Captain Marvel

Based on the Carol Danvers comic series by Roy Thomas and Gene Colan and the Captain Marvel comic series by Gene Colan and Stan Lee from Marvel Comics, Captain Marvel is the story of an alien warrior who has arrived on Earth to find some alien beings where she finds herself dealing with images that possibly relate to her past. Directed by Anna Boden and Ryan Fleck and screenplay by Boden, Fleck, Geneva Robertson-Dworet, and Jac Schaeffer from a screen story by Nicole Perlman, Joe Shrapnel, and Anna Waterhouse, the film is an origin story of sorts of how Carol Danvers became Captain Marvel as she tries to figure her identity and role in this intergalactic conflict as she is portrayed by Brie Larson. Also starring Ben Mendelsohn, Djimon Hounsou, Lee Pace, Gemma Chan, Lashana Lynch, McKenna Grace, Akira Akbar, Clark Gregg, Annette Bening, Jude Law, and Samuel L. Jackson as Nick Fury. Captain Marvel is an adventurous and exhilarating film from Anna Boden and Ryan Fleck.

It’s 1995 as a conflict between an elite group of alien warriors known as the Kree and an alien faction of shapeshifters known as Skrulls is heating up as a young Kree warrior named Vers is fighting the Skrulls where she lands somewhere in Los Angeles just as the Skrulls have also landed on Earth disguising themselves as humans. It’s a film that has this young woman who is dealing with images that could be lost memories as she finds herself on Los Angeles after a battle with Skrulls on their ship as it lead to all sorts of question. The film’s screenplay by Anna Boden, Ryan Fleck, Geneva Robertson-Dworet, and Jac Schaeffer, with additional contributions by Bek Smith, does play into many of the tropes and schematics expected in a superhero film that is a part origin story as well as a part fish-out-of-water scenario. Even as it has twists and turns as it relates to this conflict between two alien races as this young warrior in Vers is haunted by what could be memories of a previous life as she would later learn to be a former Air Force pilot named Carol Danvers.

The first act does have this strange narrative as it relates to Vers living in Kree’s home planet of Hala as she is mentored and train by Yon-Rogg (Jude Law) who tells her to keep her emotions in check as she is still dealing with her powers and is becoming unsure due to the images in her head. Once she lands on Earth at a Blockbuster video store, she would meet S.H.I.E.L.D. agent Nick Fury who had been through a lot and thought he had seen it all until he sees what Vers is about as well as getting his first encounters with Skrulls as the second act is about the two teaming up together to discover a project called Pegasus created by Dr. Wendy Lawson (Annette Bening) who looks similar to the projection of Kree’s ruler known as Supreme Intelligence. It is also where Vers learns about her true identity as well as the events into what happened to her as well as more revelations about this conflict between the Kree and Skrulls.

The direction of Boden and Fleck does play into what is expected in a superhero film that is partially set in space but it is grounded with some dramatic elements that play into Vers’ journey as well as discovering her true identity. Shot on various locations in Los Angeles, parts of Southern California and Louisiana, the film does play into a world that is quite vast that Vers is a part of from the planets she’s in such as Hala and a border planet that play into this war between the Krees and Skrulls though not much established into the root of their conflict at first. The direction does become straightforward once Vers arrives on Earth and has to find the Skrulls as well as Boden and Fleck use some wide shots to establish the locations as well as the vast world of the universe and its surroundings. Even in scenes where Vers is meeting the Supreme Intelligence as an image that one would believe to be the Supreme Intelligence to be as it’s in this surreal world that bends the idea of reality and fantasy.

Much of Boden and Fleck’s direction emphasizes more on simple shots through close-ups and medium shots that include scenes of Vers and Fury trying to find some clues as they’re later joined by a mysterious cat named Goose as they also try to fight off against the Skrulls while Vers is making contact with Yon-Rogg through some 1990s tech that is barely working. The stuff involving 1990s technology is definitely played for laughs in how slow they were back then as the humor also play into Fury’s first interaction with the Skrulls and him getting to understand a world that is bigger than just Earth. Still, Boden and Fleck do become concerned with Vers coming to terms with her identity as she would meet Danvers’ friend in a former pilot in Maria Rambeau (Lashana Lynch) who would tell Vers what happened as it would relate to something much bigger relating to the Kree/Skrulls conflict. It would force Vers to not only accept what happened to her but also realize what needs to be done to save the universe. Overall, Boden and Fleck craft a compelling yet exciting film about an alien warrior who learns about her true identity in an intergalactic conflict.

Cinematographer Ben Davis does excellent work with the film’s cinematography with the straightforward and sunny look of the daytime exteriors in California to the more naturalistic look of the scenes in Louisiana as well as some stylish lighting for some of the spaceship interiors. Editors Elliot Graham and Debbie Berman do terrific work with the editing as it has some stylistic usage of slow-motion shots and some quick-cuts to play into the action and some of the suspense and humor. Production designer Andy Nicholson, with set decorator Lauri Gaffin and supervising art director Andrew Max Cahn, does amazing work with the set design from the look of the spaceship interiors as well as the look of the archives section at a secret government facility and Rambeau’s home. Costume designer Sanja Milkovic Hays does fantastic work with the costumes from the look of the Kree uniforms as well as the more casual look of the people on Earth that play into the look of the 1990s.

Key special effects makeup artist Sabrina Wilson do brilliant work with the look of the Kree aliens as well as the look of the Skrulls as well as some minimal work in the younger versions of Nick Fury and his rookie partner Agent Phil Coulson (Clark Gregg). Special effects supervisor Daniel Sudick and visual effects supervisor Christopher Townsend do incredible work with the visual effects from the look of Fury and Coulson in their younger versions in the 1990s as well as the design of some of the planets including Hala and some of the powers that Vers is able to use. Sound designers David Acord and Kyrsten Mate, with sound editor Gwendolyn Yates Whittle, do superb work with the sound as it play into the sounds of some of the spaceships, jet engines, alien weapons, and other noises that play up the world that was the 1990s.

The film’s music by Pinar Toprak is wonderful for its soaring orchestral score that play into the sense of adventure and drama that occurs throughout the film while music supervisor Dave Jordan creates a killer music soundtrack that features a lot of the music of the 1990s from R.E.M., Nirvana, TLC, Salt-N-Pepa w/ En Vogue, Garbage, Hole, Elastica, No Doubt, Des’ree, and a couple of 80s songs from Heart and Lita Ford.

The casting by Sarah Finn is great as it feature some notable small roles from London Fuller and McKenna Grace in their respective roles as the 6-year old and 13-year old versions of Danvers, Algenis Perez Soto and Rune Temte as a couple of members of Yon-Rogg’s team in their respective roles as Att-Lass and Bron-Char, Azari Akbar as the five-year old Monica Rambeau, Vik Sahay and Chuku Modu as a couple of Skrulls, and Stan Lee in a cameo as himself reading a script for a film role as he is also given a fitting tribute in the film’s pre-opening logo sequence. The performances of Reggie, Archie, Rizzo, and Gonzo in their performance as the cat Goose is a total joy to watch as it’s a cat that just knows where to steal a scene as well as be powerful in its own way. Akira Akbar is terrific as Maria Rambeau’s daughter Monica who would help Vers find herself again as well as be the one to provide her with a look that would be her own.Clark Gregg is superb as a younger version of Agent Phil Coulson as a rookie S.H.I.E.L.D. agent trying to get his ropes in the job while doing things that would make him a key ally for Fury.

Gemma Chan is wonderful as a Kree sniper in Minn-Erva who has a dislike towards Vers whom she sees as a threat to her position with Yon-Rogg. Djimon Hounsou and Lee Pace are fantastic in their respective roles as Korath and Ronan the Accuser in their early versions as two Kree figures who art part of the conflict with Korath being Yon-Rogg’s second in command and Ronan as a high-ranking official hoping to destroy the Skrulls. Annette Bening is excellent in her dual role as the artificial intelligence leader of the Kree known as Supreme Intelligence as she is who Vers sees during their meetings while Bening also plays a scientist in Dr. Wendy Lawson who was conducting a major experiment known as Pegasus that is key to what happened to Danvers. Lashana Lynch is brilliant as Maria Rambeau as Danvers’ long-time friend and wing-woman who hadn’t seen Danvers in a long time as she tries to help her regain her identity but also get back in the game of flying. Ben Mendelsohn is amazing as the Skrull leader Talos who disguises himself as then-S.H.I.E.L.D. leader Keller where he plays a straight-laced official trying to defuse the situation with the Skrulls while he displays more humor and reason as Talos as someone who is complex but also has valid reasons for his issues with the Kree.

Jude Law is marvelous as Yon-Rogg as a Kree military leader who leads a band of mercenaries as he is also Vers’ mentor where he tries to get her to control her emotions while is also hiding some secrets about her. Samuel L. Jackson is remarkable as a younger version of Nick Fury who was then a S.H.I.E.L.D. agent that believes he’s seen it all and isn’t the cynic that audiences would know him for in other films as someone that is upbeat as well as having a soft spot for cats. Finally, there’s Brie Larson in an incredible performance as Carol Danvers/Vers/Captain Marvel as a Kree warrior who is troubled by images that could be past memories of a pilot named Carol Danvers as she struggles with her identity and her role in a conflict as it’s a performance full of charm, determination, and drive as it’s one of Larson’s finest performances to date.

Captain Marvel is a marvelous film from Anna Boden and Ryan Fleck that features a sensational performance from Brie Larson in the titular role. Along with its ensemble cast, sprawling visual effects, quirky humor, themes of war, and a killer music soundtrack. It’s a film that delivers in what is expected in a superhero film as well as provide some ideas of an intergalactic world set during the 1990s despite a few issues with the script. In the end, Captain Marvel is a remarkable film from Anna Boden and Ryan Fleck.

Anna Boden and Ryan Fleck Films: Half Nelson - Sugar (2008 film) - It’s Kind of a Funny Story – Mississippi Grind – The Auteurs #71: Anna Boden and Ryan Fleck

Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers

Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man

Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Avengers: Endgame - Spider-Man: Far from Home

Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special

Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)

Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)

Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World

© thevoid99 2019

Much Ado About Nothing (2012 film)

Based on the play by William Shakespeare, Much Ado About Nothing is the story of a two people who tricked themselves into thinking they’re in love with each other while trying to get two other people to fall in love with each other. Written for the screen, scored, co-edited, and directed by Joss Whedon, the film is set in a modern-day setting at Whedon’s home in Santa Monica with some changes to the text to play into the basic elements of Shakespeare’s story. Starring Amy Acker, Alexis Denisof, Reed Diamond, Nathan Fillion, Clark Gregg, Fran Kranz, Sean Maher, and Jillian Morgese. Much Ado About Nothing is a whimsical and intoxicating film from Joss Whedon.

Set during a wedding ceremony that is to commence, the film revolves around two people who despise each other as they try to help two people get married as they also cope with their feelings for each other. During the course of the film, there’s a guest who wants to create ruin for the proceedings with a couple of his co-conspirators as it would later become chaotic. Joss Whedon’s screenplay definitely keeps a lot of the dialogue that William Shakespeare had written as well as the setting in the fictional town of Messina. Yet, Whedon would make some changes to the story as it is set in a modern world while expanding a few minor characters who play crucial roles to the story. There are also elements in the film that are comical as it relates to the character of Dogberry (Nathan Fillion) and his attempts to find the truth as he has to deal with the associates of the Don John (Sean Maher). Still, much of Whedon’s approach to the material remains faithful as well as infusing modern-day humor to play into the romance and comedy.

Whedon’s direction is definitely stylish not just for its black-and-white cinematography but also for its intimate setting as it is shot on location at the home of Whedon and his wife/producer Kai Cole as the house was built by the latter. While there are some wide shots of a few bits of the locations including the area around Whedon’s home, much of Whedon’s compositions are shot in and out of the house including the backyard with its swimming pool, garden court, and a view of the landscape around the house. Notably in the way Whedon would use the space to play into the way characters interact whether it’s in a close-up or in a medium shot that include scenes where Benedick (Alexis Denisof) and Beatrice (Amy Acker) both would listen to other characters talk about the other person to play into this sense of attraction. The response from both Benedick and Beatrice is filled with a sense of slapstick comedy in the way they would try and hear what their friends are saying.

With Whedon also serving as a co-editor with Daniel Kaminsky and composing the music score as it’s a mixture of jazz, folk, and low-key orchestral music to play into the comedy. Much of the editing is straightforward with some jump-cuts and fade-to-white transitions to play into the humor and some of the drama. Even during the film’s second act as it relates to the wedding proceeding as it play into the love-hate relationship between Benedick and Beatrice where they become aware of what is happening. The comedy still looms as it relates to Dogberry and the way he’s been treated by the people he arrested. Whedon would also maintain that sense of imagery into the events of the third act as it relates to deceit and power control with Benedick and Beatrice trying to set things right. Overall, Whedon creates a lively and witty film about two people whose disdain towards one another leads to them falling in love and in helping a young couple get married.

Cinematographer Jay Hunter does brilliant work with the film’s black-and-white cinematography as it has this natural yet gorgeous look to the film for its scenes in the day and night including scenes in the latter that includes a dinner party. Production designers Cindy Chao and Michele Yu do fantastic work with the look of some of the exteriors for the wedding as well as a few set decoration for the police base and some of the rooms at the house. Costume designer Shawna Trpcic does excellent work with the costumes from the casual look of the characters to some of the costumes and masks worn at the dinner party. Sound editor Victor Ray Ennis does superb work with the sound as it play into the atmosphere of the locations as well as music is presented in the film. Music supervisor Clint Bennett provides a wonderful soundtrack that feature a couple of songs written by William Shakespeare that are performed by Jed Whedon and Maurissa Tancharoen.

The film’s incredible cast feature appearances from Nick Kocher and Brian McElhaney as watchmen, Romy Rosemont as the sexton who watches over Dogberry’s interrogation of Don John’s attendants, Paul M. Meston as Friar Francis, Tom Lenk as Dogberry’s partner Verges, Emma Bates as a maid/attendant to Hero, and Ashley Johnson as another young maid/attendant to Hero in Margaret who unknowingly becomes a victim of Don John’s scheme. Spencer Treat Clark and Riki Lindhome are superb in their respective roles as Don John’s attendants in Borachio and Conrade as two people who help Don John in his scheme with the latter being Don John’s lover. Nathan Fillion is fantastic as Dogberry as a police investigator who is watching over the proceedings as he is trying to figure out what is happening when the wedding plans is being ruined as it’s Fillion being very funny and offbeat. Reed Diamond is excellent as Don Pedro as the Prince of Aragon who is the best man that is trying to deal with the chaos of the wedding while not knowing who is creating all of this trouble.

Jillian Morgese and Fran Kranz are brilliant in their respective roles as Hero and Claudio as two young lovers who are about to be married only to be unaware of the forces that is trying to break them up. Sean Maher is amazing as Don John as the bastard prince brother of Don Pedro who despises the young lovers as he wants to ruin them in his own pursuit of power. Clark Gregg is marvelous as Hero’s father Leonato who is Messina’s governor that is dealing with the chaos of what happens as he wants justice for the people that ruined his daughter’s wedding. Finally, there’s the duo of Alexis Denisof and Amy Acker in phenomenal performances in their respective roles as Benedick and Beatrice with the former being a charmer that isn’t willing to be with Beatrice yet as feelings for him while the latter is an energetic figure who despises Benedick but is protective of her cousin Hero where she turns to Benedick for help in setting things right.

Much Ado About Nothing is a sensational film from Joss Whedon. Featuring a great ensemble cast, dazzling visuals, a simple yet effective setting, and some witty interpretation of William Shakespeare’s words. The film is definitely a lively and inspired take on Shakespeare’s comedy as well as setting it in a modern world that proves that Shakespeare can fit in towards any environment. In the end, Much Ado About Nothing is a spectacular film from Joss Whedon.

Joss Whedon Films: Serenity - The Avengers (2012 film) - The Avengers: Age of Ultron - Justice League

© thevoid99 2018

In Good Company

Originally Written and Posted at Epinions.com on 1/14/05 w/ Additional Edits & Revisions.

Written and directed by Paul Weitz, In Good Company is a lighthearted comedy about a 51-year old ads salesman for a top sports magazine who has been demoted after a corporate shakeup and buy when he's forced to work under an inexperienced, 26-year old man. With a new child due, tuition to be paid for his older daughter at NYU, and a second mortgage taken out, the old man is in a tough position in his life while seeing colleagues being fired. Meanwhile, his younger boss is dealing with his own insecurities, failed marriage, and trying to impress his corporate bosses while dating his employee's daughter. A wonderful examination of the corporate world, Weitz delivers a smart and sweet film that works on most levels only to be hit hard with his own ideals. Starring Dennis Quaid, Topher Grace, Scarlett Johansson, Marg Helgenberger, David Paymer, Philip Baker Hall, Clark Gregg, Selma Blair, John Cho, and Malcolm McDowell. In Good Company is an enjoyable yet compelling film from Paul Weitz.

For the 51-year old Dan Foreman (Dennis Quaid), his life seems to be charmed until he hears rumors that his Sports America magazine company might be bought by the conglomerate Globecom owned by billionaire Teddy K. (Malcolm McDowell). After a trip to meet with his client and friend Eugene Kalb (Philip Baker Hall), he goes home to learn that his wife Ann (Marg Helgenberger) is pregnant with a third child. Already having two children with Jana (Zena Grey) and college-bound tennis prodigy Alex (Scarlett Johansson), a third child might seem to calm him. Instead, Sports America is bought with his fellow colleagues including Morty (David Paymer) worrying about being fired. Then Dan learns that he's going to be demoted by a young 26-year old cell phones salesman in Carter Duryea (Topher Grace) who is also working along with Globecom man Steckle (Clark Gregg). Dan learns that his old office will now be Carter after he meets him.

The stress couldn't be worse for Dan when he learns that Alex has been accepted to NYU meaning that he's forced to take out a second mortgage and pay for his daughter's tuition. With Alex now moving to the NYU dorm, Dan's new life under as a wingman for Carter is going to be tough, especially with fellow colleagues being let go, including best friend Morty. Carter's life meanwhile is also falling apart as his wife of seven months Kimberley (Selma Blair) is leaving him forcing Carter to live in an apartment and sometimes at the office. After a last-minute meeting on a Sunday, Carter invites himself to eat at Dan's house where he sees Alex as the two begin a conversation.

With Carter instigating a plan for "synergy" to mix products that have nothing to do with each other like computers in a sports magazine, Dan couldn't help but give in to Carter's energetic attitude. One day, Carter bumps into Alex as the two have another heart-to-heart conversation that suddenly leads to a secretive romance forcing Alex to not talk to her father for a while. Dan becomes suspicious, even when his business life is turned upside down after a concert meeting with one of Carter's colleagues (John Cho) where Dan couldn't do business with another person due to corporate rivalry. With Carter and Alex's romancing blossoming, Dan becomes more suspicious that leads to an emotional confrontation. Even with Dan's life falling apart, Carter is forced to grow up to see what has been going on, even as Teddy K. visits where he is forced to learn about the soulless world of corporate conglomerates.

While In Good Company doesn't have the emotional strength of About a Boy, Paul Weitz deserves credit for going into that deep world of corporations and conglomerates including a heavy scene with Malcolm McDowell that almost suggest something of an evil movement. Weitz's study of the corporate world and morals is very spot-on but his idealism in the third act isn't very realistic since the corporate world isn't very nice at all. The subplots involving the Alex/Carter romance and the situation involving David Paymer's characters are well-written for the script since it gives the movie a new sense of energy and pace to Weitz's direction that is very dead-on in the situations of comedy and drama.

The film is masterfully presented to Weitz's lighthearted approach to the film with a lot of credit to the cinematography of Remi Adefarasin who brings a lovely, colorful look to the film with help from production designer William Arnold and art directors Sue Chan and Fred Kolo for its detailed look of corporate buildings. With Molly Maginnis doing great work on the costume design, notably for Johansson's character, the film looks great without being too superficial. The editing by Myron Kerstein is very well-paced, notably the meeting of Carter and Dan that is almost like a scene from Sergio Leone's The Good, the Bad, & the Ugly. The film's score by Hedwig & the Angry Inch composer Stephen Trask is very lighthearted to the film's tone with music by Peter Gabriel, the Soundtrack of Our Lives, and David Byrne.

The film carries some wonderful performances in smaller roles from Colleen Camp, Zena Grey, John Cho, Selma Blair, and the always-brilliant Malcolm McDowell in his devilish role as Teddy K. Clark Gregg is excellent as the corporate brown-noser Steckle who worships at the altar of Teddy K. Philip Baker Hall is excellent in his brief role along with Marg Helgenberger who provides some of the comedy and dramatic foil for Quaid's home life. The film's real standout in the supporting cast goes to David Paymer in a role many can sympathize with since he’s a guy who is trying to work hard in his business while we feel sorry for him when he's fired, especially in a tough scene that included a post-firing scene with Quaid that balances comedy and drama though it would've been nice to see him more.

Scarlett Johansson delivers a charming, marvelous performance as Alex. Instead of making her into a typical girl who goes after a guy, Johansson brings some depth to her character early on when she seeks love for her scenes with Grace while as she develops, she learns of the sacrifices her father had to make in a very poignant scene. Johansson proves herself again to be a very smart, capable actress who can shine in tricky situations though, in the third act following a scene with Grace was very unnecessary.

Topher Grace is the film's real breakthrough as the caffeine-addicted, energetic Carter Duryea with his ambitious ideas and immature state of mind that caused the failure of his marriage. Grace could've been a real villain but he gives his character sympathy and depth as a young man trying to find himself through romances and business while he has greater scenes with the veteran Quaid. Dennis Quaid delivers another masterful performance as Dan Foreman with his wise insight into the business world and family life as he becomes a fraternal figure for the naive Grace while having some great, tender moments with Helgenberger and Johansson while dealing with the anguish and stress of the new chapter in his life.

***Updated 5/22/05-DVD Tidbits***

The Regional 1 DVD of In Good Company includes the usual Anamorphic 1:85:1 Widescreen format (for those who want to see the film in widescreen) along with Spanish and French subtitles. Also included in its Dolby Digital 5.1 Surround Sound is French and Spanish dubbing. While the DVD features in the film are minimal, it's substantial enough for those who enjoy the film. Included with a filmography section for cast members Dennis Quaid, Scarlett Johansson, Topher Grace, Marg Helgenberger, and David Paymer along with the Weitz brothers and executive producers Rodney Liber and Andrew Miano. Overall, there's only three big features on the DVD.

First is a seven-part, 30 minute documentary segment called Synergy that interviews several cast and crew members where they talk about the film locations, the atmosphere of Corporate America and how young corporate businessmen want the knowledge of older businessmen and the father-son relationships. Director Paul Weitz talks about the editing of the film how originally, it ran nearly three hours as he and editor Myron Kerstein talk about trying to rid of some scenes. In the interviews with the cast, one segment was for Quaid and Helgenberger about life in middle-age life while Grace and Johansson talk about why they did the film where Johansson felt the film had sentimental references to her own relationship with her dad.

The film includes several deleted scenes that were cut out for length reasons as well as emotional reasons from Paul Weitz's commentary. Some scenes involved some funnier moments with Quaid, Paymer, and Kevin Chapman as another colleague who bring some of the humor to Quaid's business lifestyle. Along with scenes of Quaid playing golf and dealing with the corporate merging, he's the real star in the deleted scenes. One includes a confrontation with Grace about Grace's relationship with Johansson and another is when Grace's character forgots about an early meeting. Grace too has his moments in the deleted scenes where one scene is him, feeling sick after firing someone and another when he tries to call Selma Blair. The best deleted scene that I felt shouldn't have been cut is a scene where Quaid tries to dye his hair to look younger and the result is extremely hilarious.

The feature-length commentary from Paul Weitz and Topher Grace is wonderfully entertaining with Weitz explaining why he wanted to do a film about corporate synergy and his own take on the father-son relationship. He also explains his intentions of the film, including the much-aligned third act which he admit, he struggled a bit on how to end it. With Grace helping in the commentary, the two talk about New York and Grace's own feelings about the film since he feels very close to it because his dad is in the same corporate atmosphere as well. Both men also do a lot of praising for some scenes as well as praise for their actors, notably Quaid, Johansson, and Paymer, who Weitz wished wanted more of.

***End of DVD Tidbits***

Despite an unrealistic, uneven third act, In Good Company soars as a very good film with very good morals and insight into Corporate America. Paul Weitz makes a film that is funny and poignant in his messages with great performances from Dennis Quaid, Topher Grace, Scarlett Johansson, Marg Helgenberger, David Paymer, Clark Gregg, and Malcolm McDowell. While the film shows a promise into Weitz's maturity as a writer, it is clear that he's a director and writer with some talent who could make a great comedy. In Good Company is an excellent film from Paul Weitz.

© thevoid99 2014

Labor Day

Based on the novel by Joyce Maynard, Labor Day is the story about an escaped fugitive who takes over the home of an agoraphobic woman and her son where they form an unlikely family in the wake of a woman’s divorce from her husband. Written for the screen and directed by Jason Reitman, the film is about a Labor Day weekend in 1987 as it’s reflected from the perspective of a man who looks back at this crucial period in his young life as he is played and narrated by Tobey Maguire. Also starring Kate Winslet, Josh Brolin, Clark Gregg, Brooke Smith, James Van Der Beek, Alexie Gilmore, Maika Monroe, and Gattlin Griffin. Labor Day is a compelling yet mesmerizing film from Jason Reitman.

The film is a simple story about a woman and her 13-year old son who harbor an escaped fugitive in their home in the course of Labor Day weekend in 1987. Much of it is told from a young boy named Henry Wheeler (Gattlin Griffin) as he lives with his agoraphobic, divorced mother Adele (Kate Winslet) where the adult Henry reflects on that time. Especially as the fugitive in Frank (Josh Brolin) was a man who had been serving an 18-year prison sentence for murder where he escaped from a hospital and held both Henry and Adele hostage. Though Frank would admit to his guilt, he reveals that there’s more to the story as he brings some life back to Adele who is still ravaged by her divorce as well as other things. Even as he helps Henry out with some things as he is coming of age.

Jason Reitman’s screenplay does create a very tender and thoughtful love story involving Frank and Adele but also play into their respective past as they’re both two people that have been damaged by tragedy. The former of which is a man who had a good life when he was a young man (Tom Lipinski) with a woman named Mandy (Maika Monroe) but dark truths led to Frank’s incarceration. Some aspects in the film’s screenplay which reveals Frank and Adele’s past life in flashbacks definitely creates a narrative that is a bit messy since the film is told from Henry’s perspective. Still, Reitman does manage to find ways to make the drama to be very interesting as well as some few moments of suspense where Frank and Adele decide to run away with Henry in tow.

Reitman’s direction has him going into a much more restrained approach as the film does mark a departure of his previous work. Yet, there are images that he creates that are truly mesmerizing as it’s shot on location in parts of Massachusetts and a town in New Hampshire to give the film a small town feel. Even as Reitman keeps much of the compositions and framing to be very simple but also very engaging for the way he places the actors in the frame and in playing out the drama. Reitman’s attention to detail in some of the smaller moments such as a scene where Frank, Adele, and Henry bake a peach pie as well the trio planning to run away though Henry is hesitant about what is happening. While some of the script’s messiness as well as an overly-drawn out ending does falter the film. Reitman does manage to create a pretty engaging and thoughtful drama about a woman and her son harboring a kind fugitive.

Cinematographer Eric Steelberg does amazing work with the film‘s cinematography with its approach to natural lighting for much of the film‘s exterior daytime scenes along with some low-key lighting for some of the interior/exterior scenes at night. Editor Dana E. Glauberman does excellent work with the editing with its use of jump-cuts and montages to play out some of the drama as well as the pie-making scene and flashbacks. Production designer Steve Saklad, along with set decorator Tracey A. Doyle and art director Mark Robert Taylor, does fantastic work with the set pieces from the home that Adele and Henry live with some of the decorations that play into the world of the 1980s.

Costume designer Danny Glicker does nice work with the clothes as it plays to something more casual as well as some of the flashbacks of Adele and Frank in the clothes they were in the 60s and 70s. Visual effects supervisor Scott M. Davids does good work in the few visual effects that plays into Henry‘s coming-of-age as he becomes fascinated by the idea of sex. Sound editors Perry Robertson and Scott Sanders does superb work with the film‘s sound as it plays to some of the atmosphere of the locations as well as the way conversations are heard from Henry‘s perspective. The film’s music by Rolfe Kent is brilliant for its mixture of ambient music with folk and plaintive piano pieces to play into some of the melancholia while music supervisor Randall Poster brings in a soundtrack that features some classical, samba, and a folk song from Arlo Guthrie.

The casting by Jessica Kelly and Suzanne Smith is incredible for the ensemble that is used as it features appearances from James Van Der Beek as a police officer, Brighid Fleming as a young girl that Henry meets who had just moved into town and give Henry some dark thoughts about Frank, Alexie Gilmore as Henry’s stepmother Marjorie, Tom Lipinski as a young Frank, Micah Fowler as a mentally-disabled neighbor kid Henry and Adele looked over, Brooke Smith as that boy’s mother, and Reitman regular J.K. Simmons as a neighbor who would give Henry peaches. Clark Gregg is terrific as Henry’s father who left Adele for his secretary and started a family of his own as he becomes concerned about Henry and Adele’s situation unaware of Frank’s presence. Maika Monroe is wonderful as Frank’s wife Mandy who would be the cause of Frank’s grief and incarceration.

Tobey Maguire is excellent in his small role as the adult Henry as he only appears in its ending yet maintains a good presence as the film’s narrator. Gattlin Griffith is superb as the young Henry as a 13-year old boy trying to understand his mother’s melancholia as well as trying to observe Frank as it’s a very understated and engaging performance that manages to be in the same line with his co-stars. Josh Brolin is fantastic as Frank as an escaped fugitive who kidnaps Adele and Henry yet manages to mean well as he is one that is kind and generous while wanting to find some redemption for his actions as it’s a very sensitive and touching performance from Brolin. Finally, there’s Kate Winslet in a radiant performance as Adele Wheeler as a troubled, agoraphobic woman who only goes out once a month as she finds some comfort in the presence of Frank while trying to be a mother to Henry as it’s a very chilling yet evocative performance from Winslet.

While it is a flawed film, Labor Day is still a stellar film from Jason Reitman thanks in part to the performances of Kate Winslet, Josh Brolin, and Gattlin Griffith. Though it is a very different film in comparison to the previous films that Reitman has done, it does showcase a filmmaker trying to do something out of his comfort zone though not everything is successful. In the end, Labor Day is a terrific film from Jason Reitman.

Jason Reitman Films: Thank You for Smoking - Juno - Up in the Air - Young Adult - (Men, Women, & Children) - Tully - The Front Runner - Ghostbusters: Afterlife - The Auteurs #30: Jason Reitman

© thevoid99 2014

(500) Days of Summer

Originally Written and Posted at Epinions.com on 7/26/09 w/ Additional Edits.

Directed by Marc Webb and written by Scott Neustadter and Michael H. Weber, (500) Days of Summer tells the story of a hopeless romantic recalling his own experiences with a young woman who doesn't believe in true love. Over the span of 500 days through non-linear storytelling the young man recalls his hopes and dreams of romance based on his knowledge of pop culture and films only to be hit with a dose of harsh realities. A film that revels in the world of romance and a study of the romantic-comedy genre, it's a film that is also a deconstruction of what is expected in the genre itself. Starring Joseph Gordon-Levitt and Zooey Deschanel plus Matthew Gray Gubler, Chloe Moretz, Geoffrey Arend, and Clark Gregg. (500) Days of Summer is a charming, witty, yet stylish film from Marc Webb.

It's day 290 as Tom Hansen (Joseph Gordon-Levitt) has just ended a wonderful yet troubled relationship with Summer Finn (Zooey Deschanel). Tom's little sister Rachel (Chloe Moretz) and his two friends McKenzie (Geoffrey Arend) and Paul (Matthew Gray Gubler) are concerned over his emotional state. Rachel asks Tom what happens as he revealed that Summer just wanted to be friends and that was it. Tom recalls the day he met Summer as she had just moved from Michigan to Los Angeles where she worked as an assistant for his boss (Clark Gregg) at a greeting cards place where McKenzie also works. Tom works in creating lines and such for the company where he's considered a master. Then one day as he's listening to the Smiths, Summer hears the Smiths from his iPod headphones as there was a brief bond over the band.

Days later, Tom asks Summer to go to a bar with co-workers where everyone sang some drunken karaoke as attraction happens. A few days later, Summer kisses Tom as things start to develop where Tom, who believes that Summer is the one, is starting to feel good though Summer doesn't believe in true love. The relationship becomes blissful as Summer reveals her favorite Beatle is Ringo Starr while they have a love for classic European art house cinema and alternative/indie music. Tom then ponders when did it all fall apart. He goes back to events where Summer reveal things about herself while another event involving a drunken guy (Ian Reed Kesler) trying to flirt with Summer and making Tom angry that it led to a fight. Tom becomes unsure of how it fell apart where after the break-up, he tries to move on. A date with another girl (Rachel Boston) becomes a disaster with Tom pondering if he will ever get over Summer.

Then came an invite to a co-worker's wedding that Summer also attends as it seems sparks would happen again but Tom, believing in all of the things he learned through films, music, and other references to pop culture, would learn some harsh truth about all that had happened and why it fell apart in the first place.

There's a formula with romantic comedies that are often set-up into structures and ideas that at times, it creates stories that don't have much heart and often leaves the audience underwhelmed in its surprises. A film like this is about a total deconstruction of the genre where it does follow a simple formula of sorts but moves back and forth and side-to-side of how the relationship developed, how good things were, how did it fall apart, how it ended, and its aftermath all in the span of 500 days. Some of which is told through a narrator about what this story about as in the beginning, it reveals that this film is not a love story. Even before the film even begins, there's a warning about the film that is truly fiction, except to the person that the film is supposedly about.

The screenplay by Scott Neustadter and Michael H. Weber is truly fascinating in its exploration of the relationship. A lot of which follows Tom Hansen's own view of things where his character goes through this amazing development of this hopeless romantic believing in destiny, fate, and all of these things only to be hit by reality in such a dramatic way. When he loses Summer and tries to move on, he goes into a funk where it would affect his own work and such. The character of Tom is truly fascinating where the writers would have the audience love and root for him but once he is hit with these realities. He becomes somewhat pathetic but still interesting as he delves into his dreary personality with glimmers of hope that he might get Summer back.

Then there's Summer who is briefly observed into her own life as well as the affect she had on men in the past. The writers make her into this likeable, charming personality that wins over the audience despite her lack of belief in true love. Of course with relationships, it's always believed that one person causes the problem when the reality that it's two people that end a relationship. What happens to Summer will make the audience not like her at all in how she torments Tom after the break-up only until the story moves back to a key event that revolves around a classic film. Once that event is revealed, it's clear that love is about many things that sometimes, can be heartbreaking. What Neustadter and Weber create is a story that is complex with moments of humor and heartbreak that creates a story that is truly real to an audience that has experienced what love is.

Director Marc Webb does a spectacular job in creating a film that is unique and stylish. From the way it opened before the opening credits to the transitions of days with a drawn scene of buildings with colors changing to create a mood for the scene that's about to be shown or afterwards with numbers moving back and forth to the day of a key scene. Webb's direction is engaging into the relationship of Tom/Summer from its budding/loving days to its disintegration and aftermath all in the span of 500 days. Yet, there's scenes that revolve around fantasy in Tom's world. Whether it's a musical dance number to Hall & Oates' You Make My Dreams to more dramatic events in which Tom is watching a European style film that harkens to the French New Wave and the films of Ingmar Bergman. Webb's approach to the direction is very stylish as he ends the film with ambiguity over what is expected in the genre or how to make the story end for one of its characters. Overall, Webb creates a lively and sensational film that revels in its deconstruction of the romantic-comedy genre.

Cinematographer Eric Steelberg does an excellent job though the photography is mostly straightforward in its colorful shots of Los Angeles in its exteriors and interior scenes. Steelberg does create some interesting shots involving a sunny-day scene at a train as Steelberg's work is very good. Editor Alan Edward Ball does great work in the transitional movements of the film while using split screens and such to create dramatic purposes for the film involving Tom's state of mind as well as the opening credits sequence featuring a young Tom and a young Summer. Even in its visual effects editing in presenting a drawn, animated sequence to live action or vice-versa creates a wonderful style while bringing a nice, leisured pace for the film itself.

Production designer Laura Fox with set decorator Jennifer Lukehart and art director Charles Varga does some nice work in the look of the record store, Tom's apartment, and the apartment of Summer filled with origami objects and jewels that play to Summer's personality. The costume design by Hope Hanafin is phenomenal from the dresses and clothing that Zooey Deschanel wears to the suits and album t-shirts that Joseph Gordon-Levitt wears. Sound designer Piero Mura does fine work in the sound recording in capturing the sounds of video games in the places that Tom and his friends hang out at to the banging sounds near Tom's apartment to display his dreary mood.

The music score of Mychael Danna and Rob Simonsen is excellent in its plaintive, light-hearted score to play up to the charming yet melancholic mood of the film. Yet, it's soundtrack supervised by Andrea von Foerster that is truly amazing with music by Regina Spektor, the Smiths, Hall & Oates, Black Lips, Doves, Carla Bruni, Feist, the Temper Trap, Wolfmother, Mumm-Ra, Meaghan Smith, Simon & Garfunkel, and Deschanel's own She & Him project with M. Ward covering the Smiths' Please, Please, Please Let Me Get What I Want along with karaoke versions of songs by the Pixies, Poison, and the Clash. It's a soundtrack where in an age of contrived, uninspired soundtracks where the songs don't do any purpose to the film, there is something that is actually worth something to sing along to.

The casting by Edye Belasco is superb with appearances from Clark Gregg as Tom's mild-mannered yet sympathetic boss, Adam Emery & Olivia Howard Bragg as the respective 12-year old versions of Tom and Summer in flashback scenes, Ian Reed Kesler as a jerk at a bar, and Rachel Boston as a date of Tom's following his break-up with Summer. Notable supporting roles from Geoffrey Arend as McKenzie and Matthew Gray Gubler as Paul are excellent with Arend as the funny co-worker of Tom while Gubler has some funny moments while being the more straight friend to Tom. The best supporting role truly goes to Chloe Moretz as Tom's young, 13-year old sister Rachel who grounds Tom to reality about the way love works as she definitely stands toe-to-toe with Gordon-Levitt in every scene she's in.

Finally, there's the duo of Joseph Gordon-Levitt and Zooey Deschanel, both of whom had worked together in the 2001 film Manic with Don Cheadle. In the role of Summer, Deschanel exudes the quirky personality of the character as she is someone who doesn't believe in true love only to fall for the romantic Tom. Deschanel also shows Summer's flaws as she becomes unsure about everything which would leave to the break-up as Deschanel maintains a lively personality to her role as Summer. Joseph Gordon-Levitt as Tom is amazing as Gordon-Levitt brings a lot of charm and wit to the role as he starts out as this upbeat romantic to someone who is dreary and disillusioned. The performances of the two together is believable and fun to watch as they clearly have great chemistry from start to finish as they are really the heart and soul of the film.

(500) Days of Summer is a whimsical, charming, yet unconventional film from Marc Webb featuring the superb performances of Joseph Gordon-Levitt and Zooey Deschanel. While some audiences might be put off by its non-linear approach and unconventional style, it's a film that is refreshing in some respects in comparison to the more formulaic romantic comedies that are currently fleshed out in theaters and DVDs in the past few years. Even as it serves a deconstruction of the romantic comedy genre by playing to the audience's knowledge of pop culture and romance where it deals with real themes and situations that people can relate to. In the end, (500) Days of Summer is a winning yet enchanting film from Marc Webb that gives the audience something different than the typical rom-com formula.

(C) thevoid99 2012

Thor (2011 film)

Based on the Marvel comic by Stan Lee, Larry Leiber, and Jack Kirby, Thor is the story of a demigod who has been banished by his home planet as he lands on Earth. Falling for a scientist while learning that his brother is taking over his home planet, Thor has to return to reclaim his power. Directed by Kenneth Branagh and screenplay by Ashley Edward Miller, Zack Stentz, and Don Payne from a screen story by J. Michael Straczynski and Mark Protosevich. The film is an origin story of how Thor came to power as he’s played by newcomer Chris Hemsworth. Also starring Natalie Portman, Stellan Skarsgard, Kat Dennings, Rene Russo, Tom Hiddleston, Ray Stevenson, Jaime Alexander, Idris Elba, and Anthony Hopkins as Odin, with special appearances from Clark Gregg, Jeremy Renner, and Samuel L. Jackson. Thor is a big and bombastically entertaining film from Kenneth Branagh.

After a war with the Frost Giants led by Laufey (Colm Feore) that led to the victory of Odin and the Asgardians where they claim the Giants’ source power in the Casket of Ancient Winters. An uneasy truce was made for many years as Odin is set to give his throne to his son Thor, a break-in for the Casket by a few Frost Giants failed as Odin thinks it’s just nothing. Thor however, thinks it’s an attempt to break peace as he decides to defy his father’s orders as he along with his younger brother Loki, their friend Sif (Jaime Alexander) and the Warriors Three in Volstagg (Ray Stevenson), Fandral (Joshua Dallas), and Hogun (Tadanobu Asano) go to Jotunheim to confront Laufey and the Frost Giants leading to a battle. After Odin arrives to stop the battle and save his sons and friends, he decides to banish Thor from Asgard and strip his powers from him.

Thor suddenly lands in the planet Earth as he is discovered by an astrophysicist named Jane Foster (Natalie Portman), her assistant Darcy (Kat Dennings), and their mentor Dr. Erik Selvig (Stellan Skarsgard) who take him to a hospital unaware of who he is. After some complications where his hammer has gotten the attention of S.H.I.E.L.D. and its leader Agent Coulson (Clark Gregg), Thor hopes to retrieve it as he tells Jane about what he is. After an attempt to retrieve the hammer where Thor was unable to pull it out of its stone, Thor is taken by S.H.I.E.L.D. where he gets a visit from Loki claiming that Odin has died. With Thor accepting his fate, he is retrieved by Selvig who discovers that Thor might actually be the legend he had read as a child.

Back in Asgard, Odin has fallen into deep sleep where Loki learns about his true parentage as he takes over the kingdom of Asgard where Sif and the Warriors Three suspect something is wrong. Wanting to get Thor back to Earth, they convince the gatekeeper Heimdall (Idris Elba) to transport them to Earth as he is aware of Loki’s dark rule. With Sif and the Warriors Three arriving at Earth to convince Thor to return to Asgard, they all deal with the Destroyer that Loki sends forcing Thor to do something that is unexpected of him in order to deal with his brother.

The film is essentially an origin story of how Thor came to be what he is through his father’s rule and then be banished for his arrogance only to learn about what he must do to save both Asgard and Earth from evil forces. During the course of the story, Thor reveals the world that he lives in to this astrophysicist who has been trying to uncover the mysteries of the universe where the two fall for each other. Still, there’s the matter of what his brother is doing as he starts off as this very quiet and innocent individual who always felt being in his brother’s shadow only to learn about his true parentage. This discovery would crucial to Loki’s development as he becomes an antagonist to Thor much to Thor’s dismay as he loved and cared for his brother.

The screenplay is a by-the-books kind of story in terms of what is expected in an origin story involving superheroes. Still, it has moments of character development for both Thor and Loki where they each would have an understanding of who they are. Notably the former who is this demigod with amazing powers where once he arrives to Earth. He’s still a strong and powerful man but is forced to realize that he can become human as well giving him the chance to understand things that his father had been trying to tell him. It’s a very good script that does what is needed to do as well as provide some substance to some of the characters in the film.

Kenneth Branagh’s direction is definitely ambitious in terms of the way he presents Asgard as this bombastic yet beautiful planet while going for a more straightforward look for the scenes in New Mexico. Branagh opens with the film with Jane and her team trying to find something that leads to them to discover Thor. It is followed by the origin story of how Odin lost his right eye during the war with the Frost Giants as he tells that story to a young Thor and Loki including the importance of the Casket. The rest of the film does become this very vast and interesting origin story that features some wonderful compositions including slanted camera shots. Branagh wisely avoids some of its tropes like fast-cuts and overwhelming the film with lots of action sequences. Instead, he allows the story to play out with bits of humor drama while balancing with some exciting action scenes. Overall, Branagh creates a very enjoyable action-blockbuster that does a lot for what is expected and more.

Cinematographer Haris Zambarloukos does nice work with the film‘s cinematography from the dark setting of Jotunheim to the more colorful yet stylish camera work for the scenes in New Mexico. Editor Paul Rubell does excellent work with the editing to help establish some of the action that is happening while playing up to some of the film’s humor as it’s tightly-paced for what is expected in a comic-book film. Production designer Bo Welch, with set decorator Lauri Gaffin and supervising art director Maya Shimoguchi, does amazing work with the set pieces for the Asgard palace and halls while going for a more low-key approach in the base that surrounds Thor‘s hammer along with some wonderful sets for the New Mexico small town that Jane lives in.

Costume designer Alexandra Byrne does very good work with the costumes from the armor and regal look that the Asgardian characters wear to the more casual clothing of Earth that Thor later sports. Visual effects supervisor Wesley Sewell does superb with the visual effects such as some of the exterior set pieces for the Asgardian palace and the bridge that connects them to the Bifrost transporter along with the effects for the Destroyer in the film’s New Mexico battle scene. Sound designers Michael Babcock and Richard King do terrific work with the sound work from the spectacle of the action scenes with its explosions and clanging objects to the tense atmosphere that occurs in Coulson’s interrogation for Thor. The film’s score by Patrick Doyle is brilliant for its orchestral bombast and sweeping arrangements to play up the action and drama that occurs as it’s a very thrilling score by Doyle.

The casting by Sarah Finn and Randi Hiller do amazing work with assembling the film’s ensemble cast that includes notable small appearances from Dakota Goyo and Ted Allpress in their respective roles as the young Thor and Loki, Clark Gregg as Agent Coulson, Rene Russo as Thor’s mother Frigga, and cameo appearances from Stan Lee as a truck driver, Jeremy Renner as Hawkeye, and Samuel L. Jackson as Nick Fury. Other small roles include Tadanobu Hogun and Joshua Dallas in their respective roles as Warriors Three members Hogun and Fandral while Ray Stevenson is funny as the big and gluttonous Volstagg. Colm Feore is pretty good as the villainous Laufey who despises Odin while Idris Elba is excellent as the very wise gatekeeper Heimdall. Jaime Alexander is wonderful as Thor’s close friend Sif who is proven to be a very able warrior while Kat Dennings is hilarious as Jane’s assistant Darcy.

Stellan Skarsgard is superb as Jane’s mentor Dr. Erik Selvig who is intrigued by Thor as he reminds him of a children’s book he read years ago. Anthony Hopkins is great as Thor’s father Odin who is overwhelmed with Thor’s arrogance as well as keeping a secret about Loki’s true roots. The film’s big breakthrough is Tom Hiddleston in the role of Loki where Hiddleston brings a wonderful restraint to a man living in his brother’s shadow only to become a more intense character as he suddenly starts to take over. Natalie Portman is terrific as Jane Foster by exemplifying her intelligence and determination to discover Thor’s background while there’s also a bit of subtle humor to the way she is smitten with Thor.  Finally, there’s Chris Hemsworth in a phenomenal performance as the titular character as he displays wonderful charisma as well as sense of humility to make his character more human as it’s a true star-making performance for the young actor.

Thor is a fun action-blockbuster from Kenneth Branagh that features top-notch work from Chris Hemsworth and Tom Hiddleston. Armed with a strong supporting cast and an engaging story, it is a film that does what is needed to do to entertain but also has some substance to make it more worthwhile. Notably as it involves some crucial development for Thor and Loki as they’re set to face off again in The Avengers. In the end, Thor is a stellar  film from Kenneth Branagh.

Kenneth Branagh Films: (Henry V (1989 film)) - (Dead Again) - (Swan Song) - (Peter‘s Friends) - (Much Ado About Nothing (1993 film)) - (Frankenstein (1994 film)) - (A Midwinter’s Tale (1995 film)) - (Hamlet (1996 film)) - (Love’s Labour Lost (2000 film)) - (Listening) - (As You Like It (2006 TV film)) - (The Magic Flute (2006 film)) - (Sleuth (2007 film)) - (Jack Ryan: Shadow Recruit) - Cinderella (2015 film) - (Murder on the Orient Express (2017 film))

Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Captain America: The First Avenger - The Avengers (2012 film)

Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: The Age of Ultron - Ant Man

Marvel Phase Three Films: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home

Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special

Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)

Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)

Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World

© thevoid99 2012

Iron Man

Originally Written and Posted at Epinions.com on 5/4/08 w/ Additional Edits & Revisions.

Based on the Marvels comic by Stan Lee, Larry Leiber, Don Heck, and Jack Kirby, Iron Man is the story of a wealthy weapons designer who decides to become a superhero after being captured by terrorists who use his weapons against the world. Directed by Jon Favreau and screenplay by Mark Fergus, Hawk Ostby, Arthur Marcum, and Matthew Hollaway, with additional contributions by John August, the film is an origins story of how Tony Stark became Iron Man as he is played by Robert Downey Jr. Also starring Gwyneth Paltrow, Terrence Howard, Shaun Toub, Faran Tahir, Jon Favreau, Leslie Bibb, and Jeff Bridges. Iron Man is an entertaining and ass-kicking blockbuster from Jon Favreau.

The son of a weapons manufacturer who would later take over for his late father at age 21, Tony Starks is a man that has it all as he is extremely wealthy but also a gifted inventor who is adored by the arms industry. With help from his father's partner Obadiah Stane (Jeff Bridges), Starks Industries is at the top of its game when Tony unveils his new Jericho missile project in Afghanistan to soldiers until they're attacked by terrorists where Stark barely survives with missile shrapnel near his heart. Taken by the Ten Rings terrorist group led by Raza (Faran Tahir), Stark is asked to create the Jericho missile for Raza with help from captured scientist Dr. Yinsen (Shaun Toub). Stark reluctantly does Raza's duty although he and Yinsen create an arc reactor around his art to keep the shrapnel away from his heart. After the completion of the arc, Stark has an idea of his own to break out by creating a power armor suit in secrecy. With Yensen's help, Stark is able to create his new creation as he is able to fight back and escape.

After being saved by his longtime friend Lt. Col. James "Rhodey" Rhodes (Terrence Howard), Stark announced to end the production of weapons to the shock of Stane as Stark goes into seclusion. With the aid of his computerized butler Jarvis (the voice of Paul Bettany) and his longtime assistant/friend Virginia "Pepper" Potts (Gwyneth Paltrow), Stark decides to make a new version of his power suit as well as a new arc reactor to activate the suit for a series of tests. When Potts is approached by Agent Coulson (Clark Gregg) of the Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) about Stark's escape from Afghanistan at a party. Stark's appearance at the party has him encountering journalist Christine Everhart (Leslie Bibb) about some weapons in Afghanistan as he and Potts become suspicious about Stane's dealings at the company. After perfecting his power suit, he decides to confront Raza's group to save refugees as he gets the attention of the U.S. Air Force prompting Rhodes to cover things up after learning about Stark's new project. When Potts is asked by Tony about Stane's deals, the two learn about what Stane has been doing. Instead, Stane decides to take matters into his own hands by taking the old power suit Tony created in Afghanistan into a more powerful weapon forcing Starks to fight back with help from Potts and Rhodes.

While the film's plot may seem familiar in comparison to recent superhero origin films, the difference between Iron Man and other Marvel comic films like Spider-Man and Fantastic Four is that its screenwriters and director Jon Favreau took more time into the development of Stark and his Iron Man alter-ego. Unlike other comics book heroes with the exception of Batman, Iron Man was created not through scientific errors, a phenomenon, or being from another planet. Here, the superhero was made from scratch as Stark used his knowledge of math and science to create his power suit and the arc reactor to keep his heart going. In the first 10-15 minutes of the film, the writers and Favreau let the audience know who Tony Stark is and then once he's captured, he becomes a different person as his development from a man creating weapons to becoming a man wanting to help people is well written though he is still a bit of a man with swagger.

While the script works in that formula of origin story though audiences do know where it's going, it's Favreau and his direction that at least keeps it interesting. While a lot of the filmmaking isn't exactly new in comparison to other comic book superhero films, Favreau at least uses that formula to at least make things entertaining while adding bits of humor. What is unique is that while the film does have action that will appetite mainstream audiences, he brings balance for the development of the Iron Man character as Stark experiments with thrusters and other gadgets. In many ways, those scenes that have some humor and drama are more interesting than the scenes with intense special effects and action sequences.

Favreau also keeps the audience interested right to the end where he opens the idea of not just a sequel that involves Iron Man's fellow crime fighter War Machine but also the involvement of another franchise. The result is Favreau creating a film that just doesn't entertain but also brings some intelligence to the superhero genre that's accessible to mainstream audiences, comic book purists, and audiences with serious taste.

Cinematographer Matthew Libatique does some good work that conveys the look and style of other comic book films with some colorful lighting and intense camera work to capture the action and such. Editor Dan Lebental does an excellent job with the film's editing that doesn't go too fast while maintaining a nice sense of rhythm for the film's action sequences and effects shots. Production designer J. Michael Riva and art director David F. Klassen does a good job in creating the house of Stark as well as the places in Los Angeles and Afghanistan all shot in the Californian desert. Costume designers Rebecca Bentjen and Laura Jean Shannon do great work in the look of the clothes including a blue dress that Gwyneth Paltrow wears at a party.

Sound designer Christopher Boyes and editor Frank E. Euhler do amazing work in the sound work from the way missiles are blasted, the sound of thrusters, and everything. Yet, the film's real technical highlight in its special and visual effects that are truly superb that include wonderful CGI for the shots of Iron Man flying, the computer 3-D blue prints and screens that Stark works with, and the objects in his lab that help him including the objects needed during his tests that add a wonderful sense of humor. The film's score by Ramin Djawadi is excellent in its mix of orchestral and rock music with guitar work from Tom Morello of Rage Against the Machine that adds a sense of intensity and power. The soundtrack includes a mix of music from the likes of AC/DC, Ghostface Killah, and the Black Sabbath classic Iron Man.

The casting by Sarah Finn and Randi Hiller is excellent with cameo appearances from Ghostface Killah and Tom Morello in scenes at the desert, Favreau cohort Peter Billingsley (yes, the kid from A Christmas Story), Favreau himself as Stark's bodyguard and driver Hogan, and a great cameo from Marvel comic writer Stan Lee with a bunch of girls. Another noted cameo that comes in, after the final credits, comes from Samuel L. Jackson as Nick Fury. Other performances from Clark Gregg as Agent Coulson is excellent as is Tim Guinee as Air Force commander Major Allen, Bill Smitrovich as General Gabriel in the missile presentation scene, and Sayed Badreya as Raza's second-in-command. Leslie Bibb is good and sexy as reporter Christine Everhart who tries to get something out of Stark only to become one his conquests as she appears in the film to reveal troubling secrets about his company. Faran Tahir is excellent as the terrorist leader who wants to have the kind of power that other warlords have as he also has some intelligence.

Shaun Toub is wonderful in his small role as Dr. Yinsen, the scientist who helps Stark build his power suit while guiding him to change his ways as Toub's understated performance is worth noting. The voice of Paul Bettany is very funny in the way the he communicates with Downey as his computerized assistant. Terrence Howard is excellent in his role as James "Rhodey" Rhodes who is often indifferent to Stark's actions and such though is supportive in cleaning up his mess. Jeff Bridges is great in his roe as Obadiah Stane in how he chews the scene with such delight while looking like he's having fun playing the villain. Bridges' performance is fun to watch as he adds a lot of slime to his character who just wants to have full control of Stark Industries.

Gwyneth Paltrow is brilliant in her role as Pepper Potts in being the one woman who can put up with Stark's ego. Paltrow brings depth to the character in a woman who doesn't want to be a damsel-in-distress but rather an assistant who is willing to help Stark as the banter Paltrow and Downey have is filled with wonderful humor and rhythm. Paltrow's performance is truly superb as she's the kind of woman who can put up with anything, and probably could even take out Mary Jane Watson in a fight. Finally, there's Robert Downey Jr. in a role that he is truly born to play as Tony Stark and Iron Man. Downey's performance filled with a lot of swagger, catchy one-liners, and attitude is truly fun to watch from start to finish. Even when he's in an intense situation, Downey maintains his cool while proving that he can play badass as well. It's the kind of performance that is truly huge and Downey is big enough and most certainly, talented enough to play a character as fun and as cool as Iron Man.

Fans of comic book films can rejoice as Iron Man delivers in all of its promises thanks to director Jon Favreau and it star Robert Downey Jr. With additional thanks to a special and visual effects team plus the talents of Gwyneth Paltrow, Terrence Howard, and Jeff Bridges, this is a film that delivers both in substance and style. Fans of the comic can enjoy in its faithfulness to the story while getting some excitement in what's to come in its sequel. In the end, Iron Man is a film that is entertaining and enjoyable while adding some substance to an overcrowded sea of mindless, uninspiring films that's coming in this summer blockbuster season. So until then, in the words of Lt. Col. James "Rhodey" Rhodes aka War Machine, "next time baby".

Jon Favreau Films: (Made) - (Elf) - (Zathura) - (Cowboys & Aliens) - Chef - (The Jungle Book (2016 film) - (The Lion King (2019 film)

Marvel Cinematic Universe: Infinity Saga: Phase One Films: The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers (2012 film)

Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant Man

Marvel Phase Three Films: Captain America: Civil War Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home

Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special

Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)

Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)

Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World

© thevoid99 2012