Rebel Moon (the Director's Cuts)

 

Directed and shot by Zack Snyder and screenplay by Snyder, Kurt Johnstad, and Shay Hatten from a story by Snyder, Rebel Moon is a two-part film series that explores a conflict between an imperialist galaxy who decides to threaten a farming colony on a moon outside of its galaxy leading to a rebellion by a young woman who would seek out various misfits to help her rebel against these imperial forces. The film, in its expanded director’s cuts with a total running time of 377-minutes, is an epic sci-fi adventure film that displays a group of people who refuse to bow down to the whims of an imperialistic force even though the imperialists have an army that will not stop in taking over. Starring Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Bae Doona, Ray Fisher, Charlie Hunnam, Jena Malone, Fra Fee, Corey Stoll, Staz Nair, Elise Duffy, Cary Elwes, Sky Yang, Charlotte Maggi, Stella Grace Fitzgerald, and the voice of Anthony Hopkins as JC-1435 aka Jimmy. Rebel Moon is an audacious, bold, and viscerally evocative two-part film by Zack Snyder.

Set in a futuristic galaxy led by an entity known as the Motherland, the two-part film is about a young farmer who decides to leave her farming village with another farmer to gather some warriors to help train the farmers for an upcoming battle against these imperial forces. It is a story with a simple plot, yet it plays into this planet where a village of farmers deal with a large spaceship whose fleet is led by the sadistic Admiral Atticus Noble (Ed Skrein) who learns about what the planet does and wants all their harvest though his intentions prove to be far more sinister. Especially as it plays into a dark history of planetary domination and acts of genocide in the hands of the Motherland ever since the assassination of their king (Cary Elwes) and his royal family with a former military leader in Balisarius (Fra Fee) being the new leader. The screenplays by Zack Snyder, Kurt Johnstad, and Shay Hatten, in their extended versions, split the story into two parts with the first chapter entitled The Chalice of Blood and the second chapter entitled Curse of Forgiveness.

The Chalice of Blood establishes this sense of dread that the Motherland has impacted on various planets with a moon called Veldt being the center of this conflict within both stories as a farming village where a young woman in Kora (Sofia Boutella) lives in even though she is seen as an outsider in the village. When Admiral Noble arrives on his ship to see the village and what they had to offer, he demands that the farm give them all their grain while leaving his soldiers to watch over everything. Yet, Kora would kill all but one soldier from raping a young farmer, she would leave the village with another farmer in Gunner (Michiel Huisman) to find people who would help them deal with imperialist forces since Gunner had made secret grain trades to rebels. Meanwhile, a rogue imperial robot in JC-1435 aka (Dustin Ceithamer) would watch over the village and secretly help them out where recalls a story of the Motherland when it ruled peacefully for a time with its king and his young daughter Princess Issa (Stella Grace Fitzgerald) as the latter was believed to be this spiritual being that would bring peace. With the help of a mercenary/starship pilot in Kai (Charlie Hunnam), Kora and Gunner would gain the services of a former imperial general in Titus (Djimon Hounsou), a sword master with cyborg hands in Nemesis (Bae Doona), a former nobleman turned blacksmith in Tarak (Staz Nair), and a rebel soldier in Milius (Elise Duffy) who is part of a rebel faction lead by the siblings in Darrian and Devra Bloodaxe (Ray Fisher and Cleopatra Coleman, respectively).

In Curse of Forgiveness, the script plays more into the back stories of the rebels that Kora and Gunner had brought in as well as the past of the former whose family was killed by the Motherland where she met Balisarius who would adopt her. Kora’s last encounter with Admiral Noble would prove to be fatal for Noble as he realizes Kora’s identity hoping to capture her to gain favor from Balisarius as well as a seat in the Motherland’s senate. On Veldt, Titus, Nemesis, Milius, and Tarak not only help the farmers in preparing for battle with the rogue soldier Aris (Sky Yang) who would function as a double agent for the farmers in his reports to Motherland. They also rediscover a life they had lost due to their past encounters with the Motherland, adding more weight to what is at stake with Jimmy making a discovery that would get everyone to prepare for Noble and his forces.

Snyder’s direction is truly grand in terms of not just the massive scale he presents as if it plays into events that are inspired by the realities of war and tyranny but also a reality that those disconnected from modern-day society must deal with. With the scenes on Veldt and other exterior locations shot on location in areas in California, much of Snyder’s work is shot on studio soundstages yet he does create something that does play into a world that is in absolute and total chaos. The Chalice of Blood opens with a sequence of a family trying to defend themselves against a force of imperial soldiers where Admiral Noble coerces Aris to join the Motherland through a horrifying act. Also serving as the film’s cinematographer, Snyder does create some unique visuals some of the planets as they are drenched with unique lighting and color schemes with elements of the Motherland being heightened in their lighting to play into this false utopia they claim to portray. Shot in a 2:76:1 aspect ratio, Snyder uses that format to create images as if they are a wide canvas as the diligence in his wide and medium shots add a lot to the world that these characters live in.

Notably in the scenes on Veldt in its village setting as it has this naturalistic feel that is also heightened in its lighting reminiscent of 1970s cinema. Snyder would also maintain a sense of intimacy in his approach to medium shots and close-ups as he also plays into the way characters interact with each other or the environment they are in. Notably in some of the scenes during the harvest in Curse of Forgiveness where there is this sense of community where these outsiders take part in and deal with a world that feels idyllic and inclusive. Especially towards characters like Milius and Nemesis who both came from farming villages that they lost due to the actions of the Motherland where they reconnect with a side of themselves that they had lost long ago. Snyder also maintains some unique compositions in the way he presents the different planets the characters go to in The Chalice of Blood as well as some disparate imagery in the way Veldt is shown and the Motherland ship that Admiral Noble lives in.

In these expanded versions of the films that Snyder had intended to make, it allows him to present the violence in a more gruesome manner in some of the battles and attacks to display how extreme war is. Even in moments of conflict such as the first fight between Kora and Noble in the climax of The Chalice of Blood, while the big battle scene in Curse of Forgiveness is far more intense. Especially as there are these chilling elements where Noble has more concern for himself and making the Motherland look good as the original mission to get the grain from the farmers becomes unnecessary. It has elements of anti-war sentiment where some begin to question Noble’s views as it relates to Kora and her identity believing that capturing her would gain him favor of Balisarius. The ending does not just play into what was lost but also the beginning of something bigger in what a rebellion must do. Overall, Snyder has crafted a rapturous and enthralling film about a young woman who gathers some rebels to fight against a tyrannical force led by a madman.

Editor Dody Dorn does brilliant work with the editing where it is filled with lots of style in slow-motion cuts, fast-cuts, and jump-cuts to play into the action and drama while also knowing when to slow things down to let shots linger to establish what is happening in a scene. Production designers Stefan Dechant and Stephen Swain, along with supervising art directors Julien Pougnier and Brett McKenzie plus set decorator Claudia Bonfe, do amazing work with the look of the farm houses and the interior of some of the spaceships. Costume designer Stephanie Portnoy Porter does fantastic work with the costumes from the regal uniforms that the imperialists wear to the more ragged and simpler look of the people on Veldt as well as the different clothes that Titus, Nemesis, and Tarak wear.

Makeup artist Laura Calvo, hair stylist Miki Caporusso, and special makeup effects/puppet designer Justin Raleigh do excellent work with the look of the characters as well as some of the details in the scars that some characters sport as well as the different hairstyles of Kora. Special effects supervisor Michael Gaspar and senior visual effects supervisor Marcus Taormina, along with animation supervisors Nikki Braine, Yvon Jardel, and Nick Starcevic, do tremendous work with the visual effects with its mixture of practical effects and puppetry for some of the small creatures in the film as well as the design of the different planets and their exterior settings as it is a highlight of the film. Sound designers Scott Hecker, Bryan Jerden, and Chuck Michael do superb work with the sound in the way gunfire sounds as well as other sparse and small sounds with elements of bombastic sound effects that play into the terror of these weapons. The film’s music by Tom Holkenburg is incredible for its mixture of bombastic orchestral arrangements, electronic swirls, and folk-based music as it plays into the different worlds that the film presents with a lot of folk-based music having this sense of traditional tone to play into something that Veldt is trying to hold on to.

The casting by Kristy Carlson is marvelous as it features various small roles and appearances from Brandon Auret and Greg Kriek as a couple of imperial soldiers tasked in watching over the village, Derek Mears as a monstrous alien who is part of a group asked to spy for the Motherland, Tony Amendola as a king who shelters the rebellion, Rhian Rees as the queen of the Motherland in the flashbacks, Elizabeth Martinez as the young Kora, Ray Porter as a farmer from another planet that is Tarek’s master, Stuart Martin as a farmer named Den whom Kora would have sex with early in the film, Dominic Buress as a man Kora and Gunner fight with at a bar where they would meet Kai, Ingvar Sigurdsson as an elder farmer in Hagen who was the one that took Kora into the community as well as being a father figure to her, Stella Grace Fitzgerald as the princess Kora was a bodyguard for as she is the spiritual being who is believed to be the key to peace, and Cary Elwes as the king of the Motherland who would change his ways from being a tyrant into wanting to become a more peaceful leader.

Other notable small roles and appearances include Cleopatra Coleman and Ray Fisher in terrific performances as the sibling rebel leaders in Devra and Darrian Bloodaxe who agree to help Kora and her team only from afar with the latter being involved early on with the former coming in late in the film. Corey Stoll is superb as the village leader Sindri who is troubled by the appearance of the Motherland unsure of what to do while also being unaware of their extremities. Jena Malone is fantastic in her brief role as the humanoid-spider Harmada who kidnaps children and causes trouble where she gets into a fight with Nemesis in The Chalice of Blood. Alfonso Herrera is excellent as Noble’s second-in-command Cassius who runs the ground forces and everything else while finds himself questioning Noble’s intentions. Charlotte Maggi is brilliant as Sam as a water girl who nearly gets raped by some imperial soldiers only to fall for the rogue soldier Aris and become a fighter herself. Sky Yang is amazing as Aris who reluctantly serves for the imperialists after his own encounter with Noble only to go rogue and help the farmers to defy the Motherland. Fra Fee is incredible as Balisarius as the leader of the Motherland who rules the galaxy as a tyrant as he is intent on ruling the galaxy while is hoping to find Kora who is his long-lost adopted daughter.

Charlie Hunnam is great in his role as the mercenary Kai who helps Kora and Gunner travel to the galaxy to gather some people to fight with them as he is an ambiguous individual that is also a pessimist while does see the sense of hope in what Kora is fighting for. The performances of Elise Duffy, Staz Nair, and the duo of Dustin Ceithamer and the voice of Anthony Hopkins are phenomenal in their respective roles as the rebel fighter Milius, the former nobleman-turned-slave in Tarak, and the imperialist robot who has gone rogue in JC-1435/Jimmy as they all express a need to return to a life they once had with Milius as a fighter who once had a life in a farmland that was taken from her with Tarak as a prince who went into exile after his planet was taken and Jimmy as this robot who had been programmed to protect the royal family only to rebel after dealing with the abuse of the imperialists soldiers where he would help the farmers in secrecy.

Bae Doona is remarkable as Nemesis as a sword master with android hands who came from a fishing village that used to be a land of violence where she joins Kora in the rebellion where she regains a sense of what was lost in her encounters with the people of the village. Djimon Hounsou is tremendous as General Titus as a former imperialist general who had become an alcoholic as he reluctantly joins Kora where he would regain a sense of purpose while teaching the farmers how to fight with what they have while also knowing Kora’s identity. Michiel Huisman is sensational as Gunner as a farmer who joins Kora in trying to gather people for the rebellion as he secretly sold grain to the Bloodaxe where he gains a sense of bravery and purpose where he hopes to have a future with Kora.

Ed Skrein is magnificent as Admiral Atticus Noble as this monstrous military figure who is willing to do everything for Balisarius where he has this devilish charm to him that also has elements of camp where Skrein goes all out in this role as it is his greatest performance to date. Finally, there’s Sofia Boutella in a spectacular performance as Kora as a woman who had been Balisarius’s adopted daughter only to flee because of an incident where she exiled herself to become a farmer until the Motherland returns prompting her to gather people for a rebellion. Even as Boutella displays the complexities of her emotions in the guilt that she holds in her past actions while also dealing with the fact that she lost a lot in her life only to gain a new purpose and a community that has embraced her.

Rebel Moon, in their extended director’s cuts, is an outstanding film by Zack Snyder. Featuring a great ensemble cast, enthralling visuals, its exploration of war and guilt, a balance of action, suspense, and drama, and an exhilarating music score and soundtrack by Tom Holkenburg. It is a two-part film series that does not just allow Snyder to highlight his full vision of a space conflict but also shows so much more in its exploration of a community that just wants to live a peaceful life despite the threat they must deal with. In the end, Rebel Moon is a magnificent two-part film series by Zack Snyder.

Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) – Sucker Punch Man of Steel - Batman v Superman: Dawn of Justice - Justice League - Zack Snyder's Justice League - (Army of the Dead)

© thevoid99 2024

Andre the Giant (2018 film)

Directed by Jason Hehir and written by Simon Pummell, Andre the Giant is a documentary film about the legendary pro wrestler who was born with gigantism which would make him a beloved figure in the world of pro wrestling yet would deal with the prejudices of being gigantic. The film follows the man’s life from his early upbringing in France to being one of the most popular pro wrestlers in the world as well as being in movies like The Princess Bride. With interviews from wrestlers Hulk Hogan, Jerry “The King” Lawler, Pat Patterson, and Ric Flair as well as actors Billy Crystal, Robin Wright, Arnold Schwarzenegger, and filmmaker Rob Reiner. The result is a somber yet extravagant film about a man who was indeed larger than life.

Andre Rene Roussimoff was a man from a small French town just 40 miles away from Paris as he unexpectedly was growing very rapidly as a teenager where he would become a professional wrestler around the age of 17. Yet, this gigantic growth which he didn’t know where it was from would make him a major celebrity as well as a mythical figure in the world of professional wrestling. The film follows the man’s life from his beginnings in the small French town of Moliens where he lived with his two brothers who are interviewed in the film along with sister-in-law as they talk about Andre’s life in the small town and the difficulty he had with his growth. Yet, it would contribute to his love of athletics including rugby which would get him the attention of a local wrestling coach who saw what he could do.

Aside from pro wrestling writer Dave Meltzer, historians talk about Andre’s early wrestling career as it showed his athleticism early on but as his gigantism grew. He would become this special attraction upon his arrival in the early 1970s in Montreal where he got the attention of many promoters in North America. He would work in many territories in America as wrestlers such as Hulk Hogan, Jerry “The King” Lawler, Pat Patterson, and Ric Flair along with wrestling announcer “Mean” Gene Okerlund would talk about not just Andre’s work method but also how he would run the locker rooms as he would protect and sell other wrestlers who are good to him but then there’s those he didn’t like such as Big John Studd and “Macho Man” Randy Savage. The latter of which was revealed by Hogan about Savage using baby oil to make himself look good but it pissed Andre off really bad who really slapped the shit out of Savage.

There are also these mythological stories that are told such as the consumption of alcohol that Andre had drank where Flair claimed he saw him drank 106 cans of beer in one night. It adds to the mythology and legend of Andre as another WWE personnel that talks about Andre is referee Tim White who was Andre’s handler for much of his career. There were also discussions of Andre’s life outside the ring where he did struggle with his condition and learned about it much later in his life though he didn’t seek treatment as he felt it would threaten his career. There was also the fact that he had a daughter named Robin Christensen Roussimoff, who is interviewed in the film, as she shows pictures of her time with her father at his farm in Erbelle, North Carolina. The people who lived in Erbelle talked about Andre who felt at home in the town as his times traveling would often make him feel lonely and sensitive where he found a surrogate family in the people who looked after his ranch.

Actors such as Arnold Schwarzenegger, Cary Elwes, Robin Wright, and Billy Crystal talk about their time with him as Schwarzenegger knew him during the 1970s as he was often in awe of him. Elwes, Wright, and Crystal along with filmmaker Rob Reiner talked about working with him on The Princess Bride as they revealed some tidbits about the film as well as the pain that Andre was feeling as it relates to his back. With the help of editor Daniel Goddard, director Jason Hehir wouldn’t just compile the many footage of his matches but also some rare pictures including a few from Elwes and Andre’s daughter Robin as it shows someone who wanted to be like everyone else. WWE chairman Vince McMahon does dwell into Andre’s final years as he admitted that resentment from Andre over having to retire while WWE would continue without him as he felt sad that he is unable to wrestle. It was in early 1993 when Andre returned to France to visit his ailing father and then be at his funeral where he unexpectedly died on January 27, 1993 at the age of 46.

Hehir’s direction would have many of the people interviewed in a straightforward manner with Hogan being the one to talk about Andre’s impact as well as how he had been able to play a major part of the 1980s wrestling boom. The film’s music by Thomas Caffey is terrific for its triumphant score that play into the larger-than-life persona of Andre while music supervisor Rudy Chung helping to bring in an array of music that lives up to who Andre is.

Andre the Giant is a marvelous film from Jason Hehir and HBO Sports. It’s a documentary that wrestling fans will definitely enjoy as they would get a look at one of the sport’s most beloved figures while audiences familiar with the world of popular culture will see a man who was human like everyone but also had a heart that was as big as he was where all he wanted to do was make people smile. In the end, Andre the Giant is a remarkable film from Jason Hehir.

© thevoid99 2018

Robin Hood: Men in Tights

Directed and co-starring Mel Brooks and screenplay by Brooks, Evan Chandler, and J. David Shapiro from a story by Chandler and Shapiro, Robin Hood: Men in Tights is the story of a royal who returns to Britain as he tries to reclaim his land from an evil prince and his sheriff with the aid of villagers. The film is a spoof on many variations of the Robin Hood story as it play into the legend and put a witty spin on it while making fun of other films as the titular character is played by Cary Elwes. Also starring Richard Lewis, Roger Rees, Amy Yasbeck, Isaac Hayes, Tracey Ullman, and introducing Dave Chappelle as Ahchoo. Robin Hood: Men in Tights is a delightful yet flawed film from Mel Brooks.

The film is essentially a spoof on the Robin Hood story as it plays with the origin story but also infuse it with anachronistic humor and other quirks. Yet, it does faithfully follow the original story about a man who loses his family home and land upon his return from the Crusades as an evil prince and sheriff have taken over England where they raise taxes. This would force Robin Hood to gather some local villagers to steal from the rich and give back to the poor as well as lead a revolt against Prince John (Richard Lewis) and the Sheriff of Rottingham (Roger Rees) while winning the heart of the fair Maid Marian (Amy Yasbeck). The film’s script would put in some quirks such as the fact that Robin Hood is a bit smug as he would go into long speeches that gets old very fast while the Sheriff of Rottingham often speaks in spoonerism. Prince John often sports a fake mole unaware that he has one while the character of Friar Tuck is remained as a rabbi (Mel Brooks).

Mel Brooks’ direction is quite straightforward as it play into this world of medieval times where it was shot in various locations and studio lots in Southern California while it also has recurring gags that often breaks down the fourth wall accidentally. While much of the compositions are simple in the way he shoots close-ups and medium shots as it relates to the way he present characters and situations. There are a few wide shots in the film to establish some of the locations as Brooks is more about presenting the humor and do whatever he can to bring laughs. Some of it doesn’t work such as scene rapping merry men as well as other bits relating to 90s culture that ends up being very dated. Still, Brooks does manage to find way to create moments that are still funny as well as put in bits and references from his own films. Even as it help tell the story while doing whatever he can to make it fun. Overall, Brooks makes a enjoyable though flawed film about a man who revolts against an evil prince while trying to woo a maiden wearing a metallic chastity belt.

Cinematographer Michael D. O’Shea does nice work with the film‘s cinematography from the way many of the daytime exteriors are presented as well as some of the nighttime interior scenes. Editor Stephen E. Rivkin does excellent work with the editing with its stylish usage of dissolves for a musical sequence involving Maid Marian as well as some jump-cuts to play into some of the humor. Production designer Roy Forge Smith, with set decorator Ronald R. Reiss and art director Stephen Myles Berger, does fantastic work with the design of the sets from the prison in Jerusalem to what was once the Loxley castle until it was moved because of owed back taxes. Costume designer Dodie Shepard does wonderful work with the costumes from the design of Maid Marian’s chastity underwear belt to the clothes the men wear including the tights.

Visual effects supervisor Mat Beck does OK work with the few visual effects such as a major sequence involving an archery contest. Sound editors Gary S. Gerlich and Gregory M. Gerlich, with Harry E. Snodgrass, do terrific work with the sound in the way some of the sound effects are heard as well as how the arrows sound when they‘re shot into a target. The film’s music by Hummie Mann is superb for its orchestral-based score that is triumphant and playful while the film also feature some original songs written or co-written by Mel Brooks that are funny though the rap song isn‘t very good.

The casting by Lindsay Chag and Bill Shepard is great as it feature some notable small appearances and cameos from Robert Ridgely sort of reprising his hangman role from Blazing Saddles, Dick Van Patton as the abbot, Joe Dimmick as a Clint Eastwood look-alike assassin in Dirty Ezio, Steve Tancora as a champion archer in Filthy Luca, Brian George as a Jerusalem dungeon maitre d’, Avery Schreiber as a tax assessor, Megan Cavanagh as Maid Marian’s lady-in-waiting Broomhilde, and Patrick Stewart in a brief appearance as King Richard. Other noteworthy small roles include Isaac Hayes as Ahchoo’s father Asneeze that Robin meets at the Jerusalem dungeon, Dom DeLuise in a hilarious spoof of Marlon Brando’s Don Corleone character in Don Giovanni, and Mel Brooks as Rabbi Tuckman who joins Robin Hood in dealing with Prince John. Tracey Ullman is fantastic as Latrine as a sorceress/cook for Prince John who is willing to help him but what she wants is the Sheriff of Rottingham. Eric Allan Kramer and Matthew Porretta are terrific in their respective roles as Little John and Will Scarlett O’Hara with the former being a big but dimwitted ally of Robin Hood while the latter is good with knives.

Mark Blankfield is superb as Robin’s blind servant Blinkin who is a comic relief that often is in some sort of mishap due to his blindness. Dave Chappelle is excellent as Ahchoo as Robin’s right-hand man who would say some funny things but also come up with some inspiring plans. Amy Yasbeck is brilliant as Maid Marian as a virginal maiden who is trying to find her true love as well as the one who can get rid of her chastity belt underwear. Richard Lewis is amazing as Prince John as an evil royal who has a hard time trying to rule England as well as do bad things where Lewis is very funny. Roger Rees is hilarious as the Sheriff of Rottingham as a spoonerism-spouting sheriff who says offbeat things and put himself into very hilarious situations. Finally, there’s Cary Elwes in an incredible performance as the titular character as a royal who is eager to reclaim his land and help the poor while being the Robin Hood that can speak with an English accent.

Robin Hood: Men in Tights is a witty though flawed film from Mel Brooks. Despite some dated jokes, the film does offer plenty of laughs thanks to a great cast and some funny gags. In the end, Robin Hood: Men in Tights is a stellar film from Mel Brooks.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - (Dracula: Dead and Loving It)

© thevoid99 2017

The Princess Bride

Directed by Rob Reiner and written by William Goldman from his own novel, The Princess Bride is the story about a young woman who is devastated by the loss of a stable boy she fell in love with as she is set to marry a prince only to be kidnapped and later meets a mysterious pirate. While the main narrative is set in medieval times in a fictional country called Florin, the film is largely told in present time as it’s a story read by a man to his flu-ridden grandson. Starring Cary Elwes, Robin Wright, Mandy Patinkin, Andre the Giant, Wallace Shawn, Chris Sarandon, Christopher Guest, Fred Savage, and Peter Falk as the grandfather. The Princess Bride is a remarkable film from Rob Reiner.

The film is a genre-bender where it has adventure, comedy, drama, and romance which revolves around a soon-to-be princess and the stable boy she loved who was later supposedly killed by a notorious pirate. Upon being kidnapped by criminals who are hired to start a war for the prince she’s to marry, she later encounters the notorious pirate who supposedly had killed her true love. It’s a film that has a simple and unique premise but with characters that subvert the idea of caricatures as many of them aren’t exactly what they seem they are. All of which is told by a man reading a book to his grandson (Fred Savage) who is bed-ridden with an illness.

What makes the story so unique is the way William Goldman creates a script with characters and dialogue that doesn’t play into the conventions of a typical romantic-adventure. Especially as the protagonists in Buttercup (Robin Wright) and Westley (Cary Elwes) are atypical of what is expected in the roles of a damsel-in-distress/love interest and hero, respectively. What Westley and Buttercup have is true love that is shattered when Westley seeks to find fortune on a ship only to have that ship attacked by the infamous pirate known as the Dread Pirate Roberts. For Buttercup, Westley’s supposed death was the end for her as she reluctantly gets engaged to Prince Humperdinck (Chris Sarandon) who only wants her for his royal stature and later use her as a pawn to start a war with a rivaling country with the help of a trio of criminals.

The trio themselves deviate from what is expected in an adventure story as the master swordsman Inigo Montoya (Mandy Patinkin) is a kind man who is seeking for a six-fingered man who killed his father many years ago. The other two is a gentle and strong giant named Fezzik (Andre the Giant) with a gift for rhyming and a Sicilian mastermind named Vizzini (Wallace Shawn) who is a cruel taskmaster that constantly insults Inigo and Fezzik. Add the presence of Prince Humperdinck and his second-in-command Count Rugen (Christopher Guest), they become the kind of forces that Westley and Buttercup have to deal with as the grandfather tells his grandson this unique story where the grandson deals with the constant details about kissing as well as what he might thinks happen in the story. Instead, Goldman’s script has this sense of language and narrative that is very engaging but also that is very funny. Even in some of the dialogue that is playful and also very witty over the situations that occur.

Rob Reiner’s direction is very simple and understated at times but also full of whimsy that adds to the unconventional presentation of the story. Much of the film is shot in locations in Britain and Ireland in the countryside and castles where Reiner uses a lot of wide shots to play into the beauty of those locations along with some amazing shots of Westley and Buttercup kissing against the sunlight. There’s also some great use of medium shots and close-ups to play into the sense of drama and humor in the film as Reiner. Especially in the latter where it is very offbeat in the presentation that includes an albino (Mel Smith) who doesn’t play to the conventions of an assistant torturer and a clergyman (Peter Cook) who can’t pronounce “R”s and “L”s.

The sense of adventure includes an amazing sword duel between the mysterious Dread Pirate Roberts and Inigo where there’s an air of respect in the duel between the two which is different between the eventual duel that Inigo would have with the man who killed his father. There’s also moments of suspense such as the duel between Vizzini and Roberts where it’s a battle of wits. Much of the compositions that Reiner creates for these scenes and in the scenes between the grandfather and grandson are quite simple as he is going more for performances rather than gimmicks and such. Overall, Reiner crafts a very sensational and lively film about true love, sword fighting, and thrills told from a grandfather to his grandson.

Cinematographer Adrian Biddle does excellent work with the film‘s gorgeous look for many of its daytime exterior scenes to display a natural look while using some lighting schemes for some of the interior scenes. Editor Robert Leighton does superb work with the editing where it is straightforward while using some rhythmic cuts for some of the film‘s action and suspenseful moments. Production designer Norman Garwood, with set decorator Maggie Gray and supervising art director Keith Pain, does brilliant work with the set pieces from the look of the castle interiors as well as the look of the Cliffs of Insanity.

Costume designer Phyllis Dalton does wonderful work with the costumes from the dresses that Buttercup wears as well as the clothes of Count Rugen and Prince Humperdinck. Makeup designer Peter Montagna does great work with the look of a couple of characters Fezzik and Inigo meets to help aid them for the climax. Sound editor Lon Bender does terrific work with the sound in some of the film‘s sound effects as well as some of the tone of the locations. The film’s music by Mark Knopfler is fantastic for its enchanting and touching score that features a lot of plaintive guitars and a mixture of playful orchestral music with old-school folk music while the song Storybook Love is a lovely song co-written by Knopfler and its singer Willy DeVille.

The casting by Janet Hirsheson and Jane Jenkins is incredible as it features some notable small role from Betsy Brantley as the boy’s mother, Willoughby Gray and Anne Dyson as the king and queen of Florin, Margery Mason as an ancient booer, Mel Smith as the quirky albino, Peter Cook in a hilarious performance as the clergyman, Billy Crystal as the miracle man Miracle Max, Carol Kane as Max’s wife Valerie, Fred Savage in a terrific performance as the grandson, and Peter Falk in a brilliant performance as the grandfather reading the story. Christopher Guest is excellent as the very dark yet calm Count Rugen who is proven to be a master of torturer with a machine that sucks life out of a person. Chris Sarandon is superb as Prince Humperdinck as this cowardice prince who tries to create plans to start a war against a rival country while not being able to fool Buttercup. Wallace Shawn is amazing as the very cunning and intelligent Vizzini who masterminds the kidnapping as he constantly says “inconceivable” whenever some things he planned don’t work.

Andre the Giant is fantastic as the gentle giant Fezzik as he has some of the best lines while proving that he’s a giant with a nice heart. Mandy Patinkin is brilliant as Inigo Montoya as a master swordsman who is trying to find the man that killed his father many years ago while being a key player into storming the castle in the film’s climax. In her film debut, Robin Wright is great as Buttercup as this young woman who reluctantly becomes engaged to a cruel prince as she deals with lost love as she proves to be someone that defies the convention of a princess. Finally, there’s Cary Elwes in a marvelous performance as Westley as this man of such kindness and generosity who truly loves Buttercup while also being a man of great skill as well as bringing in some witty banter.

The Princess Bride is a phenomenal film from Rob Reiner. Thanks to a top-notch ensemble cast, William Goldman’s witty screenplay, and Mark Knopfler’s lush score. It’s a film that has something for everyone and more. Especially as it bends genres and make it something of its own. In the end, The Princess Bride is an outstanding film from Rob Reiner.

Rob Reiner Films: This is Spinal Tap - (The Sure Thing) - (Stand By Me) - (When Harry Met Sally) - (Misery) - (A Few Good Men) - North - (The American President) - (Ghosts of Mississippi) - (The Story of Us) - (Alex & Emma) - (Rumor Has It…) - (The Bucket List) - (Flipped) - (The Magic of Belle Isle)

© thevoid99 2014

Bram Stoker's Dracula

Originally Written and Posted at Epinions.com on 3/8/05 w/ Additional Edits.

The story of Count Dracula by Bram Stoker has been a very popular story among horror fans. Cinematic versions were done since 1922's Nosferatu by F.W. Murnau and since then, there have been many versions. Some were good and some were bad. In 1992, another film adaptation of Bram Stoker's Dracula came to the silver screen as the vampire was introduced to a new generation of fans simply entitled Bram Stoker's Dracula. Taking the adaptation for the new Dracula film at that time was Francis Ford Coppola, who was reeling from the disappointment of The Godfather Part III. Taking on this project to help score some box office points, Coppola and screenwriter James V. Hart not only wanted to make a faithful adaptation to Stoker's vision but also bring new ideas to the story.

Coppola's version of the Dracula story is a return to the old-school horror film days when Coppola worked with Roger Corman. Using dabbles of gore and blood, Coppola's approach to Dracula isn't simply just a horror story but a love story that is the centerpiece of the film. Taking a sexuality that is complex, Coppola gives Dracula vulnerability and depth that some directors have missed. With a cast that includes Gary Oldman in the title role along with Winona Ryder, Anthony Hopkins, Keanu Reeves, Richard E. Grant, Sadie Frost, Cary Elwes, Bill Campbell, Monica Bellucci, and Coppola associate Tom Waits. Francis Ford Coppola's version of Bram Stoker's Dracula is a brilliant, sexy, and mystifying film that has all the works of a great vampire film.

It's 1897 as a young British real estates dealer named Jonathan Harker (Keanu Reeves) is sent to Transylvania to conduct with a mysterious man named Dracula. Harker takes over the business dealings after one of his former co-workers named Renfield (Tom Waits) was sent to a mental hospital after a mental breakdown. Before he leaves for Transylvania, Harker bids farewell to his fiancee Mina Murray (Winona Ryder) as he vows to marry her once he returns. With Mina staying at the home of best friend Lucy (Sadie Frost), Harker sets aboard from England to the mountains of Transylvania in Romania. Harker arrives through a mysterious transport as he meets Count Dracula (Gary Oldman) who has aged and seeks interest in buying land in England. Intrigued by his interest in the property, Harker asks about the painting of Vlad Dracul who was an ancestor of Dracula. Then during the payment, Dracula finds a picture of Mina who eerily resembles an old bride of Dracul named Elisabeta.

Dracula asks Harker to stay for a month by sending three letters to his superiors, families, and Mina as Harker does as Dracula wishes only to be seduced by his brides (Monica Bellucci, Michela Bercu, and Florina Kendrick). Harker is trapped as Dracula leaves for England through boxes of earth and onboard a ship. Meanwhile in England, Mina receives eerie letters from Jonathan  while she watches Lucy being courted by several suitors including a Texan named Quincy P. Morris (Bill Campbell), Lord Arthur Holmwood (Cary Elwes), and Dr. Jack Seward (Richard E. Grant). The last of which has been studying the case of Renfield's odd behavior. On the night of Dracula's arrival, Dracula becomes a wolf as he lets animals on the loose. Lucy begins to sleepwalk as she is seduced by Dracula's power as Mina runs after her to find Lucy bitten by a wolf. The wolf sees Mina as Dracula becomes tormented by his memories of his bride's death that led him to renounce God back in the 15th Century.

Fully developed as a normal man who can walk around sunlight, Dracula quietly encounters Mina asking her about the town. Mina at first tries to sway him but only to realize that Dracula is just a foreigner trying to discover the town. With a white wolf loose from the zoo, Dracula saves Mina from the wolf. Mina finds comfort in Dracula as Lucy becomes ill from the bite she suffered.  Dr. Seward tries to find out what's wrong as he seeks counsel from his former mentor Dr. Abraham Van Helsing (Anthony Hopkins). With Dracula using Lucy for feeding, Van Helsing arrives as he and Dr. Seward try to save Lucy. Mina meets Dracula again for dinner as she learned about the bride Elisabeta and Dracula’s pain as the two begin to fall in love. Then when news that Jonathan has escaped, Mina plans to keep her affair with Dracula secret as Dracula becomes anguished of Jonathan's escape. Mina sees Lucy one final time as she gave Mina her ring as a wedding present while trying to deal with her growing, erratic behavior. 

After the bites on Lucy's neck were from Dracula, Van Helsing learns about Dracula's history as Count Vlad Dracul who slaughtered an army of Muslim Turks for a Christian church in Romania. After a group of Turks sent false news to Elisabeta about Dracul’s death, she kills herself where Dracul learns of her death as he renounces god and becomes a vampire. Angered by Jonathan and Mina's wedding, Dracula vents his anger by wreaking havoc on his foes as Van Helsing defends himself against Dracula.  With an ill Jonathan returning home, Van Helsing makes plans to attack Dracula while Mina meets Renfield where she learns she has a chance to be given eternal life from Dracula.  Dracula then meets Mina only to be saved by Van Helsing despite Mina's sudden connection with the monster.  With Jonathan, Van Helsing, and other men going to Transylvania to battle Dracula, Mina is suddenly caught in the middle.

While some horror fans might be put off by the approach of Coppola's version to the Dracula story, they will at least be happy that Coppola did fully utilize enough gore and blood for any fan of vampire films. While the film isn't scary, Coppola's approach to the story is more faithful to the novel by Bram Stoker though some did felt he didn't go far enough to the taboo of Dracula's behavior. Instead, Dracula is served as an anti-hero driven by his love and anguish. That approach works in giving the title character an emotional depth that hadn't been seen in many Dracula movies. In many ways, both the script and Coppola's fast-paced, eye-wielding directing works on many levels.

Helping Coppola with the fast, jerky camera shots and movements is cinematographer Michael Ballhaus who truly captures the late-19th Century Gothic tone with flashes of black, grayish colors and blueish filters that is enigmatic and chilling. Ballhaus also uses great shots in its sunlight sequences including a monochrome graininess to the cinematograph camera shots used on Dracula's arrival as a full-fledged human. Helping Ballhaus with the visuals is the Oscar-award winning team of production designer Thomas Sander, art director Andrew Precht, and set designer Garry Lewis for their great, detailing look of the late 19th Century period of houses and props. Also helping out in the visuals is Francis' son Roman Coppola who serves as a visual effects director and second unit director who brings in great, blueish visual effects that are chilling in its look while giving a great effect that isn't fake or superficial.

While the film runs at over two hours, editors Anne Goursaud, Glen Scantlebury, and Nicholas C. Smith do a great job in giving the film a kinetic, nicely-paced energy that gives viewpoints to many of the film's central characters and their struggles in their sequences along with the sound work of Tom C. McCarthy and David E. Stone. McCarthy along with a team of makeup people bring in great look to the vampire characters in the film especially with Oldman’s aged look of Dracula with great, reddish colors from costume designer Eiko Ishioka who uses brilliant detail on the costumes, notably the long red cloak of the aged Dracula. The music by Wojciech Kilar brings suspense to the film as well as a romantic quality in scenes involving Oldman and Ryder while some tracks includes vocals by Diamanda Galas and a vocal track from Annie Lennox in the final credits. Overall, this film is a technical achievement thanks to Francis Ford Coppola's masterful direction.

While the film has a nice cast with nice, small performances from Monica Bellucci as one of the brides and nice in-fringe characters performances from the eloquent Cary Elwes as the snobbish Lord Holmwood and Bill Campbell as the funny Texan Quincey P. Morris. The rest of the supporting cast really shine with the exception of Keanu Reeves. While Reeves is not a bad actor, he's just mediocre as he struggled to maintain a straightforward British accent though he does do well when he doesn’t speak or whenever he’s playing a foil for Oldman. Sadie Frost's character of Lucy doesn't have much development or depth in her character but Frost makes up for it with her playful, sexy charm while as she becomes a vampire, she shines through her madness and does a great job in puking out blood. Richard E. Grant is amazing as the morphine-addicted Dr. Seward with his calm but crazed performance while he has great moments with Anthony Hopkins and Tom Waits. Tom Waits is a huge standout as the insane Dr. Renfield and the man should be commended for giving a crazed performance, especially eating real-live bugs.

Sir Anthony Hopkins delivers a maddening, over-the-top performance as Dr. Van Helsing with his psychotic state of mind and a sense of humor that clearly isn't for everyone. Hopkins really steals the show among those in his supporting cast by bringing both madness and humor into his complex turn as Van Helsing, especially since Hopkins does dual parts as a priest in the film's opening sequence. Winona Ryder is wonderful as the ingenue of Mina with her restrained innocence and class that develops into something that is more grandeur where she goes into a state of craziness and obsessed love. Ryder delivers not just one of her best performances but she carries the film with grace and class while having some great scenes with Gary Oldman.

Gary Oldman is the best performance of the entire cast and he clearly is truly one of cinema's most gifted and versatile actors. From playing a punk rocker to a classical composer, a corrupt cop to most recently, a loveable convict. Oldman gives a tortured, demented approach to Dracula that makes more than just an anti-hero tortured by love but a protagonist who is very complex despite his motivations. Oldman doesn't just carry great scenes with Ryder that shows his depth but also a humanity in Dracula, even as an old man with white makeup, a Victorian wig, and a cool red cape. Oldman even steals the show from veteran Anthony Hopkins in their brief confrontation scenes as he plays a vampire in a way that is both terrifying and with a sense of love.

While Bram Stoker's Dracula isn't a great horror film or anywhere near the brilliance of Francis Ford Coppola's film work of the 1970s. It is still a very entertaining vampire films thanks to Coppola's eye-wielding direction and the anguished performance of Gary Oldman. For Coppola, Bram Stoker's Dracula is his most accomplished and watchable film since 1986's Peggy Sue Got Married. While Coppola deserves credit, equal credit should go to screenwriter James V. Hart for faithfully capturing Bram Stoker's book but also Coppola's film crew and the film’s cast that includes great performances from Anthony Hopkins, Winona Ryder, Richard E. Grant, Sadie Frost, and Tom Waits. For a vampire film that has a nice dose of sex and gore, Bram Stoker's Dracula fulfills that for any fan of vampire films.

Francis Ford Coppola Films: Dementia 13 - (You're A Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Godfather - The Conversation - The Godfather Part II - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Garden of Stone) - (Tucker: The Man & His Dream) - New York Stories - The Godfather Part III - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2011