Army of Darkness

Directed and co-edited by Sam Raimi and written by Sam and Ivan Raimi, Army of Darkness is the third and final film of the Evil Dead trilogy in which Ash Williams has found himself in the Middle Ages where he helps a kingdom fight the undead. The film showcases a man from the 20th Century dealing with different surroundings as he does whatever it takes to return home as well as kill the undead anyway he can. Also starring Embeth Davidtz, Marcus Gilbert, Ian Abercrombie, Ted Raimi, and Richard Grove. Army of Darkness is a sprawling yet whimsical film from Sam Raimi.

Set in 1300 A.D. in medieval England, the film revolves around a man in Ash Williams who had been sent to that world through a time portal as he faces off against the evil dead and helps King Arthur (Marcus Gilbert) fight in the hopes he can go home. It’s a film with a simple premise where it picks up where events from the previous leaves off as Ash is considered a prophet that can save the kingdom from the evil dead. The film’s screenplay by Sam and Ivan Raimi play into Ash’s bafflement in his surroundings but is also aware of what is happening where he is tasked by the wise man (Ian Abercrombie) to get the Book of the Dead yet Ash would deal with all sorts of craziness where the leader of the evil dead would form as an evil version of Ash.

Sam Raimi’s direction is definitely ambitious in terms of the period he chooses to set the film as it’s bigger and has a lot more happening in terms of what Ash is dealing with. Shot in soundstages in Hollywood with some scenes shot in the Californian deserts and mountain, the film plays into a sense of a period where Ash is out of place but also a world that is quite primitive and full of conflict. Raimi’s usage of the wide and medium shots establish a lot of the locations in Ash’s surroundings but also in some of the visuals where Ash would often get himself into trouble either by his own means or things beyond his control. The usage of close-ups would play into some of the humor that include a hilarious sequence in which Ash battles the mini-Ashes who try to kill him as it would then lead to a moment where a second Ash would grow into his body to become his nemesis.

The film also has Raimi play into the world of medieval times where it is played for laughs in some respects while it would have this climax that mixes old-school medieval battles with some 20th Century aesthetics courtesy of Ash. There are these moments that are quite comical but also very dark as it play to what is at stake. Even as Ash has to contend with the demons and those that have become possessed where he is aware of the importance of this book that could bring hope to this land and maybe he wouldn’t have to deal with all of that shit ever again. Overall, Raimi creates a thrilling and wild film about a 20th Century man fighting the evil dead in medieval times.

Cinematographer Bill Pope does excellent work with the film‘s colorful cinematography with the usage of natural and bright colors for the scenes set in the day to the usage of fire and other stylish lights for the scenes set at night. Editors Bob Murawski and Sam Raimi do amazing work with the editing with its usage of stylish montages, jump-cuts, and other stylish cuts to play into the suspense and humor as well as in some of the moments of terror. Production designer Anton Tremblay, with set decorator Michele Poulik and art director Aram Allan, does fantastic work with the look of the castle as well as a few of its interiors as well as the look of the graveyard where the book is found. Costume designer Ida Gearon does nice work with the look of the armor many of the knights wear as well as the clothes that the women wear.

The makeup work of Howard Berger, Camille Calvet, Tony Gardner, Robert Kurtzman, and Gregory Nicotero is great as it doesn‘t just play more into the look of the skeleton army but also the look of the evil dead as well as the evil Ash in his decayed form. Visual effects supervisor William Mesa does brilliant work with the visual effects from the usage of stop-motion animation for the skeletons as well as the way the ghosts and creatures look like during the battle scene. Sound designers Lance Brown and Alan Howarth do superb work with the sound from the way the demons sound as they‘re about to possess someone to the layers of sound mixes in the battle scenes. The film’s music by Joseph LoDuca, with themes by Danny Elfman, is terrific for its orchestral bombast that is filled with sumptuous string and percussion arrangements with Elfman providing the music for the battle march.

The casting by Ira Belgrade is wonderful as it feature some notable small roles and appearances from Angela Featherstone as a woman Ash meets at the place he works at in the 20th Century, Patricia Tallman as the possessed witch, Timothy Patrick Quill as a blacksmith that likes Ash, Bridget Fonda in a cameo appearance as Ash’s old girlfriend Linda, and Ted Raimi in a trio of performances as a cowardly knight, a villager, and a co-worker of Ash in the 20th Century. Richard Grove is terrific as Duke Henry the Red as an adversary of Lord Arthur who is accused of causing trouble only to be aided by Ash. Ian Abercrombie is superb as the wise man as a variation of Merlin who sees as Ash as the prophet that would help him while giving Ash specific instructions of how to stop the evil dead.

Marcus Gilbert is excellent as Lord Arthur as a variation of King Arthur who is unsure about Ash until he realizes that Ash is the one that he needs to battle the evil dead. Embeth Davidtz is amazing as Sheila as the sister of a deceased knight who isn’t keen on Ash at first but falls for him where she is baffled by his own custom as Davidtz gets a chance to be very funny when her character becomes possessed. Finally, there’s Bruce Campbell in an incredible performance as Ash Williams and the evil version of Ash where Campbell brings that smarmy sense of fun into his role in the former as well as a weight of melancholy while also camping it up a bit as the evil Ash that includes some moments where he gets to chew the scene for all it’s worth.

Army of Darkness is a remarkable film from Sam Raimi that features a sensational performance from Bruce Campbell. Featuring some dazzling visual effects, a killer climax, and lots of humor, it’s a film that manages to be more than just a horror-comedy but also a film where it’s about killing the evil dead. In the end, Army of Darkness is a marvelous film from Sam Raimi.

Sam Raimi Films: (It’s Murder!) - (Clockwork) - (Within the Woods) - The Evil Dead - (Crimewave) - Evil Dead II - (Darkman) - (The Quick and the Dead) - (A Simple Plan) - (For Love of the Game) - (The Gift (2000 film)) - Spider-Man - Spider-Man 2 - Spider-Man 3 - (Drag Me to Hell) - (Oz the Great and Powerful) - Doctor Strange in the Multiverse of Madness

© thevoid99 2016

The Godfather Part III

Directed by Francis Ford Coppola and written by Coppola and Mario Puzo that is based on Puzo’s The Godfather novel series, The Godfather Part III is the story of Michael Corleone’s attempt to gain legitimacy away from the world of the Mafia as he makes a deal with the Vatican bank only for things to go wrong as it involves an illegitimate nephew who wants to help Corleone in getting rid of his enemies. The third and final part of The Godfather trilogy, the film is an exploration of Michael Corleone’s attempt to find redemption as he also copes with guilt over his past actions as Al Pacino reprises his role as Michael Corleone as he’s joined by Diane Keaton, Talia Shire, Richard Bright, and Al Martino reprising their famed roles from previous films. Also starring Andy Garcia, Sofia Coppola, Joe Mantegna, Bridget Fonda, George Hamilton, John Savage, Donal Donnelly, Helmut Berger, and Eli Wallach. The Godfather Part III is a compelling yet flawed film from Francis Ford Coppola.

Set in the late 1970s, the film revolves around Michael Corleone’s attempt to detach himself from the criminal world as he had reinvented himself as a philanthropist while leaving his other business to other people where it begins to fall apart. When an opportunity arises to buy shares from one of the world’s biggest banks in the Vatican’s Immobiliare, Corleone sees it as a chance to become a fully-legitimized businessman. Still, elements of his past dealings with the Mafia come back to haunt him as his enforcer Joey Zasa (Joe Mantegna) has been running Corleone’s territory into ruins forcing an illegitimate nephew of Corleone in Vincent Mancini (Andy Garcia) to wanting to get control back. Once it becomes clear that there are those trying to get rid of Corleone not just over the deal but for other reasons, Corleone decides to have Vincent take over but with Vincent to disconnect himself with his cousin in Corleone’s daughter Mary (Sofia Coppola).

The film’s screenplay plays into not just Michael Corleone’s attempt to be part of society and make himself legitimate but also carry the guilt over the way he rose into power. Especially as the demons of his past would return in ways he didn’t expect as he is facing new enemies who play by different rules as well as those whom he thought were his friends. The chaos that emerges in Corleone’s life forces him to look towards Vincent for help as well as the advice of his sister Connie (Talia Shire) and longtime bodyguard Al Neri (Richard Bright). It is around the same time that Michael makes amend with his estranged ex-wife Kay (Diane Keaton) after pushing her away from his dealings just as Michael is seeking redemption for his past actions and sins. Still, Corleone copes with issues regarding the Immobiliare as well as the involvement of his old family friend Don Altobello (Eli Wallach) who is the most interesting character in the film. An old man that may seem weak and frail but it’s just a front for who he really is.

It’s among the interesting aspects of the script but there’s elements in that script that involves real-life events such as the death of Pope John Paul I as well as the Papal banking scandal of the early 80s definitely becomes too overwhelming and not as fleshed it for the main story which relates to Michael Corleone’s attempt for legitimacy and redemption. Another aspect of the script that doesn’t work involves the relationship between Mary and Vincent where it does border into the world of incest since the two are related to the Corleone family as Vincent was the illegitimate son of Michael’s eldest brother Sonny as Vincent bears reminders of the father he never really knew. It’s among some of the weak aspects of the script as well as the missed presence of a major character in the series in Tom Hagen, whose character is revealed to have died, as the only connection that is presented in the film is his son Andrew (John Savage) who is a priest that helps Michael in dealing with the Immobiliare.

Francis Ford Coppola’s direction is quite interesting as it’s set in three different places such as Rome, New York City, and Palermo, Sicily as it plays into a world that is changing but things are far more ruthless as they when Michael was ruling the Corleone family. Yet, Coppola retains the look of its predecessors while aiming for something that is rich but also play into a world that is changing where Michael Corleone is unaware that he is on his way out. Coppola’s compositions are still potent in the way he frames some of the drama as well as play into some of the film’s violence which is quite brutal in the way characters are killed and such. Some of the drama has Coppola use some unique medium shots and close-ups as it includes a very mesmerizing scene where Michael makes his first confession in many years to Cardinal Lamberto (Raf Vallone) who is one of the few good men in the world. It’s a scene where Michael Corleone finally reveal his sins as it is also this brief moment where the man could find redemption.

It’s among these very keen moments in the film that works while some of the elements in the film as it relates to Vincent’s attraction towards Mary are among some of the things in the film that doesn’t work. Even as Coppola isn’t able to really do anything new as the film’s climax at an opera house does have an air of theatricality in a montage that does play as a homage to elements of films of the past. Yet, it’s aftermath does have an air of tragedy as it plays to not just the sins of Michael Corleone but also the fact that all of his attempts to get those closest to him away from that dark world aren’t exempt. Especially as he realizes that the world of legitimacy that he thought he was going into is a far more treacherous world than the world of crime. Overall, Coppola creates a very captivating though very uneven film about a mobster’s attempt to find redemption and atone for his sins.

Cinematographer Gordon Willis does amazing work with the film’s cinematography with its approach to low-key lights for the scenes at night while maintaining a sepia-drenched visual style that plays to the film’s interior looks for the scenes in day and night as well as maintaining something natural and low-key for the scenes set in Sicily. Editors Walter Murch, Lisa Fruchtman, and Barry Malkin do excellent work with the editing as it does have an air of style in some of the film‘s violent moments while creating some montages as well as some stylish dissolves to play into the drama. Production designer Dean Tavoularis and art director Alex Tavoularis do fantastic work with the set pieces from the New York City penthouse that Michael lives in as well as the look of Little Italy and the home of the Corleone family in Sicily.

Costume designer Milena Canonero does brilliant work with the costumes from the party dress that Mary wore at the opening party scene as well as the suits and dresses the characters wear in some of the posh events at the film. Sound designer Richard Beggs and sound editor Gloria S. Borders do superb work with the film‘s sound to play into some of the violence that includes the chilling helicopter attack scene as well as the moments in the opera house. The film’s music by Carmine Coppola is wonderful as his approach to lush string arrangements and somber horns play into the sense of melancholia that looms over the film along with some very offbeat cuts such as the use of the Jew-harp that serves as a theme for Don Altobello.

The casting by Janet Hirshenson, Jane Jenkins, and Roger Mussenden is terrific as it features small yet notable appearances from Catherine Scorsese as an old lady who likes Vincent, Raf Vallone as Cardinal Lamberto, Enzo Robutti as the an old-school mob leader in Don Luchessi, Vittorio Duse as the old Corleone ally Don Tommasino, Mario Donatone as the assassin Mosca, Helmut Berger as an Immobiliare accountant Frederick Keinszig, John Savage as Father Andrew Hagen who would help Michael with dealings of the Immobiliare, and Al Martino who makes a wonderful appearance as the singer Johnny Fontaine for the film’s opening party scene. Performances from George Hamilton as Michael’s attorney B.J. Harrison isn’t inspiring as Hamilton really does nothing to make his performance memorable while Bridget Fonda is wasted as a photojournalist in Grace Hamilton who sleeps with Vincent as she is nearly killed for that moment. Other small roles from Richard Bright as Michael’s longtime bodyguard Al Neri, Franc D’Ambrosio as Michael’s son Anthony, and Donal Donnelly as Archbishop Gilday are pretty good as they do serve purpose for the story.

Sofia Coppola isn’t as bad that many has said about her performance as Mary Corleone but it is still quite terrible as she is unable to sell the dramatic elements of her performance as she and Andy Garcia don’t really have any chemistry. Joe Mantegna is excellent as Joey Zasa as a Corleone enforcer who has caused trouble for the Corleone crime empire forcing Vincent to take action. Talia Shire is fantastic as Connie Corleone as she becomes more involved in the Corleone family business as she would encourage Vincent to take action. Andy Garcia is superb as Vincent Mancini as the illegitimate son of Sonny Corleone who attained his father’s fiery attitude as he becomes Michael’s protégé as he later copes with the role he is given as well as breaking off a relationship with his cousin Mary.

Eli Wallach is phenomenal as Don Altobello as an old family friend of the Corleone family who is a truly complex and fun character as this old man that seems like a harmless person but he’s really one of the most deceitful and cunning antagonists ever presented on film as Wallach is a major highlight of the film. Diane Keaton is brilliant as Kay Adams as Michael’s estranged ex-wife who returns to plea for Michael to let Anthony go while coping with his illness and attempts to find redemption. Finally, there’s Al Pacino in a remarkable performance as Michael Corleone as he brings a lot of charm but also a weight of melancholia to the role as a man who copes with the guilt of his actions as he tries to become a legitimate businessman only to realize how corrupt it is as he searches for redemption and atonement for his sins.

The Godfather Part III is a stellar yet underwhelming film from Francis Ford Coppola. While it does feature excellent performance from Al Pacino, Diane Keaton, Talia Shire, Andy Garcia, Joe Mantegna, and Eli Wallach along with some fine technical contributions. It’s a film that has some unique elements in its theme of redemption but is boggled down by some uninspired storylines and other things that really hinders the film though it is still an engaging one. In the end, The Godfather Part III is a superb film from Francis Ford Coppola.

Francis Ford Coppola Films: (Tonight for Sure) - (The Bellboy and the Playgirls) - Dementia 13 - (You’re a Big Boy Now) - (Finian’s Rainbow) - (The Rain People) - The Godfather - The Conversation - The Godfather Part II - Apocalypse Now/Apocalyse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Captain EO) - (Heart of Stone) - (Tucker: The Man and His Dreams) - New York Stories-Life Without Zoe - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2015

Little Buddha

Directed by Bernardo Bertolucci and screenplay by Rudy Wurlitzer and Mark Peploe from a story by Bertolucci, Little Buddha is the story of a young American boy who is believed to be the reincarnated version of a legendary Buddhist mystic as the boy goes on a journey to learn about the Buddhist whom he might have been in a previous life. The film is a mixture of spirituality with elements of fantasy all from the perspective of a child who learns about the man he is believed to be in another life. Starring Keanu Reeves, Chris Isaak, Bridget Fonda, Alex Wiesendanger, and Ruocheng Ying. Little Buddha is a visually-striking but uneven film from Bernardo Bertolucci.

The film revolves around a young American boy who is believed to be the reincarnation of a mystical Buddhist legend as he asked to go to Tibet with a monk as the boy’s father joins them. While the boy learns about the story of this mystic who was called Siddhartha (Keanu Reeves), he is intrigued by the idea of being connected to the world of Buddhism though his father isn’t so sure until the death of colleague forces him to accompany the boy to Nepal. It’s a film that has a unique premise with a narrative that parallel the journey of this boy named Jesse (Alex Wiesendanger) and Siddhartha. While it is an interesting idea, the result through the film’s script is unfortunately underwhelming as well as very uneven.

Notably as many of the supporting characters aren’t as fleshed out as aspects in the development of Jesse’s father Dean (Chris Isaak) feels abrupt when he goes from being dismissive and then goes on the journey due to a friend’s death. Things in the third act do become clunky when it is learned that two other children are considered candidates for the reincarnation of Siddhartha as one of the kids comes out as very smug. While there are elements in this story that are compelling in the way it plays into Siddhartha’s legend and his search for enlightenment. It tends to overshadow the story that involves Jesse as his story is too lightweight to really keep things engaging despite these themes on spirituality.

Bernardo Bertolucci’s direction definitely has a lot of entrancing moments in the way he films various locations in Nepal as well as Seattle as he creates something that has an air of beauty and mysticism. Bertolucci’s usage of wide shots definitely capture the wondrous world of Bhutan and some of the locations in Nepal as it has this very otherworldly feel. Even in the sequence involving Siddhartha as it has this air of mysticism where Bertolucci does inject a lot of strange images that play into Siddhartha’s development as a mythical figure and how he would become influential. Bertolucci’s approach to the scenes in Seattle and in Jesse’s story are intimate where there are some lively and fun moments. Yet, they don’t hold up to the story involving Siddhartha as the attempt for the two stories to collide in a strange sequence comes off as very silly. Though the story does end on a somewhat somber note, it does have a nice payoff though it isn’t able to live up to the messiness of the film. Overall, Bertolucci creates an interesting but very flat and underwhelming film about a boy discovering the world of Buddhism.

Cinematographer Vittorio Storaro does brilliant work with the film‘s very colorful and stylish cinematography with its use of very sunny and exotic red-orange color schemes for the scenes set in Nepal while going for blue filters in the scenes set in Seattle with some unique lighting set-ups as it‘s a major highlight of the film. Editor Pierto Scalia does excellent work with the editing with its usage of jump-cuts and other stylish cuts including a few montages to play into the Siddhartha story. Production/costume designer James Acheson, with supervising art director Andrew Sanders and set decorators Bruno Cesari and Manohar Shrestha, does fantastic work with the look of the home that Jesse lives in as well as the Buddhist temple in Seattle and temple in Bhutan while the costumes are casual with the exception of the robes the monks wear.

Computer effects supervisor Val Wardlaw does some decent work with the visual effects to play into some of the things that involve Siddhartha in his development as well as things in his search for enlightenment. Sound editor Eddy Joseph does nice work with the sound as it plays into some of the air of mysticism in Siddhartha‘s surroundings as well as the layers of sound for the scenes in Seattle. The film’s music by Ryuichi Sakamoto is amazing for its mixture of broad and lush orchestral arrangements that is mixed in with Eastern music from strings and Indian music to play into the sense of mysticism.

The casting by Howard Feuer, Priscilla John, and Fabrizio Sergenti Castellani is terrific as it features a well-rounded ensemble as it includes some notable small roles from Jo Champa as Jesse‘s nanny Maria, Sogyal Rinpoche as the young monk Kenpo, and Geshe Tsultim Gyelsen as the teacher of the old monk. Raju Lal is terrific as the Nepalese boy Raju who displays a sense of innocence and exuberance that appeals to Jesse while Greishma Makar Singh is OK but very un-likeable as the third candidate Gita as she is a character that is very arrogant as there aren’t many qualities about her that takes her character seriously. Alex Wiesendanger is fantastic as Jesse as this young boy who is believed to be a reincarnated Buddhist figure as he is a very lively child that is excited but also intrigued by the story of Siddhartha.

Ruocheng Ying is excellent as the monk Lama Norbu as a man who has been searching for the reincarnated figure of his mentor as he thinks it’s Jesse as he is this wise and calm individual that had seen a lot about the world. Chris Isaak is decent as Jesse’s father Dean as a man who is unsure about the news on Jesse until the death of a friend forces him to go into a journey where Isaak has some moments but the way his character is written is very messy. Bridget Fonda is wonderful as Jesse’s mother Lisa who is intrigued about the idea of Jesse being a reincarnated figure as she displays a warmth and charm to her performance yet ends up being underused as she is sorely missed in the film’s second half. Finally, there’s Keanu Reeves in a superb performance as Siddhartha as this figure that comes to term with his identity and his powers as Reeves manages to make his character quite engaging despite his issues with his accent and the ridiculous amount of makeup he had to wear.

Little Buddha is a captivating but very lackluster film from Bernardo Bertolucci. Despite some interesting ideas on the concept of Buddhism and reincarnation, it’s a film that has a lot to say but ends up being underwhelming as well as very uneven due to two different storylines that isn’t able to mesh as one. In the end, Little Buddha is a very disappointing and messy film from Bernardo Bertolucci.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider’s Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - The Sheltering Sky - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2014

Jackie Brown

Originally Written and Posted at Epinions.com on 7/26/05 w/ Additional Edits & Revisions.

Based on the novel Rum Punch by Elmore Leonard, Jackie Brownis the story of a stewardess/part-time drug smuggler who gets caught in an embezzlement scam where she's asked by ATF agents to nail her arms dealer friend as she seeks help from a bails bondsman who falls for her. Written for the screen and directed by Quentin Tarantino, the film is another exploration into the world of crime as Tarantino goes for a very different approach as it would have Tarantino injecting romance into the story. Playing the titular character is 70s Blaxploitation star Pam Grier as it would be the role that would mark her comeback. Also Tarantino regular Samuel L. Jackson, Robert de Niro, Bridget Fonda, Chris Tucker, Michael Keaton, and Robert Forster. Jackie Brown is a captivating yet enchanting film from Quentin Tarantino.

After getting a call from his associate Beaumont (Chris Tucker) who had been arrested for drug and weapons possession, arms dealer Ordell Robbie (Samuel L. Jackson) turns to bails bondsman Max Cherry (Robert Forster) to bail Beaumont out. Robbie later meets with Beaumont who is expected to serve some time as Robbie would provide a solution for Beaumont. Meanwhile, Robbie's friend Jackie Brown is arrested by ATF agents Ray Nicolette (Michael Keaton) and Dargas (Michael Bowen) who found a bag of narcotics in her possession. Put in prison with a bail of $10,000, Robbie sends Cherry to bail out Brown where Cherry is smitten by her on the night he picks her up where the two have a drink together at a bar. Robbie later meets Jackie who is upset over what happened yet wants to make a deal with Jackie to get $500,000 out from Mexico so that Robbie can retire.

Though Jackie makes a deal with Robbie, she also to Nicolette about what Robbie is planning as Nicolette wants to go after Robbie over illegal arms sales. With Jackie's deal with Robbie set where Jackie gets a cut, Robbie's old friend Louis hears about the deal from one of Robbie's girlfriends in Melanie (Bridget Fonda). The two decide to make a plan of their own to steal the money from Robbie for themselves. Jackie decides to let Max in on the scheme as she believes that Max is the only person she can trust as he's eager to get out of the bonds business following a near-fatal incident. With a local mall for the money drop and exchange where a trial run with two of Robbie's women goes wrong, Jackie and Robbie decide to do it themselves to get it right. With Nicolette knowing what's going to happen with Max knowing much more, the exchange goes on as planned. Yet, a major screw-up involving Melanie and Louis leads to trouble forcing Robbie to go after Max and Jackie.

While the film, in comparison to other Tarantino scripts and films, Jackie Brown does lack a bit of the pop culture references that always pop up in the dialogue or in a frame. Tarantino gets away from that for something that is more character-driven and it's his most mature work to date. The writing structure Tarantino goes for is more traditional except for the heist scene where it's done in three different perspectives. While Tarantino is often considered a great filmmaker in his unique approach to the crime film genre. It is so easy to forget that he's a writer first. In the way he adapted Leonard's novel into a subdued crime drama, Tarantino goes more for motivation and choices in his scripts where the characters all have something to offer.

Even the subplot involving characters, notably the attraction of Max and Jackie works and it's an example of Tarantino working in a format of romance which he succeeds. The script doesn't even lose itself in its pacing or its intentions since it's a part-character study story but also a wonderful crime story with a bit of romance and comedy. While there is the use of the "N" word throughout the script and film, it's not that harmful since it's said through characters. The "N" word was used by Blaxploitation writers for years and Tarantino is basically wearing a mask to pretend that he's a black writer. Tarantino is just being earnest in not just to those iconic characters he loved but to the genre itself.

In the directing front, Tarantino uses his tricks of steadicams, dolly tracks, and wonderful camera angles to establish a lot of the moments that is happening. Yet those tricks still work, even in the way Tarantino wanted to have an authenticity to the film. The film looks like it was made in the 70s from its opening credits and scene while it gives the movie a sense of style with some substance. One of the best scenes that Tarantino directed that included long shots is the money exchange sequence where its done in three different perspective that all doesn't lose it pace nor does it confuse its audience. Overall, Tarantino creates a truly engaging and well-crafted film that explores the world of crime and the desire to go straight.

Helping Tarantino capturing the authenticity is cinematographer Guillermo Navarro who uses natural, grainy colors to give the film a 70s look, notably in the interior sequences of bars and taverns that has that classic 1970s feel. Navarro and Tarantino manages to capture a look that is distinct and nostalgic. Tarantino's longtime production designer David Wasco and his art team of art director Dan Bradford and set designer Sandy Reynolds-Wasco help give the film that authentic look for its apartments and homes of the characters that is filled with wonderful props to 70s soul music and vinyl while capturing the natural quality of the taverns. Even costume designer Mary Claire Hannan help give the film a wonderful look in the costumes, especially the clothes of Pam Grier who makes sure she looks good. Tarantino's longtime editor Sally Menke gives the film a nicely, leisurely pace and feel to her editing style where at about 155-minutes, the film doesn't feel slow or too fast. Even the film sounds great from sound designer Mark Ulano who helps creates the tension of sound for the film.

Then there's the film's music which is filled with wonderful soul classics plus a bit of hip-hop, rock, and country music. Many of the film's 70s soul classics comes from the likes of Bobby Womack, the Delfonics, Brothers Johnson, Pam Grier, Bill Withers, the Meters, and also Jermaine Jackson, the Supremes, the Grassroots, Foxy Brown, Roy Ayers, and the late Johnny Cash. Tarantino's use of music is often in tune with the characters, including a scene where Jackie plays a Delfonics cut in which Max falls in love with it becomes his theme. It's one of the best pieces and utilization of a song for a character and his development.

Finally, there's the film's amazing cast with some memorable small performances and cameos from Aimee Graham as mall clerk, Hattie Winston and Lisa Gay Hamilton as Ordell's women, Sid Haig as a judge, Tom "Tiny" Lister Jr. as one of Max's bondsman, and Michael Bowen in a memorable performance as Nicolette's partner Dargas. Chris Tucker is funny in a small but memorable role as one of Ordell's boys who gets busted as he has a great moment arguing with Jackson about getting to a dirty trunk of his car. Michael Keaton is wonderfully subdued as the intelligent and earnest Ray Nicolette with his desire to capture Ordell and help Jackie where he becomes an unlikely ally in a masterful performance.

Bridget Fonda is wonderful and sexy as the stoned beach bunny Melanie who might seem like a stoner looking for a good time on the surface but Fonda gives her depth as a woman who knows what's going on while in the exchange sequence, seems more professional than anyone thinks. Robert de Niro gives a quiet and humorous performance as Louis who likes to do nothing but get stoned and watch TV while on a crime spree, he is paranoid and reckless. Though it's de Niro doing comedy, his restraint and recklessness gives the film some nice humor.

Samuel L. Jackson gives another great performance as the charming but vicious Ordell Robbie with his cool demeanor and witty approach to business. Jackson gives the character a lot of likeable qualities as well as intimidating ones. He's a businessman and a charmer but when you cross him, you know you're in trouble as Jackson gives a great performance. The best male performance of the film belongs to Robert Forster as the good-hearted Max Cherry. Forster brings a wise yet cautious performance of a man doing the right thing in every way or form, even if it involves crime. Forster has wonderful moments with Jackson but it's with Pam Grier, Forster is in top form as he and Grier carry great chemistry as Forster plays a reluctant love interest with a lot of heart who is smitten by Grier. It's without a doubt one of the best performances that year.

Pam Grier gives her most brilliant performance to date that just doesn't remind everyone of her iconic status but a woman who still got the chops as an actress. This is Grier in classic form as she proves herself to be both tough and charismatic. She carries the dialogue with a sense of wit and ease while proving that she's still a foxy lady. Grier has great scenes with Jackson and Keaton but her best moments is with Forster as she gives a character that isn't a bad woman but one who will do anything to make money and do what is right for her.

Jackie Brown is an outstanding film from Quentin Tarantino that features an incredible lead performance from Pam Grier as well as remarkable supporting work from Robert Forster, Samuel L. Jackson, Michael Keaton, Bridget Fonda, and Robert de Niro. Armed with amazing visual tricks, great scenery set-ups, and a fantastic soundtrack, the film is truly a majestic piece of work that does a lot more for the world of the crime film. While it's the most restrained film that Tarantino has done, it also showcases the kind of range he has as a storyteller. In the end, Jackie Brown is a triumphant yet heartfelt film from Quentin Tarantino.

Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms: The Man from Hollywood - Kill Bill - Grindhouse: Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight - Once Upon a Time... in Hollywood

Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino

© thevoid99 2012

Mr. Jealousy

Written and directed by Noah Baumbach, Mr. Jealousy is the story of a writer whose new relationship with a woman is shaken when he learns that her old boyfriend is a famous writer. Filled with jealousy, he follows the man as he pretends to be another person as part of a therapy group. The film explores a man whose insecurities try to have him be compared to his girlfriend’s ex-boyfriend. Starring Eric Stoltz, Annabella Sciorra, Chris Eigeman, Carlos Jacott, Marianne Jean-Baptiste, Brian Kerwin, Bridget Fonda, and Peter Bogdanovich. Mr. Jealousy is a witty adult-comedy from Noah Baumbach.

Aspiring writer/part-time teacher Lester Grimm (Eric Stoltz) has just been introduced to Ramona Ray (Annabella Sciorra) by their friends Vince (Carlos Jacott) and Lucretia (Marianne Jean-Baptiste). After a few successful dates, Lester and Ramona have become a couple as they’re both excited for Vince and Lucretia’s upcoming nuptials. When Ramona divulges her own life to Lester that included a brief affair with a newly-famous writer named Dashiell Frank (Chris Eigeman) during her days in college. Lester reluctantly reads Frank’s new book as he later spots him walking into a group therapy session where Lester accidentally walks into the building as he becomes part of the group therapy under Vince’s name.

Headed by Dr. Poke (Peter Bogdanovich), Lester and Dashiell are among the people in the group of Lester pretends to be Vince as he takes shot at Dashiell’s insecurities while Lester discusses some of Vince’s problems. Though Vince was reluctant to have Lester divulge information, the two do trade secrets about what is happening although nothing secretive is revealed in the therapy sessions. Suddenly, Lester and Dashiell become friends as they discuss their own issues to each other though Lester remains under the name of Vince. After Ramona revealed to Lester about meeting a former boyfriend named Stephen (Brian Kerwin), Lester becomes confused on whether that the woman Dashiell wrote about is Ramona. Vince decides to join the group therapy as a British man named Leo revealing Lester’s jealousy issues to the group making Lester feeling very uncomfortable.

When Ramona becomes suspicious about Lester’s therapy sessions and why he lied about missing a date. She and Lucretia starts to follow Lester and Vince in the therapy sessions where Ramona meets Dashiell as Dashiell later talks about meeting Ramona at a group session leading to a major blow-up for all involved.

The film is about a man with jealousy issues after learning about his new girlfriend’s former relationship with a man that is now a famous writer. Wanting to know this man and see how he can better himself for this woman, he takes part in a group therapy session where things become complicated as his best friend suddenly gets involved to further complicate things. It’s a film where Noah Baumbach explores the world of jealousy as he follows Lester Grimm in this journey as the story is told by a narrator (Noah Baumbach) who divulges into Lester’s past as well as Ramona’s own quirks. The screenplay features characters that all seem to have it together while Lester is the one trying to get past his jealousy issues only to go back into old habits. Largely because he’s faced moments in his young life where he’s been dumped or been unable to express his feelings towards another girl.

In Ramona, she becomes this ideal woman that Lester might feel that she is the one until she reveals all of these lovers she had including Dashiell. This would prompt him to find out about Dashiell where he accidentally follows him as he learns about this man while pretending to be someone else. Yet, Dashiell is revealed to be someone who is having his own issues about himself and admitting that he wasn’t a great person in the past. This would lead to Lester to finally open a bit as he gets to know Dashiell as it would only complicate his jealousy issues and his relationship with Ramaona. It’s a script that is a comedy of manners though at times, it does play off as a bit pompous as the characters are quite high-brow.

Baumbach’s direction is straightforward in terms of its compositions as a lot of is shot in New York City. Many of the compositions in the way Baumbach directs his actors in a frame and have the camera move around to be in the center of these group therapy sessions. The film opens with a prologue of sorts about Lester’s life as the scenes are repeated frame for frame but played by Vince when he plays Leo for the therapy session. Baumbach’s approach to humor is more about the situation and character rather than gags. While the film has a lot of references to films and high art, there is an element of pretentiousness to it that makes the film feel a bit smug at times. Despite the few flaws it has, Baumbach does create a very compelling romantic comedy-drama.

Cinematographer Steven Bernstein does some pretty good work with the photography that is very straightforward for a lot of the interior and exterior shots of NYC and the apartments that the characters live in. Editor J. Kathleen Gibson does some excellent work with the film‘s stylish cutting employing lots of rhythmic cuts, montages, and jump-cuts to play with the film‘s easy-going pacing. Production designer Anne Stuhler, along with set decorator Candis Heiland and art director Roswell Hamrick, does some nice work with the apartments to contrast the different worlds of the more middle-class Lester and the more posh Dashiell.

Costume designer Katherine Jean Bryant does some wonderful work with the costumes that includes some very stylish clothing for Ramona. Sound mixer Jeff Pullman does terrific work with the sound from the intimate moments of the therapy sessions to more raucous moments in a dinner scene. The film’s score by Robert Een is a wonderful mixture of jazz and reggae to play up the humor of the film while the score features some folk-driven pieces performed by the dream-pop band Luna. Assembling the film’s soundtrack is music supervisor William Ewart as he creates a soundtrack that features Georges Delerue, Harry Chapin, and Leonard Cohen.

The casting by Todd M. Thaler is excellent for the ensemble that is created as it includes Eddie Kaye Thomas as a Spanish-language student, Noah and Nico Baumbach as a couple of former dates of Ramona, John Lehr as a friend of Vince and Lester, Brian Kerwin as an ex-boyfriend of Ramona in Stephen, and Bridget Fonda as Dashiell’s stammering girlfriend Irene. Legendary filmmaker Peter Bogdanovich is superb as the very helpful Dr. Poke who leads the group therapy sessions that Lester, Dashiell, and Vince attend. Marianne-Jean Baptiste is very good as Vince’s fiancée Lucretia who wonders about Vince’s comments about therapy. Carlos Jacott is great as Lester’s friend Vince who is interested about Lester’s portrayal for the therapy sessions while he would sport a wonderful British accent as Lester’s doppelganger Leo.

Chris Eigeman is excellent as Dashiell, Ramona’s ex-boyfriend who tries to deal with his own issues as a writer while befriending Lester in the group therapy. Annabella Sciorra is lovely as the superstitious Ramona who tries to deal with Lester’s behavior as their relationship starts to progress. Finally, there’s Eric Stoltz in a remarkable performance as the confused Lester whose jealousy issues have him questioning himself while befriending Dashiell that would further his anxiety over his relationship with Ramona.

Mr. Jealousy is a very good film from Noah Baumbach that features stellar performances from Eric Stoltz, Annabella Sciorra, and Chris Eigeman. While it’s an imperfect film that might be too-high brow for some viewers. It is still a quite engaging comedy that is very smart in its portrayal of young 30-something dealing with love. In the end, Mr. Jealousy is a charming romantic-comedy from Noah Baumbach.

Noah Baumbach Films: Kicking & Screaming - Highball - The Squid & the Whale - Margot at the Wedding - Greenberg - Frances Ha - While We're Young - Mistress America - De Palma - The Meyerowitz Stories (New and Selected) - Marriage Story - (White Noise (2022 film)) - The Auteurs #41: Noah Baumbach

© thevoid99 2012