Anomalisa

Directed by Charlie Kaufman and Duke Johnson and written by Kaufman that is based on his own play under the pseudonym Francis Fregoli, Anomalisa is the story of a lonely man who meets a woman at a hotel in Cincinnati prompting him to realize not everyone is identical to him. Presented in a stop-motion animated film, the film is an exploration of a world where everyone is the same as a man copes with that sense of loneliness in his life. Featuring the voices of David Thewlis, Jennifer Jason Leigh, and Tom Noonan. Anomalisa is a mesmerizing yet evocative film from Charlie Kaufman and Duke Johnson.

The film revolves around a man who is arriving to Cincinnati for a conference he’s holding on customer service as he copes with his loneliness and the decisions he’s made in his life as he meets a woman he would fall for. It takes place in the span of 24 hours as this man is dealing with the fact that he is probably one of the few who feels different as everyone else around sounds or look the same. Charlie Kaufman’s screenplay is filled with a lot of dialogue that play into the internal and emotional crisis that the film’s protagonist in Michael Stone (David Thewlis) is going through. Many of the people he encounter all kind of have the same face in some ways and all with the same voice in different ways as he also copes with the fact that he still carries a letter from a former lover who lives in the city.

When he encounters a woman named Lisa Hesselman (Jennifer Jason Leigh), Stone begins to feel more upbeat as well as open himself to Lisa who is quite insecure herself as she is in the city with a friend to attend Stone’s conference. The two would have a drink with Lisa’s friend Emily as it would lead to Stone’s fascination with Lisa as it is clear they have a lot in common. Notably as they’re two people unhappy in their life as Kaufman’s script doesn’t really have much of a plot in favor of exploring these characters who both don’t feel like they fit in with anyone.

The direction of Kaufman and Duke Johnson is definitely entrancing for the way they present the film in this form of stop-motion animation in the way the characters look as well as the world they’re in. With the help of animation director Dan Driscoll, the film’s direction would have Kaufman and Johnson create some unique camera movements as well as some tracking shots for some long takes in some scenes though the camera has to move one frame at a time as it relates to form of stop-motion animation. There are also some unique compositions with the usage of the wide and medium shots in the way Kaufman and Johnson would film the conversations. Part of the animation’s look of the characters are reminiscent of the art of puppetry as there’s outlines of the character’s faces in the eyes and jaws so that they can move their body parts while they talk or display some form of emotional expression. 

There are also moments in the film where the animation takes some risk such as a sex scene between Michael and Lisa as it does have a lot of emotional weight. Even as it play into the former’s need to find himself and what he wants in life as it would culminate with this conference that would be the catalyst for the anguish he’s dealing with in his life. Overall, Kaufman and Johnson create a compelling and riveting film about a man dealing with an existential crisis while meeting another lost woman at a hotel in Cincinnati.

Cinematographer Joe Passarelli does brilliant work with the cinematography from the way all of the interiors are lit as well as how the exterior settings are presented in the lighting. Editor Garret Elkins does excellent work with the editing as it is quite straightforward to play into the drama and bits of humor while there are a few stylish cuts for a surreal sequence late in the film. Production designers John Joyce and Huy Vu do amazing work with the look of the hotel halls, the hotel rooms, and other places including some of the exteriors of the city. Costume designer Susan Donym does fantastic work with the look of the clothes and how they would move as well as play into the personality of the characters.

Visual effects supervisors Billy Brooks, Culley Bunker, Stuart Cripps, and Derek Smith do terrific work with the visual effects which is essentially a bit of set-dressing as well as a key moment in a surreal sequence. Sound editors Christopher S. Aud and Aaron Glascock do superb work with the sound as it captures some of the atmosphere of the hotel bars, the conference room, and other sound effects that was created for the film. The film’s music by Carter Burwell is wonderful as it is this very low-key score with its somber orchestral score and jazz-like music to play into some of the dramatic moments of the film where there is also an original song in the film sung by Tom Noonan as well as a cover of Girls Just Wanna Have Fun sung by Jennifer Jason Leigh.

The film’s cast mainly consists of three actors with Tom Noonan providing the voice for pretty much all of the characters with the exception of the two protagonists as he provides a variation of voices the many characters in the film as if they’re all the same. The voice performances of Jennifer Jason Leigh and David Thewlis in their respective roles as Lisa Hesselman and Michael Stone are incredible as they both provide the sense of loneliness and despair into their roles with Leigh being very lively in her voice role with Thewlis in a more dry and cynical approach that would loosen up as the story progresses.

Anomalisa is a phenomenal film from Charlie Kaufman and Duke Johnson. It’s a film that doesn’t play by the rules while showcasing that animated films can explore adult subject matters as well as be racy. Even as it’s a film that is quite complex and dares to ask big questions about life and what it means to live. In the end, Anomalisa is a spectacular film from Charlie Kaufman and Duke Johnson.

Related: Synecdoche, New York

© thevoid99 2017

Wonder Woman (2017 film)

Based on the DC Comics created by William Moulton Marston, Wonder Woman is the story of a princess who leaves her home island to help a young man she meets on the island to end World War I as she copes with her new surroundings and the chaos of the world. Directed by Patty Jenkins and screenplay by Allan Heinberg from a story by Heinberg, Jason Fuchs, and Zack Snyder, the film is an origin story that explores a woman who wants to help the world and save it from total destruction as the titular character, whose name is Diana Prince, is played by Gal Gadot. Also starring Chris Pine, Connie Nielsen, Robin Wright, David Thewlis, Elena Anaya, Ewan Bremner, Lucy Davis, Lilly Aspell, Emily Carey, Eugene Brave Rock, Said Taghmaoui, and Danny Huston. Wonder Woman is an enthralling and rapturous film from Patty Jenkins.

The film is an origin story about an Amazonian princess who lives in a remote and secret island inhabited by women as a pilot crashes into the land telling her about what is happening in the world as she hopes to end the war and go after a god she believes is responsible for what is happening. It is a film with a simple story but it’s filled with a lot of complexities as it relates to this woman in Diana who has been sheltered in this paradise island raised by her mother Hippolyta (Connie Nielsen) who isn’t keen about having Diana be an Amazonian warrior like Hippolyta’s sister Antiope (Robin Wright) who would secretly train Diana since she was a child. Then when Diana sees an airplane crash into the sea and rescue the pilot who would turn out to be this American spy in Steve Trevor (Chris Pine). With the lasso of truth, Trevor would reveal why he’s arrived as he would reveal what is going on outside of the island of Themyscira prompting Diana to think that the god of war Ares is involved.

Allan Heinberg’s screenplay isn’t just about this story of Diana becoming this heroine and fighting for what is right but also dealing with the world on a much larger scale as well as what she has to face. The first act largely takes place in Themyscira where it is about Diana and the role she’s playing as well as why her mother isn’t keen on having her fight for the world while her aunt knows that Diana has to protect herself yet neither have really explained why as it relates to Ares whom Antiope believes would return. The second act takes place in London and parts of Europe where Diana is definitely a fish out of water into this new environment she’s in as she believes that this German general in Erich Ludendorff (Danny Huston) is Ares in disguise. It’s not just in the plotting and story structure that Heinberg really succeeds in but it’s also fleshing out the characters as Hippolyta and Antiope are these figures to Diana who provide to sides that Diana has to balance while Trevor is a man who has seen the world as he owns up to the fact that humanity is flawed but know that there is still good there.

At the center of the story is Diana as her character development is crucial to the film as someone who is quite naïve about the outside world as she has no idea why her mother wants to protect her as it relates to Ares. Her encounters with the world is comical at first but also has showcase an air of innocence in Diana which is often rarely seen in films about superheroes or super-heroines. Though she is quite powerful in the way she deal with foes in how she can deflect bullets with her metallic wristbands and do all sorts of things as a warrior. She’s also quite vulnerable when she’s forced to face things she can’t really understand as it relates to the dark aspects of humanity. While Trevor admits that he is flawed and everything else is flawed, it’s a moment that leads to its climax where Diana doesn’t have to just understand what it means to be a heroine but about what needs to be achieved for peace.

Patty Jenkins’ direction is definitely sprawling in terms of the world that is set as well as the stakes into what is happening throughout the story. Shot on various locations in London, the southern coasts of Italy as Themyscira, Paris, and other locations in Europe. Jenkins does create something that do have some of the conventional aspects expected in blockbuster superhero origin films but there’s a gracefulness in the way she introduces Diana as the film begins in modern-day Paris in which Diana receives a special gift from Bruce Wayne/Batman at the Lourve. It would then have Diana reflect on her life from being a child eager to fight like her aunt as well as be kind and courageous like he mother. The scenes set in Themyscira are quite simple where Jenkins knows how to use the wide shots not just to establish the location but also a world that is idyllic. When Trevor arrives, the tone changes where it is quite serious as Jenkins know where to use medium shots and close-ups for some of the drama as well as find the right touches of humor.

The scenes in London are quite comical as it involves some of the commentary from Trevor’s secretary Etta Candy (Lucy Davis) who takes a liking to Diana for her proto-feminist commentary as Jenkins would create something that is naturally funny. It help give the film a break from the action where Jenkins would give the film some air to breathe without being overwhelmed by moments of action and suspense as well as take her time to know some of the characters in the film. The action scenes set in the battlefields are quite spectacular as Jenkins know how to move the camera as well as get a sense of what is happening without deviating too much into the very conventional style of chaotic, speed-cutting cinema that is so common with blockbuster films. The film’s climax as expected is quite grand yet it offers so much more as it does have a universal message about humanity and what can be done to provide peace no matter how complicated things are. Overall, Jenkins crafts a spectacular yet heartfelt film about a woman warrior who makes a difference in a world ravaged by war.

Cinematographer Matthew Jensen does excellent work with the film’s cinematography from the naturalistic beauty of the idyllic Themyscira to the usage of more low-key colors for the scenes in London, France, and Germany including some of the exteriors at night. Editor Martin Walsh does brilliant work with the editing as it is very stylized with its usage of slow-motion and jump-cuts while not needing to go into fast-paced chaotic editing styles in order to establish everything that is going on in a scene. Production designer Aline Bonetto, with set decorator Anna Lynch-Robinson and a team of art directors, does fantastic work with the design of the halls and palaces at the Themyscira castle as well as the German base and labs as well as some of the locations in France. Costume designer Lindy Hemming does superb work with the costumes from the way Diana’s heroic costume look as well as the dresses she had to wear in London as it is among one of the film’s funniest sequences.

Hair/makeup designer Christine Blundell does nice work with some of the makeup as it relates to the crazed chemist Doctor Poison as well as the hairstyles that women wore during that period in World War I. Visual effects supervisor Bill Westenhofer does some terrific work with the design of the visual effects as some of it is for set dressing for a few scenes in Themyscira as well as some of the action sequences including the film’s climax. Sound editor James Mather does amazing work with the sound as it help play into some of the sounds that happen during the action scenes as well as some of the suspense. The film’s music by Rupert Gregson-Williams is wonderful for its bombastic orchestral score that help play into the action as well as serene pieces for the dramatic moments including the early scenes in the film while music supervisor Karen Elliott assemble a soundtrack featuring folk songs of the times as well as a new song by Sia and Labrinth.

The casting by Lora Kennedy, Kristy Carlson, and Lucinda Syson is great as it feature some notable small roles and appearances from Ann Wolfe as a tough Amazonian named Artemis who help trained Diana, Lisa Loven Kongsli as Antiope’s lieutenant Menalippe, Lilly Aspel as the eight-year old Diana, and Emily Carey as the twelve-year old Diana. The trio of Said Taghmaoui, Ewen Bremner, and Eugene Brave Rock are superb in their respective roles as the spy/master of disguise Sameer, the troubled yet resourceful sharpshooter Charlie, and the opportunistic trader Chief who all provide some nice support in helping Diana and Trevor on the battlefield. Elena Anaya is terrific as General Ludendorff’s mad chemist Dr. Isabel Maru aka Doctor Poison as a chemist who experiments with gas in order to create weapons of mass destruction that would help the Germans win the war. Lucy Davis is fantastic as Trevor’s secretary Etta Candy who is the film’s comic relief as someone that helps Diana in looking like a modern woman while providing some very hilarious commentary and moments in the film.

David Thewlis is excellent as Sir Patrick Morgan as a speaker of peace for the Imperial War Cabinet who would fund whatever assignment Trevor and his men needed as well as be fascinated by Diana. Danny Huston is brilliant as General Erich Ludendorff as a mad general that is eager to win the war at any cost as he has a thirst for power and chaos which makes him a likely suspect as Ares to Diana. Connie Nielsen is amazing as Diana’s mother Queen Hippolyte as a woman who is keen on protecting Diana as well as reveal something she doesn’t want Diana to know as someone who is conflicted yet forced to accept that she can’t be there for her daughter all the time. Robin Wright is incredible as General Antiope as Diana’s aunt who sees the potential in her niece to fight for herself as well as someone knows Diana’s secret but is more concerned with preparing her for the truth as well as Ares’ inevitable return.

Chris Pine is marvelous as Steve Trevor as an American spy who is trying to find ways to end the war as he would crash land into the coast of Themyscira where he is a man that does have a somewhat cynical view of the way the world is but also a humility and charm that makes him an engaging figure for Diana to be with whether as an object of love or as a partner. Finally, there’s Gal Gadot in a phenomenal performance as the titular character/Diana Prince as an Amazonian princess who is a gifted warrior that is eager to do good in the world and defeat Ares in order to create peace. Gadot’s performance is definitely the highlight as someone that isn’t afraid to be vulnerable but also tough when she needs to be as well as display that air of innocence as someone who was very sheltered in her home environment as she realizes what it takes to save mankind and the world from the evils of man as well as those in power as it is a true breakout performance for Gadot.

Wonder Woman is a tremendous film from Patty Jenkins that features a magnificent performance from Gal Gadot. Along with a remarkable ensemble cast, a compelling screenplay, dazzling visuals, and a fine balance of action, drama, humor, and suspense. It’s a film that manages to do a lot more of what is expected in the superhero origin story as well as be something that manages to say a lot about humanity and how there’s hope in the darkest of times if someone is willing to fight for it. In the end, Wonder Woman is an outstanding film from Patty Jenkins.

Patty Jenkins Films: (Monster (2003 film)) - (Five-Pearl)

DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)

© thevoid99 2017

Legend (2015 film)

Based on the novel The Profession of Violence by John Pearson, Legend is the story of twin brothers who become infamous criminals in the 1950s/1960s as they would rise big and later fall. Written for the screen and directed by Brian Helgeland, the film is a look into the rise and fall of the twin brothers Ronnie and Reggie Kray who were infamous for their exploits in the world of crime as they’re both portrayed by Tom Hardy. Also starring Emily Browning, David Thewlis, Christopher Eccleston, Taron Egerton, Duffy, Paul Bettany, Colin Morgan, Tara Fitzgerald, and Chazz Palminteri. Legend is a gripping yet stylish film from Brian Helgeland.

Set mainly in 1960s London, the film is the simple story of the rise and fall of the twin brothers Ronnie and Reggie Kray who were the most dangerous and richest gangsters in all of London as they ran casinos and clubs to great heights. Yet, it is told by someone who knew the Krays in their rise as she would eventually become Reggie’s wife in Frances Shea (Emily Browning) where she would also see their fall in the late 1960s. Brian Helgeland’s screenplay is quite straightforward though it is largely told from Frances’ perspective in her voiceover narration yet it play into the Krays who may look alike and have violent tendencies but they’re both very different. Reggie is more organized as he also craves for a simpler and more straight life driven by his love for Frances while Ronnie is the more unstable of the two as he is mentally-ill and unpredictable as well as be openly-gay.

The script also play into the conflict where Frances often find herself in the middle as she represents the one person that can give Reggie a life away from crime which is something Ronnie doesn’t want. Ronnie wants to be a full-time criminal and stick to anyone that goes against them yet Reggie wants to maintain some control and make some money. Once their rise progresses, Reggie would eventually realize that Ronnie is a liability as he struggles to be a husband to Frances but also to watch over his brother. Still, Reggie wouldn’t expect how far Ronnie would play into their downfall.

Helgeland’s direction is simple at times but also quite stylish in some respects as it definitely captures the world of 1960s London where it is shot on location in the city as well as part of the East End area of the city. Much of Helgeland’s compositions in the wide and medium shots are simple to establish the locations yet he doesn’t shy away from how brutal some of the violence was back then. Helgeland would also create some element of style such as a sequence where Reggie has his first date with Frances where he would create this long tracking shot sequence in one take where Reggie would go to the back of a club to deal with business and then return to Frances. It is an inventive moment while there are elements of style that play into the world of 1960s club world where the people of power, wealth, and celebrity would hang out with gangsters as there is a sense of cool in that. When the film reaches its third act where it begins with a chilling moment of violence, it does play into this fall where it’s not just about a lack of control for Reggie but also Ronnie becoming more unruly as the film becomes more grim with the inevitable finally coming into play. Overall, Helgeland creates a mesmerizing and stylish film about the rise and fall of the Kray brothers.

Cinematographer Dick Pope does brilliant work with the film‘s cinematography from the way some of the daytime exteriors look as well as the lighting for many of the interior scenes set in the day at the pubs or at night for the clubs. Editor Peter McNulty does nice work with the editing as it is stylish with its rhythmic cuts to play into some of the action and violence while providing moments that doesn‘t stray into conventional fast-cutting. Production designer Tom Conroy, with set decorator Crispian Sallis and supervising art director Patrick Rolfe, does fantastic work with the design of the sets from the look of the clubs as well as the pubs and the homes that the characters live in. Costume designer Caroline Harris does excellent work with the costumes from the clothes of the men to the stylish dresses that Frances wears.

Hair/makeup designer Christine Blundell does terrific work with the hairstyles that the men had at the time as well as the array of hairstyles that Frances had. Visual effects supervisor Adam Rowland does some fine work with the visual effects which is mainly bits of set dressing and a few moments in the violence. Sound editor Dominic Gibbs and sound designer Ben Meecham do superb work with the sound from the way some of the violence is presented as well as the atmosphere of the clubs and social places the characters go to. The film’s music by Carter Burwell is wonderful for its mixture of lush orchestral music with some 60s style pop and rock music while music supervisors Liz Gallacher and Kirsten Lane create a fun soundtrack that feature a lot of the music of the times from Booker T. and the M.G.s, the Meters, Herbie Hancock, the Rockin’ Berries, Herman’s Hermits, Billy Preston, John Mayall & the Bluesbreakers, Burt Bacharach, Marvin Gaye & Tammi Terrell, and Duffy.

The casting by Lucinda Syson is incredible as it feature some notable small roles from John Sessions as a British lord that Ronnie would befriend, Aneurin Barnard as the famed photographer David Bailey, Sam Spruell as the incompetent associate of the brothers in Jack McVitie, Adam Fogerty as the Krays’ muscle Big Pat, Kevin McNally as the then-British prime minister Harold Wilson who has a problem with the Krays, Jane Wood and Jon McKenna as the parents of the Krays, Paul Anderson as Reggie’s lieutenant Albert, and Tara Fitzgerald in a wonderful small roles as Frances and Frank’s mother who doesn’t like the Krays. Colin Morgan is terrific as Frances’ brother Frank who is also a driver for the Krays while Paul Bettany is superb in a small role as a rival gang leader from South London in Charlie Richardson.

Chazz Palminteri is excellent as American mob figure Angelo Bruno who makes a deal with the Krays while giving Reggie some advice about laying low as well as what to do when family becomes a liability. Taron Egerton is fantastic as Ronnie’s right-hand man Mad Teddy who could possibly be Ronnie’s lover as he is quite psychotic but also prove to be loyal to the Krays. Christopher Eccleston is brilliant as Leonard “Nipper” Read as a detective hell-bent on nabbing the Krays any way he can while he would also deal with humility and the need for redemption. David Thewlis is amazing as Leslie Payne as the Krays’ business manager who tries to assure them what they can do and can’t do while making Ronnie paranoid.

Emily Browning is remarkable as Frances Shea as a woman who meets and falls for Reggie Kray as she understands what he does but still loves him know he can do good but becomes overwhelmed by his focus on the business and Ronnie’s behavior. Finally, there’s Tom Hardy in a phenomenal dual performance as the twins Reggie and Ronnie Kray where Hardy provides some distinctive ideas for the characters. In Reggie, Hardy is more restrained and charming but also can be quite brutal at times where Hardy plays it cool. As Ronnie, Hardy puts on a more warped physicality to his performance as well as wear glasses and have more of an accent than Reggie as he is very dangerous but also quite comical as it’s really a tour-de-force performance for Hardy.

Legend is a sensational film from Brian Helgeland that features an incredible performance from Tom Hardy as Reggie and Ronnie Kray. Along with a fantastic supporting cast, cool music soundtrack, and a fascinating premise, it’s a film that explores the world of the British gangsters in the 1960s and the struggle between two brothers in their own different ambitions. In the end, Legend is a marvelous film from Brian Helgeland.

Brian Helgeland Films: (Payback) - A Knight's Tale - (The Order) - (42)

© thevoid99 2017

The Island of Dr. Moreau (1996 film)

Based on the novel by H.G. Wells, The Island of Dr. Moreau is the story of a United Nations negotiator who finds himself in a mysterious island where a scientist conducts strange experiments involving humans and animals in an attempt to create the perfect species only for things to go wrong. Directed by John Frankenheimer and screenplay by Ron Hutchinson and Richard Stanley, the film is meant to be a study of human nature and how animals tend to go into their own instincts where a man is forced to see a world that is just as complicated. Starring Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk, Daniel Rigney, Temura Morrison, Mark Dacascos, Marco Hofschneider, Peter Elliot, and Ron Perlman. The Island of Dr. Moreau is a horrible and messy film from John Frankenheimer.

The film is a simple story of a man who was found stranded on a lifeboat in the middle of the sea as he is taken to a mysterious island run by a mad scientist who conducts experiments in trying to create the perfect being by mixing human DNA with animals. Yet, it’s a film that explores not just madness but also human nature at its worst and what happens when these hybrids of human and animal rebel against their creator? That is pretty much the film as a whole where it raises a lot of questions but never gives out any answers that audiences will pretty much figure out as it ends up being very heavy-handed about the idea of human nature. The film’s script wants to be this mixture of adventure, sci-fi, human drama, and action but it never gels where it has no idea what it wants to be. Even as there aren’t a lot of strong character developments with the exception of Aissa (Fairuza Balk) who is the daughter of Dr. Moreau (Marlon Brando) as she is also a hybrid that is more human but is regressing to her animal origins.

John Frankenheimer’s direction is definitely chaotic and not in a very good way. It’s doesn’t just carry the problems that the script had in what it wanted to be but it also takes itself too seriously where it ends up becoming comical at times. There are also these quirks in the film that are just odd as it relates to the presentation of Dr. Moreau. Whenever he’s outside, he’s wearing makeup because he’s allergic to the sun while he’s accompanied by a miniaturized version of himself. He wears an ice bucket for a hat and speaks in a strange accent as it’s among these quirks that are odd. Shot on location in Australia, the film has an exotic look but Frankenheimer doesn’t really do much to flesh out the locations visually as he’s more concerned with the craziness that is happening. Especially as it relates to Dr. Moreau’s assistant Montgomery (Val Kilmer) who is just as eccentric as he would go off-the-wall much to the dismay of this outsider in Edward Douglas (David Thewlis).

The direction’s usage of slanted camera angles, wide and medium shots, and these sequences of action and horror definitely go overboard. Especially in the film’s climax as it relates to Douglas trying to find a serum for Aissa while Montgomery has gone insane unaware that a group of human-beasts have rebelled. It’s all over the place, a lot of characters get killed and Frankenheimer tried to infuse so much as it just goes overboard. There are also these weird sequences that are shot in in a surreal fashion that doesn’t feel like it fits in anywhere as it feels like it is from a different movie or some variation of the film. Overall, Frankenheimer creates a film that is just absolutely fucking awful in every way.

Cinematographer William A. Fraker does some nice work in the cinematography as it does display some of the beauty of the locations though some of the scenes at night are over-lit in some parts of the film. Editors Paul Rubell and Adam P. Scott, with additional work by Thom Noble, does OK work with the editing as it has moments where it tries to establish what is going on as well as feature some nice dissolves but a lot of it plays too much into conventional fast-cutting. Production designer Graham “Grace” Walker, with art director Ian Gracie and set decorators Lesley Crawford and Beverley Dunn, does excellent work with the look of the base that Dr. Moreau works at as well as a few places where the man-beasts often go to. Costume designer Norma Moriceau does fine work with the costumes as it’s mostly casual as well as some stylish clothes for Aissa as well the look of Dr. Moreau.

Makeup supervisor Mike Smithson is fantastic for the look of the creatures as well as the strange makeup of Dr. Moreau. Special effects supervisor Mike Cox and visual effects supervisors Alex Frisch and Michael Z. Hanan do some good work on some of the visual effects in the design of some of the creatures though some of the visual effects aren‘t very good at all. Sound designers Harry Cohen and Ann Scibelli, with sound editors Marc Fishman and Cathie Speakman, do superb work with the sound in capturing some of the chaos as well as some of the insane moments in the film. The film’s music by Gary Chang is alright as it has its moments for its orchestral bombast though it never does enough to standout against everything that is happening.

The casting by Valerie McCaffrey is wonderful despite the fact that a lot of the talent in the film don’t really get much to do nor work with material that is any good. Small performances from Peter Elliott, with the voice of Frank Welker, as the baboon-like hybrid Assassimon who befriends Douglas, Mark Dacascos as a leopard hybrid named Lo-Mai who gets into trouble with Dr. Moreau over his actions, and Nelson de la Rosa as this miniature mutant who is a clone of sorts of Dr. Moreau as it’s one of the oddest things in the film as they’re not given much to do. Temura Morrison as the dog-like hybrid Azazello and Marco Hofschneider as M’Ling as the two hybrid sons of Dr. Moreau where the former has a love of hunting while the latter is about books as neither of them get a chance to flesh out their characters. Daniel Rigney is awful as the pig-hyena hybrid Hyena-Swine who would rebel against Dr. Moreau as he begins to asks a lot of questions as well as turn to violence for his answers.

Ron Perlman is badly wasted as a blind goat-like hybrid known as the Sayer of the Law as this film’s conscience who tries to understand all of the shit that is happening as he’s not given anything substantial to work with. Fairuza Balk is terrible as Aissa as Dr. Moreau’s daughter who is the most human of his children as she copes with regressing into her cat-like genes as she also befriends Douglas. David Thewlis is pretty bad as Edward Douglas as a UN peace negotiator who survives a plane crash as he is trying to get out of this island as well as find himself baffled by Dr. Moreau as Thewlis is just there to be a foil and react to things. Val Kilmer is awful as Montgomery as Dr. Moreau’s assistant who tries to imprison Douglas as well as create chaos and such where he would go insane. Finally, there’s Marlon Brando in an awesomely bad performance as Dr. Moreau where it’s Brando not giving a fuck where he’s wearing an earpiece in the film and doing all sorts of fucked up shit while wearing an ice bucket on his head. It’s a fucked-up version of the mad scientist where Brando hams it up and more while not giving a fuck whether or not he’s any good in this.

The Island of Dr. Moreau is a fucking awful film from John Frankenheimer. It’s a film that had the potential to be a lot of things but ends up being extremely stupid and ridiculously over-the-top. Especially where it never dares to ask big questions and provide answers that are just idiotic. In the end, The Island of Dr. Moreau is shitty film from John Frankenheimer.

Related: Island of Lost Souls - Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau

John Frankenheimer Films: (The Young Stranger) - (The Young Savages) - (All Fall Down) - (Birdman of Alcatraz) - (The Manchurian Candidate) - (Seven Days in May) - (The Train (1964 film)) - (Seconds) - (Grand Prix) - (The Fixer) - (The Extraordinary Seaman) - (The Gypsy Moths) - (I Walk the Line) - (The Horseman (1971 film)) - (The Iceman Cometh) - (Story of a Love Story) - (99 and 44/100% Dead) - (French Connection II) - (Black Sunday) - (Prophecy (1979 film)) - (The Challenge (1982 film)) - (The Holcroft Covenant) - (52 Pick-Up) - (Dead Bang) - (The Fourth War) - (Year of the Gun) - (Against the Wall) - (The Burning Season) - (Andersonville) - (George Wallace) - (Ronin) - (Reindeer Games) - (Path to War)

© thevoid99 2016

Regression

Written and directed by Alejandro Amenabar, Regression is the story of a detective who investigates a sexual abuse case made by a 17-year old girl against her father who has no recollection of what had happened. The film is an exploration into the world of child abuse as well as fact vs. fiction over what really happened as it relates to Satanic cults. Starring Ethan Hawke, Emma Watson, David Thewlis, Aaron Ashmore, Devon Bostick, Dale Dickey, Lothaire Bluteau, Peter MacNeil, and David Dencik. Regression is an intriguing yet extremely messy film from Alejandro Amenabar.

Set in 1990 at a small town in Minnesota, the film revolves around a detective who investigates the sexual abuse of a 17-year old girl who claimed to have been sexually abused by her father. In the course of the investigation with the aid of a local psychiatrist, Detective Bruce Kenner (Ethan Hawke) learns that some of the abuse involve Satanic rituals as the case becomes complicated with Kenner getting too close. It’s a film that plays into a man trying to see what had happened while he interrogates this girl’s father to see if he really did anything. Once Kenner asks Angela Gray (Emma Watson) about what had happened and some of the things she revealed, Kenner would start to see things as if there is a Satanic cult in this small town.

Alejandro Amenabar’s script does create some compelling ideas about sexual abuse and regressed memories but once the story begins to include these ideas of Satanic rituals. It starts to lose focus on what is really going on and the aspects of the suspense and mystery starts to lose itself. Especially when Kenner and Professor Kenneth Raines (David Thewlis) begin to interrogate members of Angela’s family including her father John (David Dencik) who turned himself in to the police claiming he did something to his daughter. Once other members of Angela’s family such as her grandmother Rose (Dale Dickey) is questioned about her possible role in Satanic rituals, things definitely become confusing about what is truth and what is fiction. Especially as the most rational character in the film in Professor Raines begins to be sort of a Greek chorus of sorts about what is really going on and wonders if any of it is true.

Amenabar’s direction definitely has a unique sense of atmosphere in terms of its setting while it is shot largely in Toronto and other parts of Canada. Even in his approach to compositions as it plays into the dramatic elements such as the conversations between Kenner and Raines where they try to make sense of everything. Amenabar would also use some close-ups and medium shots to create some intimate moments as well as some scenes that play into Kenner talking to Angela and getting her to talk. The scenes which involve these Satanic rituals are meant to be scary but a lot of it ends up being very silly. By the time the film moves into its third act, more questions get raised as it relates to the hysteria of these accusations of Satanic rituals which does lead to a twist in the third act that doesn’t just kill whatever intrigue the film had. It also leads to an overdrawn ending as it related to regressed memories as well as how faith can distort reality. Overall, Amenabar creates an interesting but very troubled film about a sexual abuse case with elements of Satanic rituals.

Cinematographer Daniel Aranyo does excellent work with the film‘s cinematography with its usage of bluish imagery for many of the film‘s daytime exterior scenes along with some intricate lighting for scenes set at night. Editor Carolina Martinez Urbina does some fine work with the editing with its usage of jump-cuts though its attempt to create suspense with its fast-cuts don‘t really work as it makes it too obvious. Production designer Carol Spier, with set decorator Friday Myers and art director Elinor Rose Galbraith, does nice work with the look of the Gray family home as well as the church where Angela is staying at. Costume designer Sonia Grande does terrific work with the clothes as it’s mostly casual with the exception of the black robes the Satanists wear.

The visual effects work of Carlos Adarraga and Ezequiel Larru is good for some of the scenes in the Satanic ritual sequences as it plays into this blur of reality and fiction. Sound designer Gabriel Gutierrez does superb work with the sound to help play into the suspense and drama as well as scenes of horror. The film’s music by Roque Banos is pretty good for some of the orchestral-based music of the film that delves into the drama and suspense though it feels overdone at times.

The casting by Jina Jay and Jason Knight is amazing for the group of actors that are assembled though many are either caricatures or aren’t given much to do. Notable small performances from Adam Butcher and Kristian Bruun as a couple of local cops and Aaron Abrams as a detective named Farrell have their moments while Aaron Ashmore is alright as a cop who is accused of being part of the Satanic cult. Peter MacNeil is terrific as the local police chief who tries to deal with the attention over what is happening though he is severely underwritten. Devon Bostick is good as Angela’s older brother Roy who has been estranged from the family for mysterious reasons as he is confronted by Kenner and Raines where he would reveal some eerie family secrets. Dale Dickey is fantastic as Angela’s grandmother Rose as a woman who may be in denial over what happened as she copes with the chaos that is surrounding her family.

David Dencik is superb as Angela’s father John as a man who turns himself in to the police at the beginning of the film as he becomes unsure of what he did as he is consumed by guilt over his actions. Lothaire Bluteau is alright as Reverend Murray as the local religious leader who has taken Angela in as he also confides in Kenner and Raines to rely on faith which annoys the latter. David Thewlis is brilliant as Professor Kenneth Raines as a psychiatrist who is trying to analyze Angela’s family as he believes something isn’t right while being the smartest guy in the film. Emma Watson is wonderful as Angela Gray as a 17-year old girl who claims to be sexually abused as well as revealing that her family is part of a Satanic cult where Watson has this air of innocence to her but the script doesn’t really do much for her which hinders some of her performance as well as her motivations in the film. Finally, there’s Ethan Hawke in a stellar yet flawed performance as Detective Bruce Kenner as a detective who gets too close into the case where Hawke overdoes it at times in someone who is determined to get things right while also making himself look foolish due to the demands of the script.

Regression is a very disappointing and messy film from Alejandro Amenabar. Despite an interesting subject on regressed memories, it’s a film that wanted to say a lot of things but ends up being very convoluted and idiotic at times with characters that end up looking foolish. In the end, Regression is a terrible film from Alejandro Amenabar.

Alejandro Amenabar Films: Thesis - Open Your Eyes - The Others - The Sea Inside - Agora - The Auteurs #51: Alejandro Amenabar

© thevoid99 2016

The Theory of Everything

Based on the memoir Traveling to Infinity: My Life with Stephen by Jane Wilde Hawking, The Theory of Everything is about the life of physics theorist Stephen Hawking and his relationship with first wife Jane Wilde who would later cope with Hawkings’ diagnosis of motor neurone disease. Directed by James Marsh and screenplay by Anthony McCarten, the film is an exploration of Hawking’s early life with Wilde from their years as college students to the events that lead to their separation as Eddie Redmayne plays Hawking and Felicity Jones plays Wilde. Also starring Charlie Cox, Emily Watson, Simon McBurney, Maxine Peake, and David Thewlis. The Theory of Everything is an extraordinarily rich film from James Marsh.

Set from the early 1960s to the early 1990s, the film plays into the life of physics theorist Stephen Hawking from the day he meets his first wife Jane Wilde and to the year he would meet the Queen of England where he would be offered a knighthood. With Hawking being famous for proving about everything that goes on in the universe, he would suffer motor neurone disease early in his life as Wilde would support him and eventually marry him where they would later have three children. With Hawking’s disease worsening, his fame would grow through his theories on time while Wilde would get the aid of a preacher named Jonathan Jones (Charlie Cox) whom she would fall for. While it is a simple bio-pic, it plays into Hawking’s own belief about science and how he believes that a black hole created the universe while he isn’t sure if God exists. Even as Wilde is someone who believes in God as it is among the reason for her attraction towards Hawking.

Anthony McCarten’s screenplay maybe conventional in terms of its plot scenario but it does maintain a sense of humanity in Hawking who is just a simple student with a vast point of view about the world. While he is an intellect, he is someone that is like any other young college student back in the 1960s as is Jane Wilde where they are part of a world where everyone is asking big questions. Part of what makes the story so interesting is the relationship between Hawking and Wilde where they have different ideas in belief yet Wilde is intrigued by Hawking’s own theories on the universe and time itself. By the time Hawking’s own ailment would occur and Wilde would be there to support him, they would have a good marriage but things do become overwhelming for Wilde until she meets Jones who becomes a friend of their.

While there is an attraction between the two as well as an ambiguity into whether or not they had an affair where Hawking’s mother asks Jane if Jonathan is the father of their third child. It is clear that Jones is a good man and knows when to step back where things become complicated in the 1980s when Hawking would fall for his new nurse Elaine Mason (Maxine Peake) who would eventually become Hawking’s second wife. Yet, the heart of the story is Hawking and Wilde’s relationship and their devotion to one another as it all plays into Hawking’s own theory of everything about the world, the universe, time, and the cosmos.

James Marsh’s direction is quite stylish in terms of some of different film stocks that he uses for the film but also in the way he re-creates certain periods in time to play into Hawking’s life. Shot on location in Cambridge University in Britain, the film does play into that world of college life where it wasn’t wild nor very political as the 1960s would later become while there are elements of fun. Even as there are elements of humor as it relates to some of the theories that Hawking presents where there are those who don’t buy into it but there are those who are amazed by it where it is simplified but show that it is really out there. Much of Marsh’s compositions are simple in terms of close-ups, medium shots, and wide shots yet he would use some different film stock to play up into certain events in Hawking’s life from his wedding to Wilde and the birth of their children as it adds to the sense of happiness Hawking had despite his illness.

The direction would have these elements of visual flairs that play into key moments in Hawking’s life into not just his own discoveries of his own as well as moments that play into his ailments. By the film’s second half where Hawking’s condition would worsen as he would lose the ability to speak, the drama does get heightened but the tone sort of changes as it plays into Hawking’s willingness to live despite the diagnosis that he had two years to live upon getting the disease early in his life. In some ways, it’s a film of triumph of a man who rises above his ailments to share his views of the world with the people and connect with them in ways that go beyond the understanding of the universe. Overall, Marsh creates a very engaging and thoughtful film about the life of Stephen Hawking and life with Jane Wilde.

Cinematographer Benoit Delhomme does brilliant work with the film‘s colorful cinematography with its inspiring usage of filters and coloring schemes to maintain different moods for certain scenes as well as playing with film stocks for the home-movie footage. Editor Jinx Godfrey does excellent work with the editing with its approach to reverse-style cuts, montages, and other stylish cuts to play into Hawking‘s own revelation towards his theories. Production designer John Paul Kelly and set decorator Claire Nia Richards do fantastic work with the look of the dorm rooms he lived in college as well as the home he and Jane lived with their children. Costume designer Steven Noble does superb work with the costumes from the dresses that Jane wears throughout the years to play into different periods in time as well as some of the clothes that Hawking would wear.

Hair/makeup/prosthetics designer Jan Sewell does amazing work with the different hairstyles Jane would sport in the years as well as the look of Hawking in the years he would endure his disease. Sound designer Glenn Freemantle does terrific work with the sound from the way Hawking would hear things in his state as well as scenes set in a few parties as well as the church where Jonathan would serve at. The film’s music by Johan Johansson is remarkable for its evocative and soaring orchestral score that is filled with lush string arrangements and electronic textures to heighten the music while music supervisors Sarah Bridge and Claire Freeman create a soundtrack that features jazz, classical, opera, and soul music from the different periods that Hawking and Wilde encounter.

The casting by Nina Gold is wonderful as the film features some notable small roles from Charlotte Hope and Lucy Chappell as Hawking’s sisters, Frank Lebeouf as the Swiss doctor who would tell Wilde more about Hawking’s condition that would render his speech, Abigail Cruttenden as Hawking’s mother, Guy Oliver-Watts as Wilde’s father, Harry Lloyd as Hawking’s roommate Brian, Enzo Clienti as fellow physics theorist Kip Thorne, Georg Nikoloff as the famed Soviet physicist Isaak Markovich Khalatnikov who is impressed with Hawking’s theory, and Christian McKay as the famed mathematician/theorist Roger Penrose who would give Hawking the idea to search on a theory of time. Emily Watson is terrific as Jane’s mother Beryl who would suggest to Jane to join a church choir while Simon McBurney is superb as Hawking’s father Frank who is aware of his son’s deteriorating condition as he would be the one to suggest a nurse to aid him.

Maxine Peake is excellent as Elaine Mason as the nurse hired to watch over Hawking in the late 80s as she would care for him where she would eventually become Hawking’s second wife. David Thewlis is brilliant as Hawking’s professor Dennis Sciama who would support his theory and become a colleague of his while helping to introduce Hawking’s theory to the world. Charlie Cox is fantastic as Jonathan Jones as a preacher who leads a church choir who befriends Hawking and Wilde where he falls for the latter but doesn’t want to get too close as he also enjoys his time with Hawking despite their differences in beliefs.

Felicity Jones is phenomenal as Jane Wilde Hawking as a young woman who is a literature student that falls for Hawking as she copes with his illness while helping him live as it’s a very radiant and touching performance from Jones. Finally, there’s Eddie Redmayne in a marvelous performance as Stephen Hawking as this young physics student who would create a theory as he later succumbs to motor neurone disease which only makes him more determined to share his theories with the rest of the world as Redmayne maintains a unique physicality in scenes where he’s not speaking to make Hawking a very charming and soulful person.

The Theory of Everything is a sensational film from James Marsh that features amazing performances from Eddie Redmayne and Felicity Jones. While it is a conventional film that does play into elements of what is expected in bio-pics, it is still a film with some charm as well as a strong love story that concerns the relationship between Stephen Hawking and Jane Wilde Hawking. In the end, The Theory of Everything is a remarkable film from James Marsh.

James Marsh Films: (Wisconsin Death Trip) - (The King (2005 film)) - Man on Wire - Red Riding: 1980 - Project Nim - (Shadow Dancer) - (Untitled Donald Crownhurst Film)

Related: A Brief History of Time

© thevoid99 2015

The Zero Theorem

Directed by Terry Gilliam and written by Pat Rushin, The Zero Theorem is the story of a reclusive computer genius who tries to see if there’s any meaning to life through a formula where he endures a series of surreal misadventures. The film is a dystopian film of sorts set in the future as it recalls many of Gilliam’s films from the past while going into a man dealing with his own identity and his place in the world. Starring Christoph Waltz, Melanie Thierry, Lucas Hedges, Tilda Swinton, David Thewlis, and Matt Damon as the Management. The Zero Theorem is a dazzling yet whimsical film from Terry Gilliam.

Set in a futuristic world, the film explores the troubled life of an eccentric computer programmer whose job is to find the meaning of life through a theory as he ponders about his own existence where he encounters a series of oddball characters during his journey. Yet, it all plays into this programmer who is also very reclusive as he await a phone call that he thinks could have some meaning. During his time in his home where he works continuously to find answers, Qohen Leth (Christoph Waltz) deals with his own loneliness as he often refers to himself as “we” where he starts to fall for a young woman in Bainsley (Melanie Thierry) as well as gain the aid of his boss’ son Bob (Lucas Hedges) where they would get him to showcase a world outside of his work and obsession to find answers.

Pat Rushin’s screenplay does create some unique ideas about existentialism as well as faith where Qohen is a man who seeks answers that are beyond the world he works for as he often crunch numbers to see if there are any answers. Qohen is a man that often dreams about being sucked into a black hole in his feeling that there’s nothing in the world as he is asked by the mysterious known as Management to find these impossible answers. Qohen takes the job because he has nothing to live for where his meetings with Management would be very strange. While he spends a year working to prove this theory in his home, he rarely has human contacts where the odd visits he receives from Bob, Bainsley, and his supervisor Joby (David Thewlis) would be very strange. Even as he learns what Bainsley does as it would complicate things as she would be the one person who shows him that there’s more to life than nothingness.

Terry Gilliam’s direction is quite extravagant in some ways in not just the world that Qohen lives but also the idea of dystopia where it’s more offbeat rather than oppressive. Yet, it does have some satirical comedy about the way technology drives the world such as a party scene where everyone is holding tablets rather than communicate with words. Gilliam’s direction has him utilizing not just close-ups and medium shots but these intricate crane shots to play into Qohen’s sense of loneliness. Especially as he rarely goes outside as he prefers to stay home to await a phone call where there’s an intimacy that Gilliam creates. The artificial world that Qohen would encounter would display his own lack of humanity and struggles along with the idea of what it could be once the fear is gone. Overall, Gilliam creates a very sensational yet compelling film about a man seeking answers in a very troubled world.

Cinematographer Nicola Pecorini does excellent work with the many of the film‘s stylized interior lighting schemes for the party scenes and the main base of where Qohen works at plus an offbeat look to some of the film‘s exterior settings. Editor Mick Audsley does fantastic work with the editing with its rhythmic approach to play into the film‘s humor as well as in some of the dramatic moments. Production designer David Warren, with art director Adrian Curelea and set decorators Jille Azis and Gina Stancu, does amazing work with the set design from the home that Qohen lives in to the look of the city and the place where Qohen works at. Costume designer Carlo Poggioli does brilliant work with the stylized costumes that includes some of the camouflage suits that Management wears in his surroundings as well as the clothes that Bainsley wears.

Hair/makeup designer Kristin Chalmers does terrific work with the hairstyle that Qohen would wear in his fantasy as well as the wig that Bainsley wears in one of her visits. Visual effects supervisors Felix Lepadatu, Jonah Loop, and Fredrik Nord do superb work with the visual effects where it is minimal in some respects from the fantasy world that Qohen and Bainsley live in to the image of the black hole. Sound designer Andre Jacquemin does nice work with the sound work from the sound effects of the cameras that are watching Qohen to the scenes that occur that play into Qohen‘s troubled state of mind. The film’s music by George Fenton is wonderful for its mixture of eerie orchestral music with some offbeat electronic music with the soundtrack featuring electronic dance music and a jazz cover of Radiohead’s Creep.

The casting by Irene Lamb is incredible as it features an array of offbeat cameos from Gwendoline Christie, Ray Cooper, Lily Cole, and Rupert Friend as people seen on commercials, Sanjeev Bhaskar, Peter Stormare, and Ben Whishaw as a trio of oddball doctors, and Robin Williams in an un-credited appearance as televangelist. Other notable small roles include Emil Hostana and Pavlic Nemes as a couple of clones, Dana Rogoz as a sexy pizza girl, and Tilda Swinton in a very hilarious performance as Dr. Shrink-Rom as an artificial shrink who can bust some mad rhymes. Matt Damon is excellent in a small but very memorable performance as the boss known as Management as he appears in the oddest circumstances as it’s Damon playing it very straight.

David Thewlis is amazing as the supervisor Joby who tries to get Qohen to be more outgoing while also being a friend of sorts as he tries to prepare Qohen for what he will endure. Lucas Hedges is fantastic as Bob as this whiz-kid who helps Qohen in uncovering the theory as well as dealing with Qohen’s reclusive behavior. Melanie Thierry is brilliant as Bainsley as this mysterious young woman who meets Qohen at a party as she is intrigued by his personality while getting him to be more open as she would fall for him. Finally, there’s Christoph Waltz in a remarkable performance as Qohen Leth as this very reclusive man who deals with his own existence as well as faith as he tries to uncover a mystery as it’s a performance that features Waltz at his most vulnerable as well as his restrained approach to humor.

The Zero Theorem is an extraordinarily fun and exhilarating film from Terry Gilliam. Armed with a great cast led by Christoph Waltz as well as some amazing technical work and some compelling themes on faith and existentialism. The film is definitely one of Gilliam’s finest works as it proves that he still has a few tricks up his sleeve. In the end, The Zero Theorem is a marvelous film from Terry Gilliam.

Terry Gilliam Films: Jabberwocky - Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - The Brothers Grimm - Tideland - The Imaginarium of Dr. Parnassus

The Auteurs #38: Terry Gilliam

© thevoid99 2014

The Big Lebowski

Originally Written and Posted at Epinions.com on 7/5/06 w/ Additional Edits & Revisions.

Written, produced, and directed by the Coen Brothers, The Big Lebowski is a wonderful tale set in the early 1990s about a lazy stoner named Jeff Lebowski, nicknamed The Dude, who through all of his life, likes to drink White Russian, play bowling with his pals, and smoke some fine grass in his Los Angeles home with a rug, a rug that really tied the room together. Then amidst some confusion, he is mistaken for another Jeff Lebowski as criminals urinated on his rug, the rug that really tied the room together, as he seeks compensation from the other Lebowski, a richer, elder man. The Dude ends up being part of a scam where he's involved with Lebowski's artistic daughter, nihilists, porn producers, and many more as he and his buddy Walter do what they have to do to save the day.

Playing the role of The Dude is great dramatic actor Jeff Bridges in a role that he is born to play. Also starring Coen Brothers regulars John Goodman, Peter Stormare, Steve Buscemi, Jon Polito and John Turturro plus Julianne Moore, Sam Elliott, Flea, David Huddleston, David Thewlis, Ben Gazzara, Philip Seymour Hoffman, and Tara Reid. The Big Lebowski is one of cinema's greatest and hilarious comedies of all-time.

The Dude comes home to chill until a couple of thugs come in and urinate his favorite rug because he's Jeff Lebowski. Yet, he's not the millionaire Jeff Lebowski (David Huddleston) whose young wife Bunny (Tara Reid) has amassed a huge debt owed to porn film producer Jackie Treehorn (Ben Gazzara). The Dude talks to his ex-Vietnam vet friend Walter Sobchak (John Goodman) and their bowling buddy Donny (Steve Buscemi) about the incident as the Dude wants compensation for his rug. After getting in contact with Mr. Lebowski's assistant Brandt (Philip Seymour Hoffman), the Dude meets with Mr. Lebowski who is already angry over Bunny as he later steals a rug where he would meet Bunny and a nihilist named Uli (Peter Storemare). Things seem fine as the Dude is preparing himself for an upcoming bowling tournament until Brandt calls him about Bunny being kidnapped as Mr. Lebowski wants the Dude to give the kidnappers the ransom money with a 20 grand fee for the job.

The Dude and Walter make the drop-off though Walter is convinced that it's a cover-up as they bungle the drop-off where the Dude is later confronted by a mysterious woman who knocks him out as he loses his rug. Things worsen as the Dude, Walter, and Donny are threatened by a crazed bowler named Jesus (John Turturro) while the Dude is followed by a mysterious man (Jon Polito) in a Volkswagen. The Dude gets a call from the mysterious woman who is revealed to be Mr. Lebowski's daughter Maude (Julianne Moore) who is an avant-garde artist as she gives the Dude some information. After another meeting with Mr. Lebowski and Brandt that becomes disastrous due to the bungled drop-off as the Dude finds his stolen car and later deals with Uli and a couple of nihilists in Kieffer (Flea) and Franz (Torsten Voges). After another meeting with Maude and her friend in video director Knox Harrington (David Thewlis) that involves a film produced by Jackie Treehorn. The Dude is then forced to meet with Jackie Treehorn as he's accompanied by the thugs who peed on his rug.

The meeting with Treehorn turns strange as the Dude is tortured over information as he is drugged into having a surreal dream involving Maude. The night worsens following a meeting with a sheriff (Leon Rossum) as the Dude meets with Maude again who reveals more key information. This would lead the Dude and Walter to make more moves in another night full of hilarity.

Now for anyone aware of the all the plot implications and catchy dialogue that the Coen Brothers have is sometimes filled with intelligence and ideas to think about. Well, this film doesn't have any sense of intelligence or ways to move you emotionally. Nope, this is pure low-brow comedy at its finest and who better to conceive this masterpiece of slacker humor with elements of stoner comedies better than the Coen Brothers. There's no sense of character study or morals in here. The film is simply about a lazy stoner who becomes a hero, or a loser, or both Plus, it's a buddy comedy where the stupid guy is helped by an even dumber guy. It's not brain surgery or some kind of typical Academy Award-winning script. No, it's just a simple, hilarious, flat-out, laughing-your-sick-fucking-ass-off kind of comedy.

In many respects, if Fargo was the duo aiming high, this film was the duo aiming low and in a great way. Still, the Coen Brothers manage to reference everything they've done before where for example, Steve Buscemi's character in Fargo never shuts up while the character of Donny never really gets a chance to talk. In many ways, the Coen Brothers are just having fun where the film's script that is accompanied a bit by the rambling narration of a sarsparilla-loving cowboy called the Stranger played by Sam Elliott. The script is built to create each funny moment and situation with rambling dialogue that just makes the audience care or laugh at the Dude with or without his cohorts.

Joel and Ethan Coen's direction is filled with the traditional camera angles while he presents some hilarious sequences. Notably the film's fantasy sequences which features a Saddam Hussein look-a-like giving the Dude some bowling shoes. The fantasy sequences are surreal yet witty in the Dude's adventures. Even the aura of mystery surrounding the whereabouts of Bunny reveals that despite his laziness, the Dude isn't a total idiot who has morals while the mystery angle works to help carry the comedy. Coen's direction brings a presentation of Los Angeles that is strange and zany for all the surroundings of the Dude.

Helping the Coen Brothers in their unique vision is their longtime cinematographer Roger Deakins. Deakins' work is filled with wonderful lighting in the brightness of the bowling scene while capturing the upper-class world of the film's interior settings. For the exterior settings, Deakins uses the flashy colored lights of the pool and the bowling alley stars to brings a surreal, colorful atmosphere for the surroundings of Los Angeles to complement the Dude in his stoned state. Production designer Rich Heinrichs helps create the contrasting world of upper-class and lower-class Los Angeles while giving a wide look for the film's bowling scenes as well the surreal fantasy sequences for the Dude. Longtime costume designer Mary Zophres also does great work in the film's costumes, notably in the costume sequences where Julianne Moore wore two bowling balls as a bra while most of the clothes the Dude wears is actually the clothing Jeff Bridges own. To think that a rich, successful actor like Jeff Bridges could actually afford some decent clothes instead of the cheap ones he wore as the Dude.

In their alias as Roderick Jaynes, the Coen Brothers with Ethan's wife and editor Tricia Cooke brings a nice, leisurely-paced style to the film's editing while the film's tight cutting help the scenes move along nicely, particularly the segue to the fantasy sequences. Jaynes and Cooke does some great work with the editing with the help of longtime sound editor Skip Lievsay who does some excellent sound work to help out in the film's strange atmosphere to play with its humor. Longtime composer Carter Burwell does some excellent score work with his orchestral arrangements to play up to the film's intensity in its mystery subplot while some more playful textures to the film's comedy. Most of the film's music is supervised by T-Bone Burnett who created a rich soundtrack to play up to the world of the Dude.

The soundtrack includes an array of great cuts filled with such classic rock music from Creedence Clearwater Revival, Bob Dylan, Santana, Booker T & the MGs, Townes Van Zandt, and Elvis Costello plus a couple of cuts from the Eagles. A cover of Hotel California by the Gypsy Kings and another song from the band where it had a scene of the Dude saying he hates the fucking Eagles. There's also some nice jazz cuts from Nina Simone, Dean Martin, Debbie Reynolds, and a cut from the Sons of the Pioneers that opens the movie. There's also a great cut in a fantasy performed by Kenny Rogers & the First Edition that is very surreal yet fun to watch with the music. Burnett's choice of music is brilliant and its easily one of the best soundtracks ever which also includes two covers of Viva Las Vegas by ZZ Top and Shawn Colvin.

Now there's the film's cast which includes some wonderful cameos and small performances from porn actress Asia Carrera as an actress in a porn film, Aimee Mann as a fellow nihilist, Dom Irrera as a limo driver, Carlos Leon as a thug of Maude's Coen Brothers regular Jon Polito as the Dude's stalker, Jerry Havela as Saddam Hussein, Leon Russom as the Malibu sheriff, Jesse Flanagan as the quiet kid Larry, David Thewlis as Maude's video director friend, Phillip Moon and Mark Pellegrino as Treehorn's thugs, and Jimmie Dale Gilmore as Smokey, the guy who Walter violently threatens. Red Hot Chili Peppers bassist Flea and Torsten Voges are hilarious as the nihilists while Peter Stormare is even funnier as the lead nihilist with their funny German accents. Tara Reid is good as Bunny Lebowski which isn't much of a stretch since her party girl antics makes her suited for the role.

Ben Gazzara is excellent as the sleazy but charming porn producer Jackie Treehorn with his coolness and business-like presence. Coen regular John Turturro's small performance as Jesus is truly one of the best small roles ever as Turturro brings a lot of funny creepiness and antics that are so memorable to watch while he does a great Spanish accent. Another Coen regular in Steve Buscemi is also funny as the nice but often interrupted Donny who always tries to get into a conversation but ends up being a great comedic prop as Buscemi played the role perfectly. Philip Seymour Hoffman gives a great, straight performance as Mr. Lebowski's assistant Brandt with such restraint and manner as Hoffman plays the role in the straightest way as he comes off as the most straight person in the film. Sam Elliott is very funny as the Stranger whose rambling narratives often lose track while his voice is very laid back and often talking about sarsparilla. David Huddleston is great as Mr. Lebowski with his mean-like presence that is big as Huddleston really stands out.

Julianne Moore gives her most pretentious performance to date as Maude Lebowski as Moore plays the role with sheer fun while creating a mock-European voice to give the character a lot of humor. It's Moore's funniest performance overall as she brings a lot of snobbery as Moore parodies the art world with her great performance. Coen regular John Goodman is truly perfect as Walter with his stickler to the rules and his misreading of information. Goodman has a great, cartoon-like army look that is truly Walter and no one could play that role better than him. Goodman has great chemistry with Bridges as they make one of the best comedies duo of all-time.

Finally, there's Jeff Bridges in what is truly, a role that he is born to play as the Dude. Bridges before the Dude was always wonderfully dramatic and showing a lot of his range in his roles. Once he is the Dude, Bridges looks like he has a lot of fun as the Dude with his laid-back persona while trying to do things right although he never does. Bridges never makes his character truly pathetic yet he's so much fun to watch that he becomes an unconventional hero. If there's one film performance Bridges will be remembered for, it'll be as The Dude.

If there's only one film to see from the Coen Brothers, it's The Big Lebowski. Thanks to the performances of Jeff Bridges, Julianne Moore, Ben Gazzara, Sam Elliott, David Huddleston, Phillip Seymour Hoffman, and Coen regulars John Goodman, Steve Buscemi, Jon Polito, John Turturro, and Peter Stormare. The film is without a doubt a classic stoner comedy. While it's not for high intellectuals who want a plot, it's for anyone who just doesn't care and just wants to laugh. So in the end, grab some White Russians, some grass, call a few bowling buddies, and have a good time watching one of the greatest movies of all-time, The Big Lebowski.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - 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

© thevoid99 2012