The Others

Written, scored, and directed by Alejandro Amenabar, The Others is the story of a woman who lives in a remote home with her two children as they deal a series of odd events as it relates to the people coming into their home. The film is an unconventional haunted house film which relates to a woman and her children, who are sensitive to sunlight, as they ponder what is happening around them as well as those who had died in their home. Starring Nicole Kidman, Fionnula Flanagan, Christopher Eccleston, Elaine Cassidy, Eric Sykes, Alakina Mann, and James Bentley. The Others is a spellbinding yet eerie film from Alejandro Amenabar.

Set in the aftermath of World War II at a remote country estate in Jersey in Britain, the film revolves a devout Catholic woman who lives with her two photosensitive children as they hired a new staff at the home where they all deal with some strange things that are happening in the house. It’s a haunted house film that plays into a woman not just dealing with these strange events but doing whatever it takes to protect her children from sunlight. Still, it is no match for these strange events that are happening as the children claim that there’s ghosts in the house. Alejandro Amenabar’s screenplay not only explores the attempt by Grace Stewart (Nicole Kidman) to shield her children from the light as well as questions about the outside world. She also hopes to instill Roman Catholic faith into them so they can be protected from evil but it’s not enough to deal with the ghosts.

While Grace’s new maid Mrs. Bertha Mills (Fionnula Flanagan) knows something is up, she tries assure Grace that nothing serious is happening. Once the story progresses, it is clear that Mills along with the gardener Edmund Tuttle (Eric Sykes) and a young mute named Lydia (Elaine Cassidy) know something that Grace doesn’t know. Even as it alludes to why Grace’s husband Charles (Christopher Eccleston) hasn’t returned from the war. Amenabar’s script also play into the ideas of life after death where Grace’s children Anne (Alakina Mann) and Nicholas (James Bentley) wonder about their father as well as the surroundings around them. While Anne is convinced that something is haunting them, Grace doesn’t believe it at first until a key moment as it play to who are the people inhabiting the house.

Amenabar’s direction doesn’t play to a lot of the conventions that is often expected in horror or in suspense-dramas. Yet, it does maintain an atmosphere of what is going on in the way Amenabar builds up the suspense while creating something that is dramatic with bits of humor. Amenabar’s direction would infuse some gorgeous imagery into his compositions from his usage close-ups and medium shots to play up the intimacy of the home as well as some unique tracking shots and camera angles to play into the home itself. The way Amenabar would move the camera for certain scenes such as the sounds of children crying and other things which helps play into Grace’s own suspicions and need to tend to her children. Though much of the film is set in Britain, some of the exteriors is shot in Northern Spain as it help plays into the world of the unknown in a sequence where Grace tries to walk to the church miles away.

The direction would also have some eerie moments that blur the lines between what is real and what is not where adding to that air of suspense is Amenabar’s score. While it is largely an orchestral score with string arrangements and a few piano pieces, it help plays into the drama while knowing how to build up the suspense and sense of terror. By the time the film reaches its third act, the terror does reach its apex as well as an astonishing reveal that does add a new tone to the film. Especially as it relate to not just the theme of death but also the concept of the afterlife and eternity. Overall, Amenabar creates a mesmerizing yet intoxicating film about a woman trying to protect her children from ghosts in her home.

Cinematographer Javier Aguirresarobe does brilliant work with the film‘s cinematography for its usage of natural lighting as well as low-key lighting for many of the interior scenes to help play up the lack of sunlight as well as scenes with sunlight as it is one of the film‘s major highlights. Editor Nacho Ruiz Capillas does excellent work with the editing as a lot of it is straightforward with some stylish cuts to play up the drama as well as the suspenseful moments. Production designer Benjamin Fernandez, with set decorators Emilio Ardura and Elli Griff, do amazing work with the look of the sets from the hallways as well as the rooms in the house to play up something that feels like a world that is old as well as out of step with the times.

Costume designer Sonia Grande does fantastic work with the costumes as many of the clothes the characters wear don’t showcase much color as it plays to the look of the film. Visual effects supervisor Felix Berges does nice work with some of the film‘s minimal visual effects as it relates to some key moments in the film‘s third act. Sound designer Isabel Diaz Cassou does superb work with the sound to help create an atmosphere for what goes on at the house where it helps play into the suspense as well as some scenes that heighten up that sense of terror.

The casting by Shaheen Baig and Jina Jay is incredible as it features some notable small roles from Keith Allen, Michelle Fairley, Renee Asherson, and Alexander Vince as a group of people who could be the ghosts that are haunting the house. Elaine Cassidy is wonderful as the mute young maid Lydia who is always suspected of doing something while Grace wonders what made her mute in the first place. Eric Sykes is terrific as the gardener Edmund Tuttle as a man who always work outside while also helping Mills do some cover-up into what is really going on. Christopher Eccleston is excellent as Grace’s husband Charles who is missing from the family as he only appears briefly to serve as the one thing Grace is hoping for in her sheltered existence.

James Bentley and Alakina Mann are fantastic in their respective roles as Nicholas and Anne as the two children who deal with ghosts with Bentley as the younger of the two who is more scared over what is happening while Mann provides a showier role as someone who knows what is going on but is also just as scared. Fionnula Flanagan is amazing as Mrs. Bertha Mills as the new head maid of the house who knows a lot about the house as she also knows its secrets which she conceals from Grace. Finally, there’s Nicole Kidman in a remarkable performance as Grace Stewart as this very religious woman who is trying to protect her children at any cost as well as ponder the fate of her husband as it’s a performance of power but also terror where Kidman brings a lot of anguish into the performance which is one of her best.

The Others is a phenomenal film from Alejandro Amenabar that features a great performance from Nicole Kidman. Along with a brilliant ensemble cast as well as an engaging story, a fantastic score, and beautiful visuals. The film isn’t just a riveting haunted house film but also a fascinating study on the concepts of death and faith. In the end, The Others is a spectacular film from Alejandro Amenabar.

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

© thevoid99 2015

Summer of Star Wars: Caravan of Courage: An Ewok Adventure

Directed and shot by John Korty and teleplay by Bob Carrau from a story by George Lucas, Caravan of Courage: An Ewok Adventure is the story of two human children who find themselves lost in the moon of Endor as they are aided by Ewoks to find their parents. The film is a TV movie which revolve around the adventures of the little Ewoks creatures who would help a couple of kids find their parents in a journey that is narrated by Burl Ives. Starring Eric Walker, Warwick Davis, Aubree Miller, Fionnula Flanagan, and Guy Boyd. Caravan of Courage: An Ewoks Adventure is a decent but messy TV film from John Korty.

Set between the events of The Empire Strikes Back and Return of the Jedi, the film revolves around a family whose star-cruiser has crashed on the moon of Endor as the children go on an adventure with the Ewoks to find their parents who had been captured by a monster. While it’s a simple story of teamwork and family, it’s a film that plays into two children dealing with their new surroundings as well as the fact they’re trying to find their parents. Bob Carrau’s script is quite formulaic in terms of scenario but it does have some development as it relates to the character of Mace (Eric Walker) who goes from this whiny young teen into someone who would embrace the Ewoks. Yet, the script doesn’t really have a lot of surprises and at times would meander into elements of Ewoks mysticism and other strange things that makes the story less engaging.

John Korty’s direction is quite simple in terms of compositions yet does manage to have some amazing shots as it relates to not just the locations in the Redwood Forests in California but also in some of the sets that is created. There are moments that are quite exciting but some of it does drag where Burl Ives’ narration doesn’t help matters as it’s largely just exposition to help flesh out the story as well as say what the Ewoks are saying. Also serving as the cinematographer, the film does have a nice look in terms of its visuals in day and night though as Korty also create things that are adventurous but there’s also moments where some of creature effects and such look very cheesy as is the big monster that captured the parents of Mace and Cindel (Aubree Miller). The climax does have some unique moments but it never ends up being engaging despite its payoff. Overall, Korty creates an OK but somewhat dull film about Ewoks helping a couple of kids save their parents from a monster.

Editor John Nutt does nice work with the editing in terms of using rhythmic cuts for its action scenes and moments of humor along with transition wipes. Production designer Joe Johnston and art director Harley Jessup do amazing work with the set design from the look of the cave where the monster lived in as well as some of the creature designs. Costume designers Michael Becker and Cathleen Edwards do terrific work with the costumes from the clothes the humans wear to the design of the Ewoks. Sound editor Sue Fox and sound designer Randy Thom do superb work with the sound in some of the sound effects that were created for the film. The film’s music by Peter Bernstein is pretty good as it’s mostly an orchestral-based music that plays into a lot of the action and sense of adventure that occurs.

The film’s cast includes appearances from Tony Cox, Debbie Lee Carrington, Kevin Thompson, Bobby Bell, and Daniel Frishmann as Ewoks while Warwick Davis is superb as the Ewok Wicket who befriends Cindel. Fionnula Flanagan and Guy Boyd are alright as Mace and Cindel’s parents who are captured by the monsters as they aren’t seen much. Eric Walker is OK as Mace as a teenage kid who just wants his parents back as he spends half of the film being very whiny and such. Finally, there’s Aubree Miller as Cindel as it’s a decent performance for a child but one that doesn’t really do much but pout and play with Wicket.

Caravan of Courage: An Ewok Adventure is a worthwhile but cheesy TV movie from John Korty. While it is a fine film for families and kids who like Ewoks, it is something that Star Wars fans might have mixed feelings about as the Ewoks are very polarizing creatures. In the end, Caravan of Courage: An Ewok Adventure is just an OK TV movie from John Korty.

Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - (Episode IX)

Related: The Star Wars Holiday Special - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas

Star Wars Anthology Films: Rogue One - Solo - (Untitled Star Wars Anthology Film)

George Lucas Films: THX 1138 - (American Graffiti)

© thevoid99 2015

The Guard (2011 film)

Written and directed by John Michael McDonough, The Guard is the story of an eccentric Garda who teams up with a FBI agent to take on an international drug smuggling gang in Ireland. The film explores two different men with two different methods as they uncover murder and corruption where they become an unlikely team. Starring Brendan Gleeson, Don Cheadle, Liam Cunningham, Fionnula Flanagan, and Mark Strong. The Guard is an engaging and very whimsical black comedy from John Michael McDonough.

Despite not being a totally honest Garda, Sgt. Gerry Boyle (Brendan Gleeson) is still a man who manages to get the job done as he works with a new Garda from Dublin named McBride (Rory Keenan) to investigate a murder. Though Boyle’s unconventional tactics gets results done, he is considered by superiors to be too odd as Boyle is becoming concerned with the ailing health of his mother Eileen (Fionnula Flanagan). When a FBI agent named Wendell Everett (Don Cheadle) is asked to lead an investigation over an international drug smuggling case, Boyle’s unintended racial remarks gets Everett’s attention where the two reluctantly teams up in the investigation.

When McBride goes missing as his Croatian wife Gabriela (Katarina Cas) asks Boyle for help, he makes a discovery about McBride’s car on his day off where he believes something isn’t right. Notably as Everett is going after a drug lord named Francis Sheehy-Skeffington (Liam Cunningham) and his British partner Clive Cornell (Mark Strong) along with their hired gun Liam O’Leary (David Wilmot). When Boyle has a meeting with Sheehy-Skeffington who tries to bribe him, Boyle makes a startling discovery about the police force realizing he’s got little allies to aid him. After discovering what happened to McBride as Everett has to return home, Boyle decides to take matters into own hands to fight off Sheehy-Skeffington and his gang.

The film is simply the story of a Garda and a FBI agent who team up to uncover a series of murders that involves an international drug smuggling gang in a small Irish district of Connemara Gaeltacht. While the idea of teaming up with a straight-laced FBI agent from Kenosha, Wisconsin who comes from a privilege background with a very strange Garda who likes to take a bit of drugs, do silly things, and sleep with hookers is a strange one. Writer/director John Michael McDonough some how makes it work because the character of Sgt. Gerry Boyle is a very unique character. Despite his vices and somewhat simple views on the world, Boyle is actually a guy who is a lot smarter than people think he is. He knows how to get an investigation going by his own instincts, he is a bit more honest with people, and can get the job done.

The fact that Boyle is also a flawed character makes him more endearing as he is someone who adores his mother as he’s trying to take care of her in a retirement center. Notably in one key scene where the two out to a pub to hear live music where Boyle admits that he’s not a good person but his mother prefers to pretend that he is. It is that key relationship that grounds Boyle as it would help him aid someone like Everett who is incorruptible and both realize that the people they’re facing isn’t just drug lords but also the people that is supposed to aid them in the investigation. Boyle may be a man with vices and a somewhat dishonest Garda but there’s some things he wouldn’t do because he knows it isn’t right.

McDonough’s direction is truly thrilling from the way he opens the film with four young men in a car driving fast and listening to hip-hop as they pass Boyle and crash while Boyle just simply watches the car pass by him and then drives to the scene. It is presented in such an understated manner where there isn’t a lot to tell as it just establishes who Boyle is while the rest of the film is a unique mix of a buddy-cop film with some quirky humor and some dark comedy that involves the drug smuggling gang. McDonough’s compositions are quite striking as he shoots them on location in Connemara and parts of Dublin to add to the world that Boyle knows. Overall, McDonough creates a well-crafted and enjoyable black comedy that is funny, suspenseful, and heartwarming.

Cinematographer Larry Smith does amazing work with the film‘s very colorful cinematography from the grey-colored look of the rainy exterior locations to some amazing evening shots as well as more stylish interiors for the places Boyle and Everett hang out at. Editor Chris Gill does excellent work with the editing to create unique rhythms for some of the film‘s violent moments along with stylish works in a few transitional jump-cuts to help the film move at a brisk pace. Production designer John Patrick Kelly and art director Lucy van Lonkhuyzen do brilliant work with the set pieces such as the pub that Boyle and Everett drink at as well as Boyle‘s home that is filled with all sorts of records and such.

Costume designer Eimer Ni Mhaoldomhnaigh does terrific work with the costumes from the uniforms that Boyle wears to the suits a lot of the men wear including Everett. Sound designer Niall Brady does wonderful work with the sound to capture the atmosphere of the pubs as well the intimacy in some scenes such as O’Leary’s confrontation with Boyle. The film’s music by Calexico is a major highlight of the film as its Morricone-inspired score is filled with dazzling arrangements of Mariachi horns, trotting rhythms, and all sorts of playful themes to help intensify some of the film‘s suspenseful moments. Music supervisor Liz Gallacher does a superb job with the film’s soundtrack by creating a wide mix of musical styles that feature Irish folk music as well as pieces by N.E.R.D., Chet Baker, and John Denver.

The casting by Jina Jay is incredible for the ensemble that is created as there are some memorable small performances from Rory Keenan as Boyle’s new partner McBride, Michael Og Lane as the young bike rider Eugene who aids Boyle in finding evidence, Sarah Greene and Dominique McElligott as a couple of hookers Boyle likes to have fun with, Pat Shortt as an arms expert Boyle knows, and Gary Lydon as the chief inspector Gerry Stanton. David Wilmot is very good as the witty hitman Liam O’Leary while Katarina Cas is superb as McBride’s wife Gabriela. Fionnula Flanagan is a joy to watch as Gerry’s mother Eileen who always brings a lot of spark to her role in the way she curses and how she wants some drugs just to make the retirement home more fun. Liam Cunningham is great as crime boss Francis Sheehy-Skeffington who tries to keep things low while trying to bribe Boyle so trouble wouldn’t happen.

Mark Strong is excellent as the brutish Clive Cornell who is the only English character in the film as he tries to deal with all of the chaos that is happening while wanting to maintain a professionalism in the job. Don Cheadle is marvelous as the straight-laced FBI agent Wendell Everett who finds himself in a very different world while dealing with someone as unorthodox like Boyle as Cheadle does amazing work in playing the straight man to the Boyle character. Finally, there’s Brendan Gleeson in an outstanding performance as Sgt. Gerry Boyle where it’s easily a role that only he can play. There’s a great wit and charisma that Gleeson displays as well as something that is heartfelt in his scenes with Flanagan while the scenes with Cheadle has him being restrained in his approach to the humor. Gleeson is the star of the film and what a way he seizes the moment and creates a character that is as loveable as Gerry Boyle.

The Guard is a delightful black-comedy from John Michael McDonough that features a tour-de-force performance from Brendan Gleeson. Along with noteworthy supporting work from Don Cheadle, Mark Strong, Fionnula Flanagan, and Liam Cunningham. It’s a film that is truly entertaining that has a great visual style and story that is truly engaging to watch. Notably as it gives Brendan Gleeson the chance to headline a film where he succeeds in every way. In the end, The Guard is a remarkable and entertaining film from John Michael McDonough.

Related: Calvary

© thevoid99 2012