s who tries to woo Jasmine. Other noteworthy small yet effective supporting performances include Michael Stuhlbarg as a dentist Jasmine briefly works for while Alden Ehrenreich is terrific as Hal’s son Danny who disappears after feeling humiliated over what his father did. Louis C.K. is excellent as Al as a man Ginger meets at a party as she thinks he could be someone that Jasmine would like. Bobby Cannavale is amazing as Chili as an auto mechanic who loves Ginger while tries to be nice to Jasmine only to feel insecure as he desperately tries to do right for Ginger despite his anger.
Peter Sarsgaard is superb as the aspiring politician Dwight who falls for Jasmine and wants to marry her until he learns the truth about who she is. Andrew Dice Clay is fantastic in a small but memorable performance as Ginger’s ex-husband Augie who is stung by a deal gone bad thanks to Hal as Clay brings a charm to his role in the flashbacks as a simple guy while has this scene with Blanchett that shows a bitterness and loss that he is suffering from which makes his performance a real surprise from the famed comedian. Alec Baldwin is great as Hal as a man who is a schemer that gives Jasmine this very lavish world only to be unveiled as a crook who had stolen from everyone including Augie.
The film’s best performances definitely go to both Sally Hawkins and Cate Blanchett. Hawkins brings a liveliness to the role of Ginger as a woman who has a complicated life but one that she can handle as she is also trying to find something better while eventually coming to the conclusion that she might need more after all. Blanchett is tremendous as Jasmine where she brings this very intense performance of a woman whose life crashes down as she tries to adjust to reality and is desperate to go back to the upper-class world while taking jabs at Chili and those she feels are beneath her. Blanchett and Hawkins have great chemistry together as two sisters who care for each other but it’s a relationship that is also dysfunctional as Hawkins tries to defend her lifestyle while Blanchett would be critical where it would have some very big revelations about Jasmine and her own life.
Blue Jasmine is a remarkable film from Woody Allen thanks in part to Cate Blanchett’s leading performance as well as a sensational supporting performance from Sally Hawkins. Along with notable supporting work from Alec Baldwin, Andrew Dice Clay, Louis C.K., and Bobby Cannavale. It’s a film that explores the very complex yet chaotic relationship between two sisters as well as one woman facing the reality when the life that she once had turns out to be a façade. In the end, Blue Jasmine is a phenomenal film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
