Rookie of the Year

Directed by Daniel Stern and written by Sam Harper, Rookie of the Year is the story of a young boy who would pitch for the Chicago Cubs after getting his arm injured as it’s later healed with tightened tendons that gives him incredible pitching powers. It’s a film that plays into a boy wanting to be good in baseball where an injury would give his right arm something special as he would get to live his dream but also learn about the price of fame. Starring Thomas Ian Nicholas, Gary Busey, Amy Morton, Bruce Altman, Albert Hall, Dan Hedaya, Eddie Bracken, Daniel Stern, and John Candy. Rookie of the Year is a delightful film from Daniel Stern.

What happens to a boy when he gets injured during a little league game where his right arm is healed with tighten tendons that allows him to pitch at great speed where he would pitch for the Chicago Cubs? That is pretty much the premise of the film as it revolves around a 12-year old boy who just wants to be good at baseball but he’s never really had the chance to play until one day where he fills in and things go wrong when he slips on a ball and breaks his arm. Once his arm is healed, he learns that his tendons have tightened more than it should which allows him to exert great force where he would unknowingly throw a ball back from the outfield bleachers to home plate as he would get this attention from Cubs management. There, Henry Rowengartner (Thomas Ian Nicholas) would start out as a relief pitcher for the Cubs as he would be mentored by his hero in the aging starting pitcher Chet “Rocket” Steadman (Gary Busey) as he would also learn the dark side of being famous.

The film’s screenplay by Sam Harper doesn’t just showcase a boy living his dream to play in the major league but also be forced to grow up faster than he should when it comes to being used to sell things that he has no clue about. Especially when he’s being exploited by his mother’s boyfriend Jack Bradfield (Bruce Altman) as well as Cubs general manager Larry “Fish” Fisher (Dan Hedaya) as the latter is looking to take over the Cubs altogether from his uncle Bob Carson (Eddie Bracken). It is there that Henry learns about these things as it prevents him from being with his friends and just being a kid while Steadman, whose career is on the way out, tells him about not just his own bitterness about the game but also what happens when the gift that Henry is bestowed upon goes away. While there is an element of seriousness that plays into the world of baseball, Harper does at least maintain a sense of innocence as well as some humor into the world of baseball such as how Henry manages to enjoy the game.

Daniel Stern’s direction is quite simple as he shoots the film on location in Chicago and other nearby cities including Wrigley Field and Comiskey Park in Chicago as Dodger Stadium. Much of Stern’s compositions are simple as well as stylish that includes some low angle shots, close-ups, and medium shots to reveal what goes on in the field and at the dugout. Some of it is played for laughs as it involves Stern’s character Phil Brickma who is this eccentric pitching coach. Yet, Stern does maintain a balance of comedy and light-drama as it plays into a boy coming of age as a major league pitcher as he copes with not just fame but its demands where he would make a very adult decision. Stern’s approach to the story not only succeeds in making it accessible for a young audience but also in not talking them down with heavy-handed ideas about fame and money. All of which plays into the joy of playing baseball as its climax is set during a division playoff. Overall, Stern creates a very fun and engaging film about a young boy who lives the dream in pitching for the Chicago Cubs.

Cinematographer Jack N. Green does excellent work with the film‘s cinematography as it‘s very simple for the daytime exterior scenes while being straightforward for the interior scenes and some scenes set at night. Editors Donn Cambern and Raja Gosnell do nice work with the editing as it‘s straightforward with a few montages and some rhythmic cuts for the film‘s humor. Production designer Steven J. Jordan, with set decorator Leslie Bloom and art director William Arnold, does brilliant work with the home that Henry and his mom live in as well as the Cubs locker room.

Costume designer Jay Hurley does terrific work as most of the clothes are casual along with some design of the baseball uniforms. Visual effects supervisor Erik Henry does fine work with the minimal visual effects which often revolves around the fastball that Henry throws. Sound editor Stephen Hunter Flick does superb work with the sound from the sound of the crowd at the ball game to the sound effects of the fastball. The film’s music by Bill Conti is amazing for its orchestral score as it is filled with soaring string arrangements with elements of guitar wails to play into the thrill of sports as the soundtrack features elements of rock and pop music.

The casting by Linda Lowy is incredible as it features notable small roles from Colombe Jacobsen as Henry’s crush Becky, W. Earl Brown as the Cubs catcher Frick, Ross Lehman as Henry’s doctor, Tom Milanovich as the notorious Mets hitter Heddo, and cameo appearances from Barry Bonds, Bobby Bonilla, and Pedro Guerrero as themselves. Patrick LaBrecque and Robert Hy Gorman are terrific in their respective roles as Henry’s friends George and Clark who try to cope with Henry’s sudden fame which George gets jealous of. Daniel Stern is hilarious as the pitching coach Phil Brickma as he often causes some trouble to others or to himself. Albert Hall is excellent as the Cubs manager Sal Martinella who always mispronounces Henry’s surname while Dan Hedaya is superb as the Cubs general manager Fisher who would exploit Henry in the hopes of making money and become the Cubs’ new owner.  Bruce Altman is fantastic as Mary’s boyfriend Jack who would become Henry’s manager and later try to get him all sorts of things to make money much to Henry’s disgust. 

John Candy is great in one of his final performances as Cubs announcer Cliff Murdoch as Candy brings a lot of funny comments throughout the film.  Amy Morton is amazing as Henry’s mom Mary as someone who makes sure that Henry doesn’t lose himself to the trappings of fame as she becomes suspicious of Jack’s work as she becomes close with Steadman. Gary Busey is brilliant as Chet Steadman as an aging pitcher who is asked to mentor Henry as he copes with not just his fading career but also the fact that he’s not as good as he once was as he tells Henry about what to expect when that gift is gone. Finally, there’s Thomas Ian Nicholas in a marvelous performance as Henry Rowengartner as a 12-year old kid who just wants to be good at baseball where an injury to his arm gives him unlikely throwing power as he copes with being in the major leagues and its demands as Nicholas adds a maturity to his role that makes the character very likeable.

Rookie of the Year is a remarkable film from Daniel Stern. Armed with a great cast and an engaging story about the idea of being in the major leagues, it’s a film that is very accessible for families as well as offer something compelling for baseball fans. In the end, Rookie of the Year is a fantastic film from Daniel Stern.

© thevoid99 2015

Commando (1985 film)

Directed by Mark L. Lester and screenplay by Steven E. de Souza from a story by de Souza, Joseph Loeb III, and Matthew Weisman, Commando is the story of a former Delta Force commando who is forced by a South American dictator to kill a leader or else the commando’s daughter is killed forcing the man to take action. The film is a simple story that revolves around a commando who is being pushed into doing something he doesn’t want to do while knowing that his daughter’s life is on the line. Starring Arnold Schwarzenegger, Rae Dawn Chong, Vernon Wells, James Olson, David Patrick Kelly, Alyssa Milano, Bill Duke, and Dan Hedaya. Commando is an ass-kicking and exciting film from Mark L. Lester.

When a man is being forced to kill a political leader by a dictator in the hopes that he can save his daughter’s life knowing that she’ll still be killed if he does the deed. It’s a dichotomy that is uneasy but if that commando is John Matrix (Arnold Schwarzenegger), then that dictator is going to need a lot of body bags. It’s a film that manages to be very simple in its premise where this former commando is dealing with old foes who definitely have a grudge towards him all because Matrix is a man that stands for what is right as the only thing he has in the world is his daughter Jenny (Alyssa Milano). Knowing that Jenny is likely to be killed, Matrix uses his skills as a commando to do whatever it takes to save her with the help of a flight attendant named Cindy (Rae Dawn Chong) who understands the severity of the situation. It’s a film that manages to do so much with a simple story while the script itself does have some funny one-liners and puns that Matrix says like “I eat Green Berets for breakfast”.

Mark L. Lester’s direction is quite simple though it starts off in a very dark way when some individuals are being killed as it is a total contrast to the peace and tranquility that Matrix is having with his daughter. Yet, the film would take a dark turn once Matrix is in danger as Lester’s usage of close-ups and medium shots come into play. Much of the film is shot in California where it would be set in different places in South America as it maintains something that feels like it’s set in another world. Especially in the film’s climax where Matrix arrives at the home of the dictator Arius (Dan Hedaya) where it becomes one of the film’s most violent moments. Some of which is very ridiculous but Lester knows it’s ridiculous which makes it so fun to watch. Especially in the way Matrix kills soldiers as if he is this one-man army as Lester adds a lot of humor to some of the violence no matter how gruesome it is. Overall, Lester creates an exhilarating and explosive film about a commando trying to save his daughter from the bad guys.

Cinematographer Matthew F. Leonetti does excellent work with the cinematography from some of the daytime lighting schemes in the Californian mountains to the usage of lights for the interior/exterior scenes at night. Editors Glenn Farr, Mark Goldblatt, and John F. Link do amazing work with the editing from the opening credits montage to the stylistic cuts in the film‘s action sequences including its bloody climax. Production designer John Vallone and set decorator Robert Gould does nice work with the film‘s set design from the home of Arius to the cabin home that Matrix lived in at the Californian mountains. Sound mixer Donald F. Johnson does terrific work with the sound to capture the intensity of the fights and the gunplay that occurs. The film’s music by James Horner is wonderful for its mixture of brooding electronics with calypso percussions and orchestral flourishes to play into the air of suspense and action.

The casting by Jackie Burch is amazing as it features notable small roles from Bill Paxton as naval interceptor, Bill Duke as a former Green Beret that works for Arius in Cooke, David Patrick Kelly as an associate in Arius in Sully, and James Olson as Matrix’ former superior General Kirby who would inform Matrix about some mysterious occurrences involving Arius. Alyssa Milano is wonderful as Matrix’s daughter Jenny as this young girl dealing with being kidnapped as she manages to talk some shit towards Arius. Vernon Wells is excellent as Arius’ henchman Bennett who was an old ally of Matrix who despises him as he wants Matrix dead.

Dan Hedaya is fantastic as Arius as this dictator who has a grudge towards Matrix for usurping him as he wants him to kill the man who had replaced him in his old country as a form of torture. Rae Dawn Chong is superb as Cindy as this flight attendant who joins the ride by accident as she helps Matrix do what is right while being funny and be crafty with a bazooka. Finally, there’s Arnold Schwarzenegger in a phenomenal performance as John Matrix as a former commando that is being pushed to the breaking point about what he’s asked to do only to refuse in an attempt to save his daughter. It’s a performance that has Schwarzenegger be a total badass as well as saying some funny puns and one-liners as it’s one of Schwarzenegger’s quintessential performances.

Commando is a remarkable film from Mark L. Lester that features an incredible performance from Arnold Schwarzenegger. It’s a film that isn’t just an entertaining action movie but one that does what it needed to be and more while not being afraid in making itself look ridiculous which adds to the film’s unique approach to humor. While Commando is a spectacular film from Mark L. Lester, there is a lesson to all of this. It’s one thing to kidnap a young girl and be forced to carry out an assassination. If that girl happens to Alyssa Milano and her father is Arnold Schwarzenegger. Then Jabroni, you’re about to be fucked.

© thevoid99 2015

Dick (1999 film)

Directed by Andrew Fleming and written by Fleming and Sheryl Longin, Dick is the story of two teenage girls who meet Richard Nixon as they become secret youth advisors only to reveal his secrets to Bob Woodward and Carl Bernstein as the mysterious Deep Throat. A fictional take on the Watergate scandal that led to Nixon’s resignation, the film is a comedic story about the ideas of who Deep Throat in the form of two sweet-natured but dim-witted girls. Starring Kirsten Dunst, Michelle Williams, Ana Gasteyer, Will Ferrell, Bruce McCullough, Jim Breuer, Saul Rubinek, Teri Garr, Dave Foley, Harry Shearer, and Dan Hedaya as Richard Nixon. Dick is a truly hilarious and entertaining film from Andrew Fleming.

The film is a fictional take on the Watergate scandal that destroyed the political career of President Richard Nixon who would resign in disgrace in August of 1974 after some revelations over what happened at the Watergate Hotel two years earlier by people in his administration. All of it revolves around two teenage girls where one of them was living in the Watergate hotel as they were mailing a letter to win a contest to meet Bobby Sherman where they run into G. Gordon Liddy (Harry Shearer) and led to the arrest of several men connected to the Nixon administration. Upon meeting Nixon during a school field trip by befriending his dog Checkers, they become secret youth advisors where they would influence Nixon to connect with the American public until they learn who he really is where they would reveal their information to Bob Woodward (Will Ferrell) and Carl Bernstein (Bruce McCullough).

The film’s screenplay definitely focuses on the antics of Betsy Jobs (Kirsten Dunst) and Arlene Lorenzo (Michelle Williams) as they’re just a couple of American teenage girls who love everything that was around in the 1970s. Yet, their encounter with Nixon is one of many accidents that occur as they would be involved in some of Nixon’s great achievements during his second term while be responsible for things such as the 18 ½ minute gap that was missing from one of the tapes Nixon recorded. Many of the people that are involved with the Watergate story are portrayed for laughs such as Nixon’s attorney John Dean (Jim Breuer) as a very innocent man who feels guilty while G. Gordon Liddy is seen as a buffoon. Woodward and Bernstein are also portrayed for laughs with Bernstein as this smallish ladies man while Woodward is seen as the desperate straight man. Even some of the dialogue maintains the sense of humor such as a scene where Arlene asks Betsy about the meaning of Deep Throat which Betsy whispers into Arlene’s ear as it shows how innocent they are.

Andrew Fleming’s direction is quite straightforward in terms of the world that is the 1970s in Washington D.C. as it plays into the lives of these two young girls. Some of which involves antics that are quite funny as it plays to how dim-witted the girls are at times yet they mean well. Even as it includes a very hilarious subplot where Arlene falls for Nixon as she would be the cause that would have Nixon erase 18 ½ minutes from tapes he had recorded. There’s also some dramatic liberties that Fleming takes advantage in order to keep things funny such as the Nixon-Leonid Brezhnev peace accord. Much of the compositions are simple in order to create something that feels naturalistic as well as in scenes to re-create important moments in history. Especially in the idea that a couple of young girls would be the one that would be the one to take Nixon down. Overall, Fleming creates a very witty and fun film about two girls taking down Richard Nixon.

Cinematographer Alex Gruszynski does excellent work with the film‘s cinematography as it‘s very colorful to play into much of the sunny look of Washington D.C. as well as some of the interiors and lighting such as the Watergate break-in. Editor Mia Goldman does terrific work with the editing as it‘s straightforward with some stylish jump-cuts and montages to play into the film‘s humor. Production designer Barbara Dunphy, with set decorator Donald Elmblad and art director Lucinda Zak, does brilliant work with the look of the Oval Office and some parts of the White House as well as Arlene‘s room and her wall that featured Bobby Sherman at one point only to be replaced by Nixon. Costume designer Deborah Everton does fantastic work with the costumes from the youthful clothes that the girls wear that expresses their love of fashion.

Visual effects supervisors Michael Lennick and Ray McMillan do nice work with some of the few visual effects such as backdrops for some scenes set in the White House exteriors. Sound editor Steve D. Williams does superb work with the sound from the way some of the police sirens sound to some of the things that occur inside the White House including the sound of the tape recordings. The film’s music by John Debney is pretty as it‘s mostly low-key which is just orchestral music to play into the suspense and humor while music supervisor Ralph Sall creates an absolutely delightful soundtrack that features music from the Jackson 5, Yes, Grand Funk Railroad, Elton John, ABBA, LaBelle, George McCrae, Harry Nilsson, Bread, Love Unlimited Orchestra, Redbone, David Essex, Carly Simon, and a couple of covers by Michelle Williams and Sixpence None the Richer.

The casting by Pam Dixon is incredible as it features one hell of an ensemble that includes small roles from Ryan Reynolds as a boy Betsy flirts with at Bob Haldeman’s house, Devon Gummersall as Betsy’s stoner brother Larry, French Stewart as a TV interviewer at the beginning of the film, G.D. Spradlin in one of his final performances as Washington Post editor Ben Bradlee, Ana Gasteyer as the President’s secretary Rose Mary Woods, Ted McGinley as Arlene’s mother’s new boyfriend, Karl Pruner and Shannon Lawson as Betsy’s parents, Len Doncheff as Leonid Brezhnev, and Teri Garr as Arlene’s lonely mother. Harry Shearer is terrific as the very threatening but buffoonish G. Gordon Liddy while Dave Foley is excellent as the White House Chief of Staff Bob Haldeman who is depicted as a total asshole. Jim Breuer is fantastic as Nixon’s lawyer John Dean who would feel guilty for working with Nixon while Saul Rubinek is wonderful as Henry Kissinger who often feels left out by Nixon while having a great duet of Hello Dolly with Brezhnev.

Will Ferrell and Bruce McCullough are hilarious in their respective roles as Bob Woodward and Carl Bernstein with Ferrell as the straight man who is trying to maintain his serious reputation while McCullough brings a more comical approach to the role of Bernstein in his attempt to be very good-looking. Dan Hedaya is phenomenal as the titular character as he brings a lot of humor to the role of Nixon while being a mean man who kicks his dog and is very prejudice as Hedaya puts a lot of gravitas as Richard Nixon. Finally, there’s Kirsten Dunst and Michelle Williams in sensational performances in their respective roles as Betsy and Arlene. Dunst is the more ditzy of the two as she has this charm that makes her so delightful to watch while Williams is the more introverted as she falls for Nixon. The two together have great chemistry together in the way they play out each other as well as admit the fact that they are dumb girls.

Dick is a remarkable film from Andrew Fleming that features amazing performances from Kirsten Dunst, Michelle Williams, and Dan Hedaya as Richard Nixon. It’s a film that manages to take a unique premise and make it very enjoyable while it is also oddly compelling for the fact that it does play with American history. Even to the point of subverting some facts and things that really happened and get away with it. In the end, Dick is an incredible film from Andrew Fleming.

© thevoid99 2014

The Hunger (1983 film)

Based on the novel by Whitley Strieber, The Hunger is the story about a doctor who finds herself in a strange love triangle involving vampires during her research on the world of aging. Directed by Tony Scott and screenplay by Ivan Davis, and Michael Thomas the film is a stylish take on the world of vampires as one of them tries to gain immortality forcing his lover to face the truth as she seeks a new lover. Starring Catherine Deneuve, Susan Sarandon, David Bowie, Cliff de Young, and Dan Hedaya. The Hunger is an entrancing yet hypnotic film from Tony Scott.

The film is about a vampire couple who had been living for three centuries as prey on those to feed on their appetite for blood. Upon learning about a woman’s research on aging and the idea of eternal life, one of the vampires is seeking to know more as he finds himself aging rapidly forcing his lover to think about getting a new one in the woman who had been working on this research. Yet, it’s a film that plays into the idea of eternal life as a man named John Blaylock (David Bowie) deals with his aging as he asks his lover Miriam (Catherine Deneuve) about the aging process as she had previous lovers who had fallen to the fate that he’s about to fall prey to. John turns to Sarah Roberts (Susan Sarandon) whose research on aging has him intrigued but she doesn’t believe that he’s aging until some time later as she attracts the attention of Miriam where she finds herself in a very strange situation.

The film’s screenplay does have this unique structure where the first act is about John and Miriam’s relationship as well as John dealing with his aging as he turns to Sarah for help based on her research. The second act is about Sarah meeting Miriam where the former becomes strangely obsessed with the latter which then leads to the relationship as Sarah is unaware of what Miriam really is. It all would play in this third act where Sarah is forced to deal with her symptoms as well as what she might become. Though its climax would play into Miriam’s claims that she would give Sarah eternal life and to love forever and ever as Sarah would make a decision. Its ending would unfortunately lose some of that emotional impact as well as create some confusion into the fate of its main characters as it is revealed that the ending was more enforced by the studio.

Tony Scott’s direction is definitely a major highlight of the film in not just the compositions that he creates but also infuse with a high degree of style. While it’s a style that isn’t for everyone, it does play into an atmosphere that is sort of Gothic in some respects where the film opens at a Goth disco where the legendary Goth band Bauhaus plays. Scott would infuse the film with some symbolism where the scene of John and Miriam killing their prey that is inter-cut with a lab monkey killing another as it would play into Sarah’s research. Scott’s direction also includes a few stylish flashbacks and some slow-motion action to play out some of the drama and terror that occurs. Even in a very stylish and sort of operatic love scene between Miriam and Sarah that does have this great element of beauty and horror. Despite its tacked-on ending, Scott manages to create a very ravishing yet exhilarating film about vampires and their desire for eternal life.

Cinematographer Stephen Goldenblatt does amazing work with the film‘s stylish photography with its array of shadows and shades to play with its lighting to convey a Gothic mood for the film in many of its interior scenes. Editor Pamela Power does excellent work with the editing as it very stylized with some jump-cuts and slow-motion cuts to play into some of its symbolism and suspense. Production designer Brian Morris, with set decorator Ann Mollo and art director Clinton Cavers, does fantastic work with the look of John and Miriam‘s posh New York City penthouse as well as the lab where Sarah works at.

Costume designer Milena Canonero does excellent work with the costumes from the period clothes that John and Miriam wore to Goth clothes of the time while a lot of the dresses that Miriam wears is from Yves St. Laurent. Special makeup work by Antony Clavet does brilliant work with the makeup to display John‘s rapid aging as he struggles with the fate he might play into. Sound editor Peter Pennell does superb work with the sound to create some unique effects on some of the dialogue as well as some textures to play out the suspense. The film’s music by Denny Jaeger and Michel Rubini is terrific for its chilling, electronic-based score to play out some of the drama while a lot of the music that is assembled by music supervisor Howard Blake features a wide array of classical and opera music from composers like Franz Schubert, Johann Sebastian Bach, Gregorio Allegri, Maurice Ravel, and Leos Delibes as well as some modern music from the Goth band Bauhaus and Iggy Pop.

The film’s cast features some early cameos from John Pankow and Willem Dafoe as a couple of punks as well as Ann Magnuson and John Stephen Hill as a couple John and Miriam meet in the opening sequence that features Bauhaus. Other notable small roles include Dan Hedaya as a police investigator, Beth Ehlers as a tomboy violinist John and Miriam teach, and Cliff De Young as Sarah’s boyfriend Tom who becomes concerned about Sarah’s condition. Susan Sarandon is brilliant as Sarah Roberts as an age researcher who is eager to find a way to slow down the aging process while finding herself becoming attracted towards Miriam.

David Bowie is amazing as John Blaylock as a man struggling with his rapid-aging as he also realizes the fate that he might play that Miriam’s previous lovers have succumbed to. Finally, there’s Catherine Deneuve in a phenomenal performance as Miriam Blaylock as a woman who had lived a very long life as a vampire as she deals with John’s aging and possible fate while falling for Sarah as she seeks to take her as her new lover.

The Hunger is a marvelous film from Tony Scott thanks in part to its Gothic imagery, brooding soundtrack, and the performances of Catherine Deneuve, David Bowie, and Susan Sarandon. While it’s not a perfect film that includes a pretty lame ending. It’s still a film that plays into the world of vampires that fans of vampire films can enjoy while it is very unapologetic in its emphasis on style over substance. In the end, The Hunger is a stellar yet mesmerizing film from Tony Scott.

Tony Scott Films: (One of the Missing) - (Loving Memory) - (Top Gun) - (Revenge) - (Days of Thunder) - (The Last Boy Scout) - True Romance - (Crimson Tide) - (The Fan) - (Enemy of the State) - (Spy Game) - (Man on Fire) - (Domino) - (Déjà Vu) - (The Taking of Pelham 123 (2009 film)) - (Unstoppable)

© thevoid99 2013

A Life Less Ordinary

Directed by Danny Boyle and written by John Hodge, A Life Less Ordinary is the story about a disgruntled Scottish janitor who kidnaps his boss’ daughter as they conspire to get a ransom unaware that angels are trying to get them to fall in love. The film is a romantic-comedy of sorts with a bit of an edge that revels in a bit of violence but also fantasy. Starring Ewan McGregor, Cameron Diaz, Delroy Lindo, Holly Hunter, Dan Hedaya, Tony Shalhoub, Maury Chaykin, Stanley Tucci, and Ian Holm. A Life Less Ordinary is a witty yet off-the-wall film from Danny Boyle.

When true love is involved, fate comes into play to ensure that true love does happen while anything else that prevents that from happening have to be pushed aside. The film is about a couple of angels who arrive to Earth to make sure that an enraged Scottish janitor named Robert (Ewan McGregor) and a spoiled rich girl named Celine (Cameron Diaz) get together where if they don’t succeed, the angels will be forced to stay on Earth forever. Yet, the angels in O’Reilly (Holly Hunter) and Jackson (Delroy Lindo) do whatever it takes to make sure Robert and Celine together as the former decides to kidnap Celine for a ransom after he was fired by her father (Ian Holm) who replaced him for a robot. Though Robert is inexperienced in the idea of kidnapping, Celine helps him so she can collect some of the ransom money after realizing that her father decides to cut her off.

John Hodge’s screenplay definitely plays to the schematics of love where Robert and Celine are two people with very different views as the former is a dreamer who wants to write a novel as he’s going through a string of bad luck. The latter is a rich young woman who likes to do dangerous things and live a certain lifestyle as she had been through too many bad relationships to even consider the idea that there’s such a thing as true love. Because of the idea that true love is hokey, it causes problems up in Heaven where Gabriel (Dan Hedaya) is overwhelmed as God told him that he’s making new rules about to deal with the failure of love not happening. Hodge’s script isn’t just filled with some elements of black comedy as well as a bit of satire into the idea of the rom-com. He also allows the script to have some funny dialogue that plays into the idea of love while giving Robert and Celine reasons into why they should be with each other.

Danny Boyle’s direction is definitely engaging as well as stylized in some of the framing he creates as well as just letting things be much looser. Notably as Boyle incorporates a bit of the musical in the form of a duet between Robert and Celine to Bobby Darin’s Beyond the Sea. While it is a romantic comedy, Boyle is also aware that he wants to infuse the film with other genres such as crime and black comedy. Though the results can be a bit of a mess, Boyle does enough to make sure that the story is still there where he adds some suspense and moments to keep things light-hearted and fun. Overall, Boyle creates a very exciting and heartfelt film about love and fate.

Cinematographer Brian Tufano does excellent work with the film‘s photography where a lot of it is straightforward for the exteriors set in Los Angeles and parts of Utah while using some more stylish lights in some of the film‘s interior scenes. Editor Masahiro Hirakubo does nice work with the editing as it‘s very stylized to play up some of the humor and action as well as some dazzling moments in Robert‘s fantasy scenes. Production designer Kave Quinn, with set decorator Marcia Calosio and art director Tracey Gallacher, do great work with the look of Heaven where it’s all white and looks like a police station while keeping things more simpler for the scenes set on Earth. Costume designer Rachael Fleming does terrific work with the costumes from the more casual clothing of Robert to the more stylish clothes of Celine to display their personalities as well as bringing some styles to the clothes of O‘Reilly and Jackson.

Animation director Michael Mort does fantastic work with a claymation epilogue that reveals more into the fate of the film‘s characters. Sound editor Andy Kennedy does terrific work with the sound to capture some of the funnier moments of the film as well as some of its action scenes. The film’s music by David Arnold is superb for its playful use of electronic music to capture some of its humor and romantic elements. Music supervisor Randall Poster creates a very fun soundtrack that features music from Diana Ross & the Supremes, R.E.M., Ash, Elastica, Underworld, Oasis, Elvis Presley, Bobby Darin, Sneaker Pimps, the Prodigy, Beck, Orbital, the Shirelles, Gladys Knight, Luscious Jackson, Faithless, the Folk Implosion, and the Cardigans.

The casting by Donna Isaacson is brilliant as it features some notable small roles from K.K. Dobbs as Robert’s former girlfriend, Timothy Olyphant as a hitchhiker, Ian McNiece as Celine’s father’s bodyguard, Tony Shalhoub as a bar owner Robert later works for, Maury Chaykin as a cabin neighbor Robert and Celine befriends, and Stanley Tucci as a former prospect of Celine who would briefly help them out only to try to flirt with Celine. Dan Hedaya is excellent as the archangel Gabriel who gives O’Reilly and Jackson the mission while realizing that he might have the power to play into the fates of Robert and Celine. Ian Holm is superb as Celine’s very greedy and smarmy father who would rather keep the money than pay Robert’s ransom causing more dissent from his daughter.

Holly Hunter and Delroy Lindo are great in their respective roles as O’Reilly and Jackson as two angels who pose as bounty hunters who are doing whatever it takes to get Robert and Celine together even if it hurts or kills them. Ewan McGregor and Cameron Diaz are remarkable in their roles as Robert and Celine as two people brought together by circumstances as they deal with their differences. Notably as McGregor brings a comical approach to his character who is sort of a dimwitted dreamer while Diaz is more cool as a jaded spoiled rich girl who doesn’t believe in love where the two are also very fun to watch.

A Life Less Ordinary is a stellar yet enjoyable film from Danny Boyle that features top-notch performances from Ewan McGregor and Cameron Diaz. Armed with a wonderful supporting cast and a kick-ass soundtrack, it’s a film that doesn’t take itself seriously while wanting to give the audience something that is something different and fun in comparison to some of the more darker and intense films of Boyle’s other work. In the end, A Life Less Ordinary is a fantastic film from Danny Boyle.

Danny Boyle Films: Shallow Grave - Trainspotting - The Beach - 28 Days Later - Millions - Sunshine - Slumdog Millionaire - 127 Hours - Trance - Steve Jobs (2015 film) - T2 Trainspotting - (Yesterday (2019 film))

© thevoid99 2013

Alien: Resurrection

Directed by Jean-Pierre Jeunet and screenplay by Joss Whedon, Alien: Resurrection is the fourth and final film of the original Alien franchise in which a newly-cloned Ellen Ripley returns to fight a new species of aliens with a group of mercenaries after an experiment had gone wrong. With Sigourney Weaver playing the role of Ripley once again. The film also stars Winona Ryder, Ron Perlman, Dominique Pinon, Brad Dourif, Michael Wincott, Dan Hedaya, Gary Dourdan, and Leland Orser. Alien: Resurrection is a stylish yet engaging thriller from Jean-Pierre Jeunet.

200 years after the events that led to the death of Ellen Ripley, a military experiment that featured remnants of her DNA sample has finally succeed in cloning Ripley where her body contained a baby queen alien. With the newly-cloned Ripley still in containment as she contains alien blood in her body, the experiment led by General Perez (Dan Hedaya), his subordinate Dr. Wren (J.E. Freeman) and Dr. Gediman study the aliens as they wait for a ship to arrive. The ship features a team of mercenaries who had captured a group of people unaware of the motives the military has for them. While the band of mercenaries that includes Call (Winona Ryder) who recognizes Ripley as she secretly enters her cell in an attempt to kill her where Call reveals why she and the mercenaries are really here.

Instead, things go wrong when the alien experiment have the aliens break out of their containment area and kill most of the crew leaving Ripley, Call, the rest of the mercenaries, Dr. Wren, and a marine in DiStefano (Raymond Cruz) to deal with the aliens. Realizing that the only option is to destroy the ship and board on the mercenaries ship to escape, Ripley and the gang try to deal with the aliens as they kill a few while Ripley makes a discovery about the experiment that was done to her. While trying to escape the aliens, the group finds a man named Purvis (Leland Orser) who had survived the experiment as he learns he has an alien inside him that’s going to burst soon. Things become more complicated where another discovery is made where Ripley and Call realize what the queen alien is doing as Ripley realizes that new breed of alien is being made and it has to be stopped.

Throughout the entirety of the series, there is always a subplot that relates to a corporation wanting to take the sample of an alien in order to use it for bio-weapons. In this film, the military finally gets a hold of an alien for their experiment and everything goes wrong. Once again, Ellen Ripley and everything she had faced in the past reveal that everything she didn‘t want to happen has finally come true. Resurrected from the dead in order to fight the aliens one more time, she goes all out while having a new advantage that would help her fight off the aliens as she also has alien blood in her.

Joss Whedon creates a script that does reveal a lot into how Ripley was finally able to be successfully cloned yet also shows a woman who is trying to get in touch with her humanity while becoming aware of what she’s facing. There is a new conflict that she’s facing as she is a bit of an alien where she is quite reluctant to kill them since they’re really her children. It’s one of the interesting aspects of the screenplay as well as the mercenaries themselves who definitely have a motive to board the U.S. science ship as one of them in Call knows a lot about Ripley and her history with the aliens. While the script does play to formula a bit and carries lots of exposition that does go a bit overboard, Whedon is able to create a script that is very faithful to its predecessors.

Jean-Pierre Jeunet’s direction is definitely stylish in the way he presents the film in a visual scale as well as the fact that he was able to keep things more simple. With some unique framing from camera shots shown from above and under to create an air of suspense while emphasizing that it’s more than just a film as it’s often led by an ensemble. While Jeunet is aware that there’s a formula that’s to be played where characters do get killed off and such. Jeunet does manage to give some characters moments where they can stand out and actually give the audience something to care about. Jeunet also keeps the action exciting without delving too much into fast-paced action or shaky camera work. While the film definitely has flaws in some parts of the script as well as moments where some of the action and visual effects don’t mesh up. Jeunet does create a solid and thrilling film that lives up to some of the brilliance of the franchise.

Cinematographer Darius Khondji does excellent work with the film‘s lush yet evocative photography to play up the mood of the film with its emphasis for a bit of grain in the look as well as low-lights for many of the scenes to play up the sense of style. Editor Herve Schneid does nice work with the editing in the way the action is given a rhythm that isn‘t too fast while slowing things down for the suspense and low-key moments. Production designer Nigel Phelps, along with set decorator John W. Dwyer and art director Steve Cooper, does terrific work with the sets from the look of the labs and hallways in the spaceship to the designs of the nests where the alien eggs are to be hatched.

Costume designer Bob Ringwood does some good work with the costumes to create some nice mercenary suits for the mercenaries as well as the clothes that Ripley wears when she fights off the aliens. Visual effects supervisors Erik Henry and Pitof do wonderful work with the visual effects such as the way the aliens move and how some of the exteriors are made though there‘s some bits that doesn‘t entirely work. Sound designer Leslie Shatz and sound editor John A. Larsen do superb work with the sound to create an atmosphere that occurs as well as setting a mood for some of the film‘s suspenseful moments. The film’s music by John Frizzell is quite good for its orchestral bombast to play out the drama and action that occurs in the film.

The casting by Richard Pagano is brilliant for the ensemble that is created for the film as it includes some notable small roles from Carolyn Campbell and David St. James as a couple of scientists doing research on the aliens, Dan Hedaya as the big ship’s head General Perez, Leland Orser as a lab rat who has to deal with an alien inside of him, J.E. Freeman as the distrustful Dr. Wren, Raymond Cruz as the marine DiStephano, and Brad Dourif as the main scientist Dr. Gediman who is fascinated by the aliens. For the roles of the mercenaries, there’s Kim Flowers as the pilot Hillard, Gary Dourdan as the skilled shooter Christie, and Michael Wincott as the mercenaries leader Frank Elgyn. Jeunet regulars Ron Perlman and Dominique Pinon are great in their respective roles as the humorous shooter Johner and the paraplegic yet resourceful mechanic Vriess.

Winona Ryder is excellent as the mercenary Call who knows a lot more than her other mercenaries seem to know about the situation as she also carries a secret that would help everyone. Finally, there’s Sigourney Weaver in her fourth outing as Ellen Ripley. Weaver brings a new dark element to the character as a woman who is really a shell of what she used to be as she deals with her new alien blood as well as the fact that she’s the aliens’ mother where Weaver brings another fantastic performance as the famed character.

Alien: Resurrection is a stellar though flawed film from Jean-Pierre Jeunet that features a superb performance from Sigourney Weaver. Along with amazing visuals and top-notch supporting work from Winona Ryder, Ron Perlman, and Dominique Pinon. While it may not love to the brilliance of the first two films, it does manage to be entertaining enough for fans of the franchise. In the end, Alien: Resurrection is a superb film from Jean-Pierre Jeunet.

Jean-Pierre Jeunet Films: Delicatessen - The City of Lost Children - Amelie - A Very Long Engagement - Micmacs - (The Young and Prodigious Spivet) - The Auteurs #20: Jean-Pierre Jeunet

Alien Films: Alien - Aliens - Alien 3

© thevoid99 2012

Blood Simple

Originally Written and Posted at Epinions.com on 11/15/14 w/ Additional Edits.

Blood Simple is the story of a bar owner who suspects about his wife's extramarital affair as he hires a private investigator to kill his wife. Written and directed by by Joel and Ethan Coen, Blood Simple is a dark, fascinating film filled with intrigue and suspenseful moments where everything has a strange tone while laying underneath it is the dark, idiosyncratic humor the Coen Bros. would later be famous for in later films. Starring Joel's future wife & Coen regular Frances McDormand, M. Emmett Walsh, Dan Hedaya, John Getz, Samm-Art Williams, and Deborah Neumann. Blood Simple is a fascinating, abstract film debut from the Coen Bros.

It's a dark night in Texas as a woman named Abby (Frances McDormand) and her lover Ray (John Getz) are driving through a dark night on the road where they suspect they're being followed. After a stop at a hotel, Ray gets a mysterious call where he thinks it's Abby's husband Marty (Dan Hedaya), a bar owner who Ray works for. With Marty staying in the bar watching everything while being controlled by lead bartender Meurice (Samm-Art Williams), he quietly has a meeting with a private investigator named Visser (M. Emmett Walsh), who shows him pictures of Abby with Ray. Marty is surprised that it was Ray and not some other punk. Later that night, Ray appears to Marty asking for some owed money while Marty refuses to pay him since he knew what was going on. Marty asks Meurice, who was talking to his friend Debra (Deborah Neumann) to watch out for Ray.

The next morning while Abby stayed at Ray's home, she sees the family dog where she is confronted by Marty where she breaks his finger and kicks him in the balls. Ray follows, as Marty knew that trouble was going to happen where he turns to Visser. Talking to Visser in his Volkswagen, he asks him to kill his wife and Ray for a huge sum of money while he's going out of town to fish at Corpus Christi. Abby meanwhile looks for a new apartment and asks Meurice to watch out for Ray and Marty in case things get into trouble. While Abby stays at Ray's for a night, quietly coming into Ray's house was Visser. The next day, Visser calls Marty about the job and says it's done where Marty returns later that night and sees some pictures. Visser notices the large amount of money where suddenly, a double-cross ensues.

Ray appears quietly after Visser had left to find what happened where he found Marty's body and tries to clean things up quietly so Meurice wouldn't hear. Ray takes Marty to his car and notices that he's still alive where he tries to kill him but not in front of witness where he buries him alive in the middle of a farm in Texas. The next morning, he calls Abby to tell her that he loves her and everything becomes more and more complicated. Noticing that his lighter is missing, Visser notices what happens in the scene and decides to go find Ray and Abby for his own reasons while Ray becomes paranoid that Marty could be alive after Meurice got a call from him. Abby goes to Meurice for help where everything becomes complicated as she wonders what has just happened, who killed whom and is Marty really alive and what are Visser's intentions?

While Blood Simple is more of a tribute to the film noir of the past, the film is really a reinvention of the film noir thanks to the quirky mind of the Coen Bros. With the directing of the film in tact, the film has some wonderful tracking shots that move very fast while giving out some stunning camera work in scenes involving a fan as the cast watch the fan move slowly as it zooms in very slowly. If the film's eerily directing style is seductive to watch, what's more amazing is the screenplay by the Coens where everything is straightforward but there's a suspense and momentum that is build up while its structure starts out as one thing but by the film's second half, it becomes more intriguing to watch and you're not sure what's going to happen and there's some moments that are very surreal as the Coens become one of the most innovative and brilliant writers in independent cinema at that time.

Helping out with the visual trickery of the film is cinematographer and future filmmaker Barry Sonnenfeld who brings a lush, ominous look to the film with its blue filters in some of the night scenes while the road scenes are even more creepy to look at. Sonnenfeld, like latter-day Coens cinematographer Roger Deakins, is a master at visual manipulation since the film plays up to its evocatively moody tone. With the fast-paced editing done by the Coens under their Roderick Jaynes moniker along with Don Weigmann that helps enhance the intensity of the movie.

With production designer Jane Musky help capturing the Texan look of the film for its comical and dark layers; the film looks great in its dark tone, even in its strange setting in Texas. Then there's dark, melancholic score of longtime Coens composer Carter Burwell who brings elements of stark piano notes and ominous textures to the film's moody world while idiosyncratic use of the song It's The Same Old Song by the Four Tops brings some comical relief to the movie.

Then you have the film's small but memorable cast that also included future Coens regular Holly Hunter in a voice cameo in one scene as she was originally slated to play Abby but gave it to roommate Frances McDormand since Hunter was doing a play at the time. Deborah Neumann is excellent in her one scene with Samm-Art Williams about the Ring of Fire that brings some strange, quirky humor that is a trademark of the Coens while Williams is memorable as the eye of the bar while standing out with his white Converse and playing the Four Tops in a country bar.

Dan Hedaya is wonderful as the bloodthirsty Marty with his brooding features and tone while he doesn't play the stereotype of an angry husband since he knows his place and his own reasons for why he drove Abby into having an affair. John Getz is excellent as well in his role as Ray for his quiet, confrontational performance, notably his scenes with Hedaya are filled with great dynamics while he has great chemistry with McDormand as Getz plays a role that is excellent despite being typecast later on in sleazier boyfriend roles in his career.

M. Emmett Walsh is the film's best male performance for his dark, complex performance since he serves as black heart and soul with his penchant for greed and sleaziness. Walsh brings a lot of dark humor to the film while his intentions remain very hidden while he comes up with the best lines. Walsh is wonderfully amazing as this role as Visser is one of his best performances. Frances McDormand truly delivers a breakthrough performance as the cheating wife Abby with her concerned face and complex innocence where we understand why she despises Marty while becoming more confused later on about Ray while becoming more of an innocent pawn in a game. McDormand makes the character grow from a scared, cheating wife to a brave woman seeking her own independence.

Blood Simple is a great debut from the Coen Brothers highlighted by the performances of M. Emmett Walsh and Frances McDormand. Thanks to its dark, moody tone and noir-like style in its camera work, music, and structure, Blood Simple is a film that reinvents the film noir while being one of the great debut films ever made by any filmmaker. In the end, Blood Simple is a chilling yet entrancing film from Joel & Ethan Coen.

Coen Brothers Films: Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

A Simple Noodle Story

(C) thevoid99 2012

To Die For

Originally Written and Posted at Epinions.com on 1/22/08 w/ Additional Edits.

Before the age of the Internet and the overwhelming presence of the paparazzi that helped spawn tabloid TV, the media in the 1990s was just starting to get crazy due to incidents involving the OJ Simpson trial and other strange incidents including the Nancy Kerrigan-Tanya Harding feud prior to the 1994 Winter Olympics. The mid-90s was an era of craziness as media coverage made unknowns into celebrities for 15 minutes. In 1995, a film was made and released just at the time when media coverage of these events were at an all-time high. The film isn't just a satirical view of the media but what one person would do to become famous in the film entitled To Die For.

Based on Joyce Maynard's novel, To Die For tells the story of an ambitious TV weather girl who wants to have fame and a huge TV career who decides to have her husband killed with the help of a few teenagers she profiled for a documentary. With an adapted screenplay by noted humorist and writer Buck Henry and directed by indie auteur Gus Van Sant, the film is made into a style of mockumentary as characters tell the story through interviews and flashbacks as it's all centered around this ambitious woman and her marriage to a simple, Italian restaurant co-owner whose simple ideas get in the way of her desire to be a news reporter. With an all-star cast that includes Nicole Kidman, Matt Dillon, Illeana Douglas, Joaquin Phoenix, Allison Folland, Casey Affleck, Dan Hedaya, Kurtwood Smith, Holland Taylor, Wayne Knight, Susan Traylor, Maria Tucci, Mike Rispoli, Tim Hopper, and special appearances from Buck Henry, George Segal, and Canadian auteur David Cronenberg. To Die For is a witty, entertaining, and provocative masterpiece from the duo of Gus Van Sant and Buck Henry.

A woman named Suzanne Stone (Nicole Kidman) is being interviewed about the murder of her husband Larry Maretto (Matt Dillon) as she talks about her story of meeting Larry years ago at his restaurant that's run by his family. Larry is a simple, young man with simple dreams who comes from a loving, Italian family that included father Joe (Dan Hedaya), mother Angela (Maria Tucci) and his ice-skating sister Janice (Illeana Douglas). Larry catches Suzanne's attention as he tries to win her over including getting a little dog named Walter as Janice recalls her dislike towards Suzanne. Even when Larry and Suzanne wedded, she felt Larry changed from a guy who wore heavy-metal t-shirts to something more conservative. Joe and Angela Maretto are also recalling Larry's marriage in a talk show interview with Suzanne's parents Earl (Kurtwood Smith) and Carol Stone (Holland Taylor along with Suzanne's sister Faye (Susan Traylor).

During Suzanne and Larry's honeymoon in Florida, Suzanne goes to a media convention where she catches the attention of a speaker (George Segal). He gives her advice on how to get attention by telling her story about an unnamed reporter who became famous. Suzanne and Larry return to their home in New Hampshire as she pushes her way to get a job at a local cable channel where she convinces the station's manager Ed Grant (Wayne Knight) to give her a job as she eventually became the weather girl. Though being on TV has given her satisfaction, Suzanne wants more as she decides to make a documentary about teens as she discussed the projects with some students as three of them join the documentary, Jimmy (Joaquin Phoenix), Lydia (Allison Folland) and Russell (Casey Affleck).

Immediately, Jimmy and Lydia befriend Suzanne as Jimmy begins to have a crush on her while Lydia feels like she finally has another woman to talk to. Yet with Suzanne's ambitions to become famous, Larry wants to have a family and have Suzanne more involved with the family business since he is set to run his father's restaurant business. Though Suzanne told Larry she'd think about it, but in reality, she decides that he must go. Getting into an affair with Jimmy, the young man is manipulated by Suzanne to have Larry killed. With Lydia providing the gun and Russell going along for the plan, the murder finally happens but evidence and suspicion occurs as Suzanne despite all of her planning let her own ambitions get the best of her.

Mockumentaries are a form of fictional documentaries where characters and such are interviewed in conjunction with the story. The film's story is really about a woman who is willing to become famous by any means necessary. Even if she has to kill her loving husband just to become famous. Told in a style of memories and interviews, screenwriter Buck Henry creates a story that is filled with a lot of dark humor, witty dialogue, and satire as his take on media coverage, tabloid TV, and ambition is truly one of the best script adaptations ever written. Even the characters like Suzanne, Larry, Jimmy, Lydia, and Janice prove to be more than just one-dimensional caricatures. Janice is a sister who like her brother, has simple ambitions while remaining devoted to her family while really being one of the few people who saw Suzanne as a phony. Jimmy may seem like a dumb, stoner character but his own naivete provides an innocence as a young man who finds some self-respect for the first time since Suzanne is one of the rare people to call him James.

Lydia is another character who is filled with character development as this chubby, insecure young woman who finds a friend in Suzanne and like Jimmy, becomes manipulated as she is one of the more real characters in the film as she is also one of the film's main storytellers. Larry at first glance might seem like a typical, Italian-American man with little ambitions but his love for simpler things and family makes him into a well-meaning man. Yet, when he is about to die, one would've expected him to fight back but the shocking behavior of his murder from Jimmy's point of view realized what the two men really are. Yet, the real arc of the film is Suzanne, a woman who doesn't really like to use her husband's last name for professional reasons. Yet, she's a very complex character who uses her sex appeal and charm to get what she wants while at the same time, she isn't a very smart woman when a camera or a media figure is involved.

A lot of the film's humor and satire should go to Buck Henry for his sharp, witty screenplay while helming this story into a kinetic visual style is Gus Van Sant. Van Sant's direction is extremely superb and hypnotic. The use of style and compositions that Van Sant presents gives a film that is enamored with the idea of a mockumentary. Suzanne's interview is shown through her talking behind a white background as she is talking to a camera. There's a few great scenes where Van Sant conveys a mood, particularly in the lighting as it plays to Suzanne's eerie ambitions where things go from light to dark. Even the use where the camera becomes a hole to target Larry's head confirms Suzanne's state of mind. Van Sant's approach to the ending is comical that involves a cameo by revered Canadian director David Cronenberg that is followed by an ironic ending. The overall direction of Van Sant is truly superb as his use of wit and humor creates a film that is entertaining and provocative.

Longtime cinematographer Eric Alan Edwards creates a wonderful, stylish photography with a sheer, bright look to many of the film's daytime exteriors with Ontario, Canada playing New Hampshire with its great shots of the snowy town. Edwards' interior work is wonderful to convey the sense of style and lighting moods as the film has a strange, noir-like feel to convey the mood of Suzanne. Editor Curtiss Clayton brings a wonderful style to the film's editing that has a somewhat, non-linear feel with the use of jump-cuts, slow-motion, and transitions. Even through the jump-cuts, there's moment of what the audience might've thought happened as the film plays through like a puzzle with Clayton's superb editing.

Production designer Missy Stewart and art director Vlasta Svoboda does a wonderful job in creating the suburban home of Larry and Suzanne with wonderful colors in the furniture and appliances while creating the poor homes of the teens she's profiled. Costume designer Beatrix Aruna Pasztor does an amazing job in the look of Suzanne's clothes where it's all in style from the colorful power suits and blouses she wears to her colorful underwear, dresses, and tight pants. The costumes that Kidman wears is extraordinary and fun to watch. Sound editors Kelley Baker and J. Paul Huntsman do excellent work in the sound to convey the suspense and atmosphere in the dramatic scenes of the film.

Music composer Danny Elfman creates a fun, hypnotic score that is reminiscent of the classic scores from the films of Alfred Hitchcock. With a mix of screeching, metal guitars, the score underplay the film's humor while adding a saucy sense of terror of what is to come. Elfman's score is truly superb as the soundtrack features memorable cuts from Eric Carmen, Billy Preston, Lynyrd Skynyrd, Strawpeople, Nailbomb, Donovan, and in the film's promos, Don Henley's Dirty Laundry.

The casting by Deirdre Bowen and Howard Feuer is wonderfully assembled with cameos and small appearances from Rain Phoenix, Buck Henry as high school teacher Mr. Finlayson, George Segal as a conference speaker, the film's novelist Joyce Maynard as Suzanne's lawyer, and David Cronenberg in a great cameo as a man at a lake. Notable small roles from Gerry Quigley as Ed's associate George, Michael Rispoli and Tim Hopper as two detectives investigating Larry's murder while having a funny scene with Joaquin Phoenix in his interrogation as the two actors also appear in scenes as the Maretto's restaurant regulars. Holland Taylor is fine as Suzanne's mother along with Susan Traylor as Suzanne’s sister. Kurtwood Smith has a memorable appearance as Suzanne's father who doesn't approve of Larry at first due to his background. Maria Tucci is great as Angela Maretto who is concerned about Suzanne's lack of desire to become a mother while Dan Hedaya is great as Joe Maretto, the father who helps Larry in the importance of family.

Wayne Knight is wonderfully entertaining as station manager Ed Grant as Knight's straightforward, comedic performance is fun as he plays a foil of sorts for Kidman while calling her character "gangbusters". Illeana Douglas is amazing as Janice Maretto whose quick-witted remarks about Suzanne is filled with a lot of humor while in some ways, plays the film's conscience as she is baffled by Larry's choice in wanting Suzanne as his wife. In his film debut, Casey Affleck is great as the trouble-making Russell who is more than willing to do crazy things while annoying Mr. Finlayson. Allison Folland is extremely superb as Lydia, a young insecure girl who is easily manipulated by Suzanne as she is often given advice about losing weight while for a moment, feels like she's fitting in as Folland's performance is truly memorable, which is also her film debut.

Joaquin Phoenix delivers a breakthrough performance as the dim-witted but sweet Jimmy who falls for Suzanne while finally getting some self-respect and confidence despite his own insecurities. Phoenix's laconic, subtle performance is amazing as the actor proved he can step into the shadows of his late older brother, River while proving to be one of the best actors of his generation. Matt Dillon is amazingly low-key as the charming, street-smart Larry Maretto. Dillon's engaging performance is fun to watch as he plays a man with simple ideas of family and love who is truly unaware of his wife's ambitions as Dillon is great in playing a character who eventually becomes a victim.

The film's best performance truly goes to Nicole Kidman in what is really her breakout role to American audiences. In the role of Suzanne Stone, Kidman brings a lot of layers to the performance as she is mean, conniving, manipulative, and cold whenever she's not getting what she wants or trying to control the situation. Yet, when she is at work or being part of some media event, Kidman adds a lot of energy and humor to the character that is sometimes heighten by the presence of the little dog Walter played by Misha. The whole film is Kidman through and through as it's a wonderful, star-making term for the Australian beauty.

When it was released in 1995, the film drew rave reviews and box office as Nicole Kidman received lots of acclaim including a Golden Globe win for Best Actress in a Comedy/Musical. The film proved to be Kidman's breakout role as she finally stepped out of the shadow of her then-husband Tom Cruise. The film also introduced the public to Joaquin Phoenix and Casey Affleck in which the latter would become one of Van Sant's key collaborators as his older brother Ben and friend Matt Damon would help bring Van Sant his biggest success with their own screenplay entitled Good Will Hunting.

To Die For is an extraordinary, witty, and entertaining masterpiece from Gus Van Sant and screenwriter Buck Henry helmed by a phenomenal performance from Nicole Kidman. Fans of black comedies and satires no doubt will enjoy this film while fans of Kidman will no doubt consider this her most essential performance. While fans of Gus Van Sant will consider this film to be his most accessible in comparison to art-house fares like My Own Private Idaho and Drugstore Cowboy to more experimental films like his recent Death Trilogy. The film is still one of Van Sant's quintessential films. In the end, for a film that is sexy, a great soundtrack, look, and witty commentary on the media, To Die For is the film that lives up to its title.

Gus Van Sant Films: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Milk - Restless - Promised Land

The Shorts & Videos of Gus Van Sant - Auteurs #4: Gus Van Sant

(C) thevoid99 2011

Mulholland Dr.

Originally Written and Posted at Epinions.com on 10/17/07 w/ Additional Edits.

Ever since 1977's Eraserhead, David Lynch has been a director that has always warped the mind of audiences. With films like Blue Velvet, Wild at Heart, The Elephant Man, Lost Highway, and the TV series Twin Peaks. Lynch has always been a storyteller who never tells his audience what his films were really about. In 1999, Lynch shocked his most devoted hardcore fans and his most hated detractors with a film that didn't have the Lynch-style of surrealistic images, weird characters, and complex storylines with the film The Straight Story. The straightforward film about an old man riding on a tractor to meet his dying brother touched fans and critics alike as Lynch moved forward into the 21st Century. By that point, he had become an elder statesman in film as he tried to create a new TV project that eventually was dropped. Yet, that project would become not only into a film but also one of his greatest entitled Mulholland Dr.

Written and directed by David Lynch, Mulholland Dr. tells the story of a Hollywood actress who has suffered amnesia after a car accident. Befriending a young, aspiring actress, they try to unravel the mystery of who she really is while a film director is trying to find the right girl for his new film. Eventually, the two would suddenly go into another world as different identities where things changed. A dark, layered film with twists and turns, the film is pure Lynch as he balanced both his love of experimental films and traditional genres into what would be his finest work yet. Starring Naomi Watts, Laura Elena Harring, Justin Theroux, Ann Miller, Dan Hedeya, Billy Ray Cyrus, and Robert Forster. Mulholland Dr. is a provocative yet hypnotic masterpiece from David Lynch and company.

Driving into the dark night on the Hollywood hills, an actress (Laura Elena Harring) is riding on a limo where it stopped when a man pulled a gun at her. Then suddenly, a car collided with the limo leaving almost everyone dead except for the actress who had a concussion on her head. Walking down to Hollywood, she lands herself in the home of an old actress named Ruth (Maya Bond), who was just leaving to work in Canada. Arriving to Ruth's home is her niece and aspiring actress named Betty (Naomi Watts). Betty meets the apartment's landlord Coco (Ann Miller) who gives her a tour of the complex. After settling in, Betty finds the actress in the shower as they later talk where the actress, who has no idea who she is, calls herself Rita.

Meanwhile, a film director named Adam Kesher (Justin Theroux) has lost his lead actress as a couple of mob brothers (Dan Hedeya and Angelo Badalamenti) suggest in using a woman named Camilla Rhodes (Melissa George). Kesher refuses as he later beats their limo with a golf club. Things only get worse when the studio head Mr. Roque (Michael J. Anderson) heard what has happened as he makes a decision to have Kesher's film shut down. Returning home, Kesher finds his wife sleeping with the cleaning pool man named Gene (Billy Ray Cyrus) as he stands to lose everything until he meets a mysterious cowboy (Monty Montgomery) later at night.

When Betty learns that Rita isn't a friend of her aunt, Rita reveals she has no idea who she is as her purse is filled with money and a blue key. The two decide to try and find some clues into her identity where at a restaurant, Rita remembers the name Diane Selwyn as the two try to continue their own investigation. When Betty gets called for an audition, she accepts as she auditioned for a producer (James Karen) that goes well even though the casting director though the material was awful. When Betty is accompanied by the casting director to look at the studio, she catches the eye of Adam Kesher during an audition. Betty leaves to go with Rita to continue their investigation as they find out where Diane lives and eventually, who she is. Rita, now fearing for her own life wears a disguise as she and Betty bond.

Then later that night, Rita says the word "Silencio" as she remembers about an event at a theater late in that night. The two women go to the event where they see numerous illusions including a woman (Rebekah del Rio) singing a devastating cover of Roy Orbison's Cryin' in Spanish. There, Betty finds a blue box in her purse where upon returning to their apartment, Rita gets the key and opens the box as the two women are then lead to a new reality where they both take on different identities and situations as Betty learns who Rita really is.

While many of David Lynch's films never reveal any kind of details into what it's really about, leaving the viewer to give an open interpretation. Mulholland Dr. is no exception since it has many elements of a Lynch film. It's got surreal images, strange characters, unrelated subplots, and a complex narrative. Yet, unlike these films, the film is a commentary on Hollywood and the industry on some aspects. Referring to a director wanting control as he is being pushed by a mob and an aspiring actress hoping to reach her dreams. The worlds that Lynch express isn't just the harsh reality of Hollywood but also the naive dream that one might have coming to that place. Yet, that's an idea of what the film is about, until the last 30 minutes of the film where things definitely change.

Again, it all comes down to Lynch's script and the interpretation of what the audience might have. Every scene, including the opening scene that involved a Gap-like commercial of people swing-dancing, and unrelated subplots that included a man having a strange dream and a hitman screwing things up are all important to what the film and its story is about. While there isn't a real plot to the film, the first two hours of the film definitely grabs the audience with its mix of irreverent humor, dreamy sequences, and its ode to the mystery genre. In those two hours, the film kind of pushes back and forth to the Betty/Rita scenes and then to the situation of Adam Kesher in his bid for control.

Then comes the last thirty-minutes of the film (which will not be revealed). Everything changes where both Betty and Rita play different people and the situations emphasizes a much harsher reality of not just Hollywood but also the relationships the two had in the last two hours of the film. Whereas the first two hours had this sense of naivete, it crashes down to something darker in order to give one of the characters a larger role to play. Even some of the dialogue that was uttered in the film early on is heard again but this time, from a very different interpretation. It's a twist that definitely changes the entire tone of the film in which, the audience has to think about what they have seen and what they really think happens.

All of the credit must go to Lynch for his emphasis to experiment on both structure and presentation. His eerie, evocative, and often surrealistic direction works on every level. In fact, everything he had done before must've given him the chance to use what he had done while maintaining his experimental side as well. The close-ups he has on some of the characters, notably their eyes, along with tracking shots, flashing lights, and eerie shots of Los Angeles all work to emphasize the tone of the film. Especially from the emotions of the characters who are going through these events in their lives. In that third and final act where everything has changed, Lynch definitely has a sense of detachment of where the camera is placed to emphasize the troubles of the person dealing with the harshness of reality. The result isn't just Lynch at his best but also in his mastery of the art of filmmaking.

Cinematographer Peter Deming brings an eerie style to his photography from the sharp, dreamy look of exterior Los Angeles at night to the intimate, sunshine look of the film's interior sequences. Deming's photography also includes some unique lighting from some of the interior scenes where only a red light is lit and in the theater sequences, a blue light is shimmering to convey the sense of suspense in the film. Deming's work is superb in every way as he gives Los Angeles a haunting look and tone. Editor Mary Sweeney brings a wonderful approach to the film's editing with its leisurely-paced tone while using dissolves, jump-cuts, and fade-outs to convey the film's unconventional tone.

Production designer Jack Fisk, known for his legendary work with Terrence Malick, and art director Peter Jamison create a unique look to the film with its posh-like set decorations that is pure Los Angeles with its apartment and mansions to objects that surrounds the place that includes the blue box and the red lamp at the home of Diane Selwyn. Costume designer Amy Stofsky also brings a unique look to the costumes from the casual, L.A. clothing the two female leads wear to the all-black clothes that Adam Kesher wears. Sound editor Ronald Eng and David Lynch on sound design definitely create a unique tone to the sound to convey the haunting atmosphere that is L.A. and all of strange wonders.

Longtime collaborator in composer Angelo Badalamenti brings a wonderfully haunting film score that is a mix of jazz, blues, electronic music, and orchestral that is wonderfully exquisite and haunting. Lynch and John Neff also add material to the film's soundtrack with its use of haunting electronic music to convey the darkness of Hollywood. With cuts from 50 acts like Connie Stevens and Linda Scott for an audition sequences, the most haunting and devastating track comes from Rebekah del Rio doing Roy Orbison's Cryin' in Spanish.

The film's cast is wonderfully assembled with notable performances from its diverse cast. Small performances from Patrick Fischler as a man named Dan, who is haunted by a dream is great as is Lynch regular Scott Coffey as a dinner guest, Michael J. Anderson as Mr. Roque, James Karen as a film producer, Lee Grant as Betty's strange neighbor who sees something bad in Rita, Maya Bond as Aunt Ruth, Mark Pellegrino as the incompetent hitman Joe, Missy Crider as a waitress, Jeanne Bates as an old woman named Irene whom Betty befriends early in the film with Dan Birnbaum as Irene's companion, Elizabeth Lackey as an auditioning actress named Carol, Melissa George as Camilla Rhodes, Katherine Towne as Kesher's secretary, and Lori Heuring as Kesher's cheating wife.

Other notable minor performances from Robert Forster in a one-scene appearance as Detective Harry McKnight is great for that brief moment as Forster continues to shine since his Oscar-nominated performance in Jackie Brown. Country music star Billy Ray Cyrus is very funny as the pool-cleaning guy Gene who manages to say some hilarious one-liners throughout the film. Lynch composer Angelo Badalamenti and Dan Hedeya are great as mob brothers who are very quiet with Badalamenti getting more to do, including a scene with an espresso. Ann Miller is great as Coco, a landlady who shows Betty around her apartment while warning her about the quirks and such that goes on. Miller also appears in the third act as a woman with the same name but a different background.

Justin Theroux is great as Adam Kesher, a director striving for control who is unaware of who runs the business and the lifeblood that is his work. Theroux is wonderfully engaging in every scene he's in while filling himself with sarcasm and sometimes, sadness as a director who ends up losing control and appears in the third act as a completely different person. Laura Elena Harring is wonderful as the exotic, beautiful Rita, who looks like a Hollywood actress while channeling all of the emotions one would expect from an amnesiac. Harring's performance is wonderful to watch as she and Naomi Watts have great chemistry as Harring also displays her sultry persona in the third and final act of the film.

The film's breakthrough definitely goes to Naomi Watts, who for years prior to this film had been struggling for attention while appearing in smaller films and bit parts in big films. In the role of Betty, Watts displays all of the innocence, perkiness, and naivete one would expect from a young actress wanting to make it in Hollywood. It's Watts' portrayal of that innocence that lights up the screen as her spirited, charming performance is amazing to watch. When she takes on a different character in the third, everything changes as Watts' appearance is more startling, her performance is more raw and decayed as she proves herself to not just be a complex actress but a force that was to be reckoned with in the years to come. If there was a star that came out of this film, it's Naomi Watts.

When the film premiered at the 2001 Cannes Film Festival, it received an excellent response from audiences and critics as Lynch shared the Best Director prize with Joel Coen for The Man Who Wasn't There. Upon its theatrical release later in the year, the film drew not only Lynch's best reviews but also box office as the director received another Oscar nomination for Best Director. Another surprise for the success of the film was a glowing, four-star review from Lynch's biggest detractor Roger Ebert who called the film one of the year's best. Following this success, it's clear that Lynch had finally attained the long, overdue respect and prestige that he's craved for all these years.

While some audiences might be confused by a lot of the film's complex narrative style, Mulholland Dr. is still an amazing, unconventional, and eerie film from David Lynch and company. With a great cast led by Naomi Watts, Laura Elena Harring, and Justin Theroux, it's a film that seeing it once isn't enough. It's a film that's worth watching over and over again to give out new interpretations. Fans of Lynch will no doubt consider this one of his quintessential films though it would also spark on whether this or other films are his best. In the end, for a wonderfully dreamy, complex, eerie mystery that doesn't play to conventions, David Lynch's Mulholland Dr. is the film to go see.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - INLAND EMPIRE

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

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