2018 Cannes Marathon: Captain Fantastic

(Winner of the Un Certain Regard Prize for Best Director to Matt Ross at the 2016 Cannes Film Festival)

Written and directed by Matt Ross, Captain Fantastic is the story of a family whose patriarch is forced to return to society with his six children as they’ve been living in the forest as they deal with other family members and the modern world. It’s a film that explores a man trying to deal with returning to the world as well as loss and what people want for his children. Starring Viggo Mortensen, Frank Langella, George Mackay, Missi Pyle, Kathryn Hahn, and Steve Zahn. Captain Fantastic is a riveting and witty film from Matt Ross.

The film revolves around a man who lives in the forests in the Pacific Northwest in Washington with his six children as he receives the news that his wife had died and her father is barring him from the funeral that is held in New Mexico only for the man and his children deciding to go in defiance against their grandfather. It’s a film with a simple premise that play into a man who lives in an unconventional world in the forests where he and his children hunt for food and do all sorts of activities including mountain climbing and read various philosophical things about the world. Matt Ross’ screenplay follows the lifestyle that Ben Cash (Viggo Mortensen) has created with his wife Leslie (Trin Miller) who have six children that live with them as they all share views about their disdain for capitalism and the conformities of society. Yet, Leslie would briefly leave to go to the hospital for treatment for her illness until Ben’s sister Harper (Kathryn Hahn) gives him the news that Leslie died.

The first half of the film largely is set on the road where Ben is taking his kids on their bus as they drive from Washington to New Mexico to go to Leslie’s funeral despite the threat that her father Jack Bertrang (Frank Langella) about having Ben arrested if he shows up. On the road, Ben’s children deal with the world they’re encountering as they have very little clue about the outside world other than the ideas of capitalism and such as well as celebrate Noam Chomsky’s birthday months earlier as they see him as a great philosopher. Yet, there are also these elements of curiosity in the film as it relates to the eldest son Bodevan (George Mackay) who encounters the opposite sex as he is trying to figure out how to woo them while concealing the fact that he’s been accepted to various top universities in America. There’s also tension within the family as the middle son Rellian (Nicholas Hamilton) believes that his mother really died because of his father. The film’s second half is set in New Mexico as it doesn’t just play into family tension but also why Jack has a grudge towards Ben as he is also concerned for the well-being of his grandchildren.

Ross’ direction does have element of style yet much of his approach to the compositions are straightforward to play into the world of a family who don’t live in conventional society. Shot largely in the state of Washington with additional shooting in Portland, Oregon, the film does play into this world where the forest is a place where Ben feels right at home with his children as they spend much of the day learning about philosophies and ideas as well as train to survive for any kind of situation. The first thing that is shown in the film is Bodevan in camouflage as he kills a deer as it is a moment establishes what Ben and his family does to get meat as well as the fact that they have their own garden and the only time Ben and Bodevan leave the forest is to certain things in a nearby town as their source of transportation is in a bus called Steve. Once the film goes on the road, Ross would use wide shots for the many locations they venture into while using close-ups and medium shots to play into the way they interact with other people and things including a stop at Harper’s home with her husband Dave (Steve Zahn) and their two sons.

Ross’ direction also include some humor where Ben asks his nephews about the Bill of Rights as his youngest daughter Zaja (Shree Crooks) brings her own interpretation of the document as it shocks her aunt. The funeral scene is comical but also unsettling for the fact that Ben and his kids are seen wearing strange clothes in comparison to what everyone else in the church is wearing as it play into two different worlds and ideals clashing together. Yet, there is something about the world that Jack offers to his grandchildren that is still compelling as he’s willing to give them a sense of security as well as a chance to discover the real world. Still, much of the film’s motivations is driven by loss as well as the air of uncertainty as it play into what Ben has to do for his children and the possibilities they can bring to the world. Overall, Ross crafts a mesmerizing and witty film about a family who enter the world of society to attend the funeral of their mother.

Cinematographer Stephane Fontaine does brilliant work with the film’s colorful cinematography with the natural look of the scenes of the forests as well as the usage of low-key lighting for some of the scenes at night including at the homes of Harper and Jack. Editor Joseph Krings does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into the comedy and drama. Production designer Russell Barnes, with set decorators Tania Kupczak and Susan Magestro plus art director Erick Donaldson, does fantastic work with the look of the bus known as Steve as well as the forest home that Ben and his family live as well as the more lavish home that Jack has.

Costume designer Courtney Hoffman does amazing work with the costumes from the ragged hippie clothes the kids and Ben wear as well as the wild clothes they would wear to their mother’s funeral. Sound designer Frank Gaeta does superb work with the film’s sound as it play into the atmosphere of the locations as well as the way nature sounds in its natural environment. The film’s music by Alex Sommers is wonderful for its mixture of folk and ambient music textures with some original music played on location while music supervisor Chris Douridas provides a nice mix of genres ranging from classical pieces by Johann Sebastian Bach and Glen Gould as well as music from Alex & Jonsi, Sigur Ros, Bikini Kill, and covers of songs by Guns N’ Roses and Bob Dylan.

The casting by Jeanne McCarthy is incredible as it feature some notable small roles and appearances from Erin Moriarty as a teenage girl that Bodeven meets and falls for at a trailer park camp, Missi Pyle as the girl’s mother, Elijah Stevenson and Teddy Van Ee in their respective roles as Harper and Dave’s sons Justin and Jackson, Trin Miller as Ben’s wife Leslie, and Ann Dowd in a terrific small role as Leslie’s mother who would give Ben a letter she received from Leslie as she wants to get to know her grandchildren. Frank Langella is excellent as Leslie’s father Jack Bertrang as a man who has a grudge towards Ben for taking his daughter away from the world and blames him for her death as he wants to give his grandchildren a chance in live where Langella does show a sensitive and loving side when his character is around the grandchildren.

Steve Zahn and Kathryn Hahn are fantastic in their respective roles as Dave and Harper with the latter being Ben’s sister who are both concerned about their nieces and nephews and their interaction with the real world as well was what will happen to them when they’re adults. Shree Crooks and Charlie Shotwell are brilliant in their respective roles as the youngest children in Zaja and Nai with the former knowing a lot about body parts and government amendments while the latter is known for not wearing clothes when it’s time to eat dinner. Samantha Isler and Annalise Baso are amazing in their respective roles as the eldest sisters Kielyr and Vespyr as two teenage girls who are both dealing with growing pains with the former becoming interested in literature and the latter interested in adventure.

Nicholas Hamilton and George McKay are incredible in their respective roles as the middle child Rellian and the eldest child in Bodevan with the former becoming concerned and angry about some truths about what happened to his mother while the latter is trying to conceal secrets about being accepted to prestigious universities just as he’s becoming fascinated by girls. Finally, there’s Viggo Mortensen in a phenomenal performance as Ben Cash as a man of great intelligence who decides to shelter his children away from conventional society in the hope they can think for themselves as he also deals with the death of his wife as he’s also forced to realize his own faults in his methods as it all relates to loss and his unwillingness to deal with reality as it’s one of Mortensen’s finest performances.

Captain Fantastic is a tremendous film from Matt Ross that features an incredible performance from Viggo Mortensen. Along with its ensemble cast, engaging premise, and offbeat tone, it’s a film that explores a man trying to hold his family together to mourn the loss of their mother as they also encounter a world that is foreign to them. In the end, Captain Fantastic is a spectacular film from Matt Ross.

Related: 28 Hotel Rooms

© thevoid99 2018

5 to 7

Written and directed by Victor Levin, 5 to 7 is the story of a young writer who meets a married woman as he would have an affair with her unaware that it’s part of an arrangement she has with her husband. The film is an exploration of love as well as young man finding out that the woman he’s with is having an open marriage with her husband. Starring Anton Yelchin, Berenice Marlohe, Olivia Thirlby, Lambert Wilson, Frank Langella, and Glenn Close. 5 to 7 is a majestic and fascinating film from Victor Levin.

Set entirely in New York City, the film revolves around a young writer whose encounter with a married French woman lead to an arranged affair between five to seven PM. It’s a film with a simple concept as it is largely told by this young man in his 20s who is trying to find himself as a writer but also find ideas to become a great one. Upon meeting this beautiful Frenchwoman in her 30s, he would have this affair but would have to meet between five and seven PM as he would learn that she is married to another man who is also in an open relationship with another woman. Victor Levin’s screenplay is largely told from the perspective of its protagonist Brian Bloom (Anton Yelchin) who is quite young as he hasn’t experienced enough with his life to create anything of worth in his desire to be a writer. When he meets Arielle Pierpont (Berenice Marlohe), he would gain some experience in this affair yet he becomes enamored by Arielle and her life. Though the script does follow scenarios that is typical of romantic-comedies, there are more complexities as it play into this arrangement as well as what it could for Brian’s future.

Levin’s direction is quite simple as it is shot on location in New York City and its various locations where it play into Brian living in a city where it’s known for giving birth to many writers as the city itself is a character in the film. Many of the compositions are simple with its usage of close-ups and medium shots to play into the intimacy of the scenes as well as in some of the parties. There are a few wide shots in the film yet Levin is more about Brian being part of Arielle’s life as she has two kids while introducing her to his parents who are baffled by this arrangement. The direction is also very playful as it owe a lot to elements of the French New Wave for much of the film’s first half that would include a lot of tracking shots yet the style would become more controlled and less stylized for the third act. Notably as it would play into Brian’s own view of the world and his own idea of love where things become complicated but there are things he would have to accept in his development as a man. Overall, Levin creates an engaging yet charming film about a young man’s affair with a married woman.

Cinematographer Arnaud Potier does excellent work with the cinematography in the way many of the rooms are lit from inside as well as the naturalistic exterior shots in the daytime. Editor Matt Maddox does nice work with the editing as it is mostly straightforward with a few jump cuts and montages in some sequences. Production designer Jeannine Oppewall and set decorator Susan Perlman do fantastic work with the look of the hotel suite Brian and Arielle would often meet at as well as Brian‘s quaint apartment and the lavish one Arielle lives in with her husband.

Costume designer Heidi Bivens does wonderful work with the costumes from the suits that Brian wears to the stylish clothes that Arielle wears. Sound designers J.M. Davey and Zach Seivers do terrific work with the sound as it is mostly low-key to play into the locations as well as in some of the parties that the characters go to. The film’s music by Danny Bensi and Saunder Jurriaans do superb work with the music as it‘s mostly a mixture of classical and waltz-based music with bits of jazz while music supervisor Laura Katz create a soundtrack filled with jazz, classical, and some French pop music.

The casting by Billy Hopkins, Ashley Ingram, and Heidi Levitt is great as it features appearances from real-life figures Julian Bond, Daniel Bouloud, Alan Gilbert, and David Remnick as themselves along with Milo Mungier Jacob and Brune de Drueille Senecterre in their respective roles as Arielle’s children Marc and Elodie and Eric Stoltz in a one-scene performance as the renowned editor Galassi. Glenn Close and Frank Langella are fantastic as Brian’s parents respectively in Arlene and Sam Bloom with Close as the more quirkier of the two while Langella is the more uptight who isn’t that fond of the relationship. Lambert Wilson is excellent as Arielle’s husband Valery as a man who loves his wife but also has a mistress as he tries to create a situation where everyone is happy as he also sees promise in Brian’s writing talents.

Olivia Thirlby is amazing as Valery’s mistress Jane as an editor who is able to help Brian sort out the arrangements of these affairs but also get him the chance to get his work published as she would be a friend to him. Berenice Marlohe is brilliant as Arielle Pierpont as a woman who meets Brian as she embarks on an affair with him as she learns about some of the aspects of American culture while becoming unsure if she can have a real relationship with him. Finally, there’s Anton Yelchin in a remarkable performance as Brian Bloom as a young writer trying to find experience in life as he meets and falls for Arielle while pondering if he can have a future with her despite their arrangements in Arielle’s open marriage.

5 to 7 is a marvelous film from Victor Levin that features incredible performances from Anton Yelchin, Berenice Marlohe, and Olivia Thirlby. It’s a romantic comedy that is very low-key yet is filled with some charm as well as some compelling ideas on open marriages and experiences for the young. In the end, 5 to 7 is an excellent film from Victor Levin.

© thevoid99 2017

Good Night, and Good Luck.

Directed by George Clooney and written by Clooney and Grant Heslov, Good Night, and Good Luck is the story of TV broadcast journalist Edward R. Murrow and his conflict to call out Senator Joseph McCarthy in the early 1950s during the period of McCarthyism where people are accused of being affiliated with communism. The film is a historical look into a man who refused to give in to McCarthy’s accusations amidst the pressure of corporate sponsors and such during the early years of television. Starring David Strathairn, George Clooney, Robert Downey Jr., Patricia Clarkson, Jeff Daniels, and Frank Langella. Good Night, and Good Luck is a fascinating yet rich film from George Clooney.

In the early 1950s where Senator Joseph McCarthy calls out on American citizens with Communist ties believing they’re working for the Soviet Union. The film revolves around Edward R. Murrow (David Strathairn) and his team to stand up to McCarthy and his many accusations believing that he is calling out regular people and making them cower to his claims. It’s a film that plays into a period in time during the early years of television where Murrow wants to voice his opinions at great risk from losing corporate sponsors. It is a film where people are scared and have no idea who to turn to during this time where Murrow would be a voice for those who are afraid of McCarthy.

The film’s screenplay by George Clooney and Grant Heslov opens and ends with Murrow at a gala in his honor in 1958 with colleagues there to praise him as he talks about the importance of what television should do rather than just entertain. Even as much of the film takes place from late 1953 to early 1954 where there’s a lot of discussion of the stories that Murrow and his producer Fred W. Friendly (George Clooney) want to talk about as it relates to those who lost their jobs because of McCarthy’s accusations or those who are victimized by McCarthy such as Annie Lee Moss. Though Murrow, Friendly, and some of their staff believe they’re doing something right to call out McCarthy for his actions. They still had to contend with their bosses who are worried about losing their corporate sponsors and the fact that they could be shut down by those sponsors or the powers that be.

Clooney’s direction is very simple yet stylish in not just the way he frames some of the things that goes on inside a television studio. It’s also in how he manages to capture the sense of energy that goes on whenever a story is about to be told through Murrow’s mouth. Using a lot of tracking and steadicam shots to capture some of the movement that goes inside the studios, Clooney would also take great stock in getting close-ups and medium shots to play into the conversations that happens along with very entrancing shots of Murrow talking to the camera. There’s also a few wide shots in the film as Clooney is more focused on maintaining a sense of intimacy of what goes inside a newsroom during the early 1950s in the era of McCarthy. Notably as it also plays into the power of what television could do and how it would affect all sorts of change despite some of the behind-the-scenes politics that goes on which would change everything all because of greed. Overall, Clooney creates a very engaging yet provocative film about a journalist standing up to Joseph McCarthy.

Cinematographer Robert Elswit does incredible work with the film‘s black-and-white photography that is a major highlight of the film with its approach to lighting for many of its interior scenes as well as the scenes set at night. Editor Stephen Mirrone does excellent work with the editing where it is very stylized with some simplistic yet methodical cuts along with some inspired usage of stock footage from the McCarthy hearings. Production designer James D. Bissell, with set decorator Jan Pascale and art director Christa Munro, does amazing work with the set pieces from the look of the offices and the control room as well as the studio where Murrow does his broadcast.

Costume designer Louise Frogley does nice work with the costumes that plays into the period of the times in what the women wore as well as the clothes the men wore. Sound editors Aaron Glascock and Curt Schulkey do fantastic work with the sound to play into the atmosphere of the newsroom as well as some of the audio heard in the news clippings and such. The film’s music by Jim Papoulis is superb for its jazz-based score while music supervisor Alan Sviridoff would play into that period with a lot of jazz music as it’s sung on location or in post-production by Dianne Reeves.

The casting by Ellen Chenoweth is great as it features notable small roles from Rose Abdoo as news editor Mili Lerner, Matt Ross as editor Eddie Scott, Reed Diamond as editor John Aaron, Alex Borstein as the secretary Natalie, Tate Donovan as editor Jesse Zousmer, Thomas McCarthy as editor Palmer Williams, and Grant Heslov as the news director Don Hewitt. Ray Wise is terrific as news journalist Don Hollenbeck as a reporter for CBS who finds himself being targeted by the government as a Communist as he starts to unravel. Robert Downey Jr. and Patricia Clarkson are brilliant in their respective roles as correspondent Joseph Wershba and wife/editor Shirley Wershba as two co-workers trying to keep their marriage a secret as it was forbidden for co-workers to be married in those times.

Jeff Daniels is excellent as CBS news director Sig Mickelson as a man who is trying to warn Friendly and Murrow about what not to say as he is struggling to keep their sponsors as well as reveal what things have to be done in the office. Frank Langella is amazing as CBS chief executive William Paley as the head of the company who knows what Murrow and Friendly are doing but warns them about what they will lose. George Clooney is superb as producer Fred W. Friendly as a friend of Murrow who tries to figure out what to cover and how to help Murrow out with the news as well as see what kind of trouble they would get into. Finally, there’s David Strathairn in a phenomenal performance as Edward R. Murrow as a no-holds barred journalist who decides to spar with Joseph McCarthy over his accusations on people who claim to have ties with Communism in an attempt to do what he feels is right as well as see television as a way to help people instead of other things as it‘s Strathairn in one of his greatest performances ever.

Good Night, and Good Luck is a remarkable film from George Clooney that features a towering performance from David Strathairn as Edward R. Murrow. The film isn’t just a look into a period of time when the world of journalism stood up to Joseph McCarthy and his witch hunt. It’s also a film that showcases the world of news on television in its infancy where it was not afraid to speak the truth despite pressures from corporate sponsors. In the end, Good Night, and Good Luck is a spectacular film from George Clooney.

George Clooney Films: Confessions of a Dangerous Mind - (Leatherheads) - The Ides of March - The Monuments Men

© thevoid99 2015

Noah (2014 film)

Directed by Darren Aronofsky and written by Aronofsky and Ari Handel, Noah is a dramatic re-telling of Noah’s Ark in which Noah sees an apocalyptic vision as he decides to build an ark with his family before a great flood emerges. The film is a grand vision of the Noah’s Ark story where it plays into a man trying to save his family and animals from a world that is being ravaged by terror and the fault of mankind. Starring Russell Crowe, Jennifer Connelly, Emma Watson, Logan Lerman, Douglas Booth, Ray Winstone, and Anthony Hopkins. Noah is an extravagant yet intense film from Darren Aronofsky.

The story of Noah and his ark is a story that’s been told for ages as this film is a dramatic interpretation of that story where Noah (Russell Crowe) builds an ark to save his family and animals. Yet, it’s a film that explores a world where humanity has taken advantage of the world they live in as Noah and his family try to live in peace until Noah sees a vision of a world where humanity is wiped out. Once Noah builds his ark with his family and a small group of fallen angels who became stone-like creatures called the Watchers. Noah has to contend with the presence of Tubal-cain (Ray Winstone) who only sees the cruelty of the Creator as he would try to sway Noah’s young son Ham (Logan Lerman) into giving in towards temptation. What Darren Aronofsky and Ari Handel do is tell the story in a dramatic form while playing into the myth of Noah and where he’s descended from.

The film begins with a story of Adam and Eve and the three sons they created in Cain, Abel, and Seth. Tubal-cain is a descendant of Cain while Noah is a descendant of Seth as the latter would seek guidance from his grandfather Methuselah (Anthony Hopkins) who would also help the rest of his family. While the screenplay does take some liberties into the story where it would only focus on Noah, his wife Naameh (Jennifer Connelly), their three sons, and adopted daughter Ila (Emma Watson). It would play into the internal struggles that Noah deals with as he becomes confused about whether to save the rest of humanity as those he had encountered including Tubal-cain are filled with sin and temptation that had destroyed the world and ravaged the things that the Creator has made.

Aronofsky’s direction is truly vast in not just its scope but also in the way he presents the world that is coming apart by temptation and cruelty where only Noah and his family are the few who have been good towards the Earth and its surroundings. With much of the location set in Iceland with scenes of the ark construction set in upstate New York, Aronofsky goes for something that could’ve been set anywhere in the world while he does utilize visual effects for some dazzling sequences where Noah plants a seed where trees are created for the wood he needed for the ark. Much of the direction has Aronofsky go for a lot of spectacular wide shots and massive scenes involving crowds and such to play into the dark world that Noah needed to protect his family from.

The direction also includes scenes where it is set on the ark as Aronofsky wanted the ark to look as realistic as possible where it’s a place where animals and plants can be salvaged while Noah’s family can be safe and look for some message of hope after the rain dies down. Yet, there’s also a sense of tension that occurs over Noah’s sense of hopelessness and doubt as the element of suspense and drama is raised where Naameh and Ila become much more prominent in trying to get Noah to see reason. Especially when he completes his task and deals with what was gained and what got lost. Overall, Aronofsky creates a very compelling yet glorious film about the story of Noah and his ark.

Cinematographer Matthew Libatique does excellent work with the film‘s cinematography with its use of natural lights for some of the exteriors with some usage of grey in the rainy scenes along with some low-key lighting schemes and sepia tones for the scenes inside the ark. Editor Andrew Weisblum does incredible work with the editing with its use of montages, jump-cuts, and other stylistic cuts to play into the suspense and drama that occurs in the film. Production designer Mark Friedberg, with supervising art director Dan Webster and set decorators Nicholas DiBlasio and Debra Schutt, does amazing work with the set pieces from the design of the ark in its interior and exteriors to the tents that Noah and his family lived in.

Costume designer Michael Wilkinson does nice work with the costumes as it plays the ragged look of the characters as it plays into a world that is in its infancy. Visual effects supervisors Ben Snow and Joe Takai do terrific work with the visual effects for the look of the flood and the design of the creatures and Watchers though some of it does look a bit wobbly at times. Sound editor Craig Henighan does superb work with the sound from the way some of the action in the locations sound to the sounds of people screaming during the flood where Noah and his family are listening from inside. The film’s music by Clint Mansell is fantastic for its bombastic orchestral score and serene pieces to play into the drama and sense of adventure as the soundtrack includes performances by the Kronos Quartet and a closing song sung by Patti Smith.

The casting by Lindsay Graham and Mary Vernieu is great as it features voice work from Mark Margolis and Kevin Durand as a couple of Watchers, Nick Nolte as the leader of the Watchers, and Frank Langella as the voice of a Watcher who immediately recognizes Noah as a human to trust. Other notable small roles include Gavin Casalegno, Nolan Goss, and Skylar Burke in their respective roles as the younger versions of Shem, Ham, and Ila along with appearances from Marton Csokas as Noah’s father Lamech, Madison Davenport as a refugee that Ham meets, and Dakota Goyo as the young Noah. Anthony Hopkins is superb as Noah’s grandfather Methuselah as a man who often gives Noah and his family some guidance while providing some bits of humor in his craving for berries. Leo McHugh Caroll is terrific as Noah and Naameh’s young son Japheth who watches over the birds he cares for.

Douglas Booth is excellent as Noah’s eldest son Shem who tries to deal with his love for Ila and watch over the family whenever Noah does other things. Logan Lerman is fantastic as Noah’s middle son Ham who becomes lost in the idea of being alone after the flood as he becomes tempted by Tubal-cain about the realities of humanity. Ray Winstone is amazing as the very cunning Tubal-cain as a man who tries to talk to the Creator as he deals with the chaos and despair of the world where he goes after Noah and later manipulates Ham. Emma Watson is brilliant as Noah’s adopted daughter Ila as a young woman who deals with the fact that she can’t have a child as she also would later cope with some of the decisions Noah would make.

Jennifer Connelly is remarkable as Naameh as the wife of Noah who is also the voice of reason as someone who tries to get Noah to look closer at his surroundings as she knows what he’s dealing with as she also thinks about her family and their future. Finally, there’s Russell Crowe in a marvelous performance as the titular character as a man who realizes what is going to happen as he tries to salvage all that is good in the world while becoming lost over his task and what it all means as it’s a performance that has Crowe being tough but also display a sensitivity that doesn’t get seen much from him.

Noah is a phenomenal film from Darren Aronofsky that features amazing performances from Russell Crowe, Jennifer Connelly, Emma Watson, and Ray Winstone. While it does have a few flaws, it is still an engrossing story that manages to bring a lot of humanity and stakes into a story that’s been told so many times. Especially as Aronofsky infuses it with a lot of visual spectacles and ideas that will captivate a wide audience as well as bring something to religious audiences. In the end, Noah is an incredible film from Darren Aronofsky.

Darren Aronofsky Films: Pi - Requiem for a Dream - The Fountain - The Wrestler - Black Swan - mother! - The Auteurs #2: Darren Aronofsky

© thevoid99 2014

Starting Out in the Evening

Originally written and Posted at Epinions.com on 9/10/08 w/ Additional Edits.

Directed by Andrew Wagner and written by Wagner and Fred Parnes based on a novel by Brian Morton, Starting Out in the Evening tells the storing of a respected but aging novelist who is falling ill as his life unravels while being unable to finish a novel that has taken him ten years to write. Seemingly forgotten by the literary world comes an ambitious graduate student who is writing a thesis on the novelist where the reclusive novelist is reintroduced to his work and confront the demons that has haunt. A mediation on regrets and aging, the film is a study of a man desperate to find meaning in his work while dealing with regrets. Starring Frank Langella, Lily Taylor, Lauren Ambrose, and Adrian Lester. Starting Out in the Evening is a poignant, harrowing drama from Andrew Wagner.

Leonard Schiller (Frank Langella) for the past 10 years has been trying to work on a new novel. After four successful novels, the once great literary figure has fallen off the face of the earth. Now a college professor, the literary world has seemed to forgotten about him as he struggles to write a new novel. Yet, he's getting older and his health is failing him. Then he comes into contact with a graduate student named Heather Wolfe (Lauren Ambrose) who is planning to do a thesis on Schiller. Leonard isn't sure until her persistence wins him over. Leonard is also dealing with his daughter Ariel (Lily Taylor) who is approaching 40 and wants a child. Yet, she doesn't feel that it should be with current boyfriend Victor (Michael Cumptsy) as she learns her former boyfriend Casey (Adrian Lester) has returned to New York City.

Heather discusses the first two novels that Leonard wrote as they go into deep discussions on literature and what inspired him. Yet, she's looking to clues into why his writing style changed in relation to the death of his wife. Leonard doesn't try to reveal anything yet finds something charming in Heather as he invites her to a book signing party that Ariel couldn't attend. Leonard finds himself out of place as Heather defends his status to another writer (Jessica Hecht) over compromises. An attraction ensues but both Leonard and Heather resist the temptation. Ariel meanwhile, reconnects with Casey as the two start dating again much to Leonard's chagrin. Still, Casey's presence manages not to be distracting when Ariel is celebrating her birthday while Heather learns about facts that she hadn't heard about.

Heather confronts Leonard over the change in his writing style as well as why it's taking him so long. Yet, the attraction sparks as Ariel becomes a bit uncomfortable while Heather manages to complete her thesis. Yet, Leonard's health starts to wane while Casey and Ariel begin to hit bumps again in their relationship. Realizing that he might not finish his novel, Leonard begins to contemplate his life as well as his status as a writer.

First time director Andrew Wagner creates an eerie character study about an aging novelist whose status in the literary world is nonexistent. When a student tries to reintroduce him to the world, he's reluctant but willing only to realize he's running out of time. The subplot involving Ariel and Casey is more about a daughter trying to the next step in her life while her boyfriend is trying to figure out the next step in his. It's all about characters and their interaction and intentions. Though the character of Heather has great intentions, she struggles with the fact that she couldn't understand why Leonard Schiller had changed his writing style. Plus, she struggles with one of his book as she tries to be honest. It's a film about characters in the literary world and the people that become their characters. Wagner's direction is wonderfully intimate and engaging as if it's a film set on the stage.

Cinematographer Harlan Bosmajian creates a low-light look through digital cameras to create a style and intimacy to the film's interior settings that conveys the mind of Leonard Schiller with production designer Carol Strober and art director Dara Wishingrad creating that same look in the set designs and decorations. Editor Gena Bleier does fine work in the editing that emphasizes less on style and more on a pacing that's very smooth and nothing spectacular. Costume designer Claudia Brown also plays up to the film's look with contemporary clothing and suits for Frank Langella along with a youthful array of clothes for Lauren Ambrose. Sound editor Scott A. Jennings does excellent work with the sound to capture the atmosphere of New York City and its crowded, talkative literary world. Music composer Adam Gorgoni creates a melancholic, melodic score that plays up to the film's emotions without any huge arrangements or big sounds. Instead, the subtle score underplays the emotion of the characters and tone of the film.

The casting by Cindy Tolan is superb with appearances from Joie Lee as a poet, John C. Havens as a doorman, Jessica Hecht as a writer, Jeff McCarthy as a colleague of Leonard Schiller, and Michael Cumptsy as Ariel's boyfriend Victor. Adrian Lester is excellent as Casey, a former flame of Ariel who comes back to her life with new ambitions though is unsure about the idea of wanting a family. Lester's laid-back performance is wonderful as he shares the similar struggles of moving forward that Leonard deals with despite their differences. Lily Taylor is superb as Ariel, Leonard's adult daughter whose desire to want a child is also dealing with her father's relationship with Heather. Taylor's performance is wonderfully understated and charming as it proves that she remains one of indie cinema's best and most beloved actresses.

Lauren Ambrose is great as Heather Wolfe, a young woman set to reintroduce Leonard to the world while exploring his books and writing styles. Ambrose plays the character with a lot of spunk and maturity while her character is also flawed in the fact that she ends up being a bit dishonest in raising hopes up when it collides with realism. Finally, there's Frank Langella is a purely masterful, extraordinary performance that shows the brilliance of the respected veteran actor. Langella's performance is filled with such ease while carrying a sense of history as if there's a lot to know about this man. The way Langella acts around with his actors and to situations where even him silent and not really doing proves how much he can do as an actor. It's a performance that was unjustly overlook at the most recent Academy Awards and it's one that audiences shall not forget.

Starting Out in the Evening is a brilliant, harrowing debut feature from Andrew Wagner helmed by a brilliant performance from Frank Langella. With great supporting performances from Lauren Ambrose, Lily Taylor, and Adrian Lester, it's a film that is very engaging while providing a sense of what the New York City literary world is like and how it's changed from the past. The film is wonderful for an audience that just wants to see actors act and explore different worlds as if it's all told in a theater. In the end, Starting Out in the Evening is a mesmerizing film that's led by one of cinema's finest and often overlooked actors, Frank Langella.

© thevoid99 2014

The Ninth Gate

Based on the novel El Club Dumas by Arturo Perez-Reverte, The Ninth Gate is the story of a rare book dealer asked by a book collector to find a rare book that features elements of the occult as he finds himself dealing with all sorts of trouble. Directed by Roman Polanski and screenplay by Polanski, John Brownjohn, and Enrique Urbizu, the film is an exploration of a man who delves into strange encounters with the occult as he travels around Europe to find this book unaware of its content. Starring Johnny Depp, Lena Olin, Emmanuelle Seigner, Barbara Jefford, and Frank Langella. The Ninth Gate is an intriguing and entertaining thriller from Roman Polanski.

Dean Corso (Johnny Depp) is a rare book dealer who likes to make deals for large sums of money as he’s called upon by wealthy book collector Boris Balkan (Frank Langella) to find two additional copies of a book he has called The Nine Gates of the Kingdom of Shadows that he had just bought from a man who just killed himself. Corso takes the job to find the two books as he later meets the dead man’s widow Liane Telfer (Lena Olin) who revealed that her husband bought the book for her as she tries to seduce Corso in order to get the book back. Corso instead flees to Europe under Balkan’s orders as he travels to Spain to meet a couple of twin book restorers in the Cenzia brothers (Jose Lopez Rodero) where they show Corso clues about the book that could differentiate between the other two.

Arriving to Portugal to meet the owner of the second book in Victor Fargas (Jack Taylor) where Corso notices the differences in the copies as he makes notes unaware that he’s being followed until a mysterious woman (Emmanuelle Seigner) arrives to help him out in odd moments. Particularly when Corso realizes someone is after the other copies as he goes to Paris to meet the owner of the third book in another collector in Baroness Frida Kessler who refuses Corso knowing who is his employer until Corso shows her something. Yet, trouble brews as Corso realizes that he is being followed a man (Tony Amoni) until the mysterious woman saves him. After discovering what all three books contain in their differences, Corso and the mysterious woman realize that Liane Telfer is after them for her own Satanic ceremony. Yet, Corso learns that something else happens during the ceremony that would change things as he decides to become more involved.

The film is essentially the story of a sleazy rare book dealer who is asked by a wealthy collector to find copies of two other books to see which one is authentic. Yet, he realizes that he finds himself in all sorts of trouble that involves the occult and other strange forces that wants the content of the book for reasons that he doesn’t understand. It’s a premise that is interesting as it features not just a lot of ambiguity but also a bit of humor as Roman Polanski and his co-writers take their time to poke fun a bit at the occult while playing around with the usual schematics where characters are killed off while some things are left unanswered. Still, Polanski and his co-writers are able to create characters that are interesting like Dean Corso who is kind of a sleazebag in the way he makes deals but does become aware that there’s some things more important than money.

Polanski’s direction is definitely stylish as he shoots the film largely in Paris and various locations in Spain and Portugal. Through some amazing compositions and extravagant set pieces, Polanski creates a film that is about a man’s encounter with the occult. Even as Polanski uses suspense as something to help tell the story while playing around with it. One major flaw in the film is Polanski’s use of visual effects backdrops which do become distracting and feels fake. Particularly in a few sequences set in New York City for some of its exteriors except for some shots that were actually set in Paris. The film’s ending is also quite ambiguous into not just who the mysterious woman that Corso meets but also everything else he had gone through. Overall, Polanski creates a very engaging and witty thriller that plays around with its conventions and keep things exciting.

Cinematographer Darius Khondji does excellent work with film‘s very colorful and stylish photography from the naturalistic look of the exterior locations to more exotic scenes at night in its interior and exteriors including the film‘s climax. Editor Herve de Luze does nice work with the editing to create some stylish cuts to help the film move quite briskly while slowing things down for its suspenseful moments. Production designer Dean Tavoularis, along with set decorator Philippe Turlure and art director Gerard Viard, does fantastic work with the set pieces such as Balkan‘s room of books as well as the look of the mansion where Liane does her ceremony.

Costume designer Anthony Powell does terrific work with the costumes from the more casual clothes of the mysterious woman to the more posh clothing of Liane Telfer. The visual effects work of Johann Quere is decent at times for some scenes though the backdrops are very dodgy in their look. Sound editor Laurent Quaglio does wonderful work with the sound to capture the atmosphere of some of the locations including some of the film‘s more suspenseful moments. The film’s music by Wojciech Kilar is great for its orchestral bombast and serene themes to play up not just its suspense but also in some light-hearted themes to play up its humor.

The casting by Howard Feuer is brilliant for the ensemble that is created as it features some noteworthy small performances from James Russo as Corso’s friend Bernie, Tony Amoni as Liane’s bodyguard, Jose Lopez Rodero as the Ceniza brothers, and Jack Taylor as the book collector Victor Fargas. Barbara Jefford is excellent as the very eccentric collector Baroness Frida Kessler while Lena Olin is wonderful as the very crazed Liane Telfer. Emmanuelle Seigner is superb as the mysterious woman who helps Corso as she has this strange but evocative presence that has humor but also an air of ambiguity. Frank Langella is terrific as the very ambiguous Boris Balkan who craves to have these three books to see which one is authentic only to reveal his true intentions. Finally, there’s Johnny Depp in a remarkable performance as Dean Corso as a man who is quite quirky but also a bit of a dick as he finds himself unaware of the trouble he brings as it’s a very witty performance from Depp who allows his character to display some humility.

The Ninth Gate is a very good and fun suspense-thriller from Roman Polanski that features top-notch performances from Johnny Depp, Frank Langella, and Emmanuelle Seigner. While it doesn’t rank up there with some of Polanski’s more regarded films, it’s still a film that is entertaining. Particularly as it refuses to take itself seriously despite some of the flaws the film has. In the end, The Ninth Gate is a terrific film from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates (1986 film)) - Frantic - Bitter Moon - Death and the Maiden - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2012

All Good Things

Directed by Andrew Jarecki and written by Marcus Hinchey and Marc Smerling, All Good Things is about a young real estate heir who marries a working-class girl as his life spirals out of control due to his mood swings and his wife’s yearning to be independent. When she mysteriously disappears, dark secrets are uncovered as he tries to deal with his own demons. The film is based on the life of Robert Durst, the son of a real estate mogul, as the film explores a man’s troubled life. Starring Ryan Gosling, Kirsten Dunst, Kristen Wiig, Philip Baker Hall, Diane Venora, and Frank Langella. All Good Things is an engrossing although flawed drama from Andrew Jarecki.

It’s the early 1970s as real estate heir David Marks (Ryan Gosling) goes to an apartment to fix the plumbing of a building that is owned by his father Sanford (Frank Langella). There, he meets a young woman named Katie (Kirsten Dunst) as the two go out as she becomes the thing he needed to escape the rich lifestyle that he’s set out for as they live in Vermont. While Sanford doesn’t entirely approve of the relationship, he convinces David to return to New York City believing that Katie will be happy. David reluctantly returns to New York City to work for his father while Katie is hoping to become a medical student as she has trouble dealing with David’s mood. While Katie yearns for a simpler life and wanting a family, David becomes more troubled as he learns that Katie is pregnant.

Yet, Katie’s hopes for a family life is shattered as she spends her time with friend Lauren (Kristen Wiig) as she and David become distant. With David spending more time working and Katie living at the Westchester country home to get herself into medical school. David suddenly becomes more controlling and violent as Katie ponders about what to do as their marriage starts to crumble. When Katie suddenly disappears in 1982, David confronts his father about his mother’s suicide prompting him to disappear. When a district attorney named Janet Rizzo (Diane Venora) wants to re-open the case over Katie’s disappearance in 2000. The Marks family is in trouble as David has disappeared in Galveston as he befriends an elderly man named Malvern (Philip Baker Hall) as David later finds himself in trouble again.

The film is the story of a young man who falls for a girl as she enters into a world of a posh lifestyle though she craves for something much simpler. When he is forced to give in to the world that he’s set for, he starts to unravel by his own past about his mother’s death and his family life as his wife has no idea who he is. Suddenly, she’s gone as questions are asked with no one knows what really happened until a district attorney re-opens the case while the young man has lived in secrecy in Texas trying to disappear. Yet, it’s all told from a man’s perspective as he is on trial for what he might’ve done as he is forced to look back.

While a story like this is likely to have some clichés and there are some which involves what is expected. Yet, the screenwriters are more concerned about what has happened to this young man that had him taking on the life he wanted to run away from and eventually starts to lose it as he becomes more controlling towards his wife. The film starts off as this light-hearted drama and then gets darker as the film progresses into a this restrained yet unsettling thriller where David Marks becomes more disturbed and such though there’s touches of that early in the film. The study of this man and his relationship with his wife and father are interesting though there’s moments where the script tends to fall into clichés at times. Plus, one of the script’s major faults is the time setting where it becomes confusing for the audience to figure out when is this happening.

The direction of Andrew Jarecki is really good for the way he engages the audience into seeing this young man unravel by the pressure he’s going through while trying to be a great husband to his wife. While he couldn’t overcome some of the shortcomings of the script, Jarecki’s does allow the story to build up where it starts off as this study of a troubled man and then becomes this chilling thriller. By the time the third act arrives where Marks is in Texas in a strange disguise, the mood doesn’t change but it is clear that the audience already figures out what happens and it loses some of its suspense. Despite the flaws of the story and Jarecki’s attempt to try and pull away from the clichés. He is still able to make a compelling and harrowing drama about the troubled life of this young man.

Cinematographer Michael Seresin does an excellent job with the film‘s photography that helps sets the mood of the film such as the sunnier countryside scenes with wonderful colors and Super 8 camera footage. Seresin also helps give the film a very dark look with blue and black to emphasize the haunting mood of Marks as the film progresses to a more heightened look towards the end of the film. Editors David Rosenbloom and Shelby Siegel do some good work on the editing where it is pretty straightforward to emphasize the narrative though it rarely jumps back-and-forth to the courtroom scene until late in the film.

Production designer Wynn Thomas, along with set decorator Rich Devine and art director Russell Barnes, does a nice job with the set designs made from the country homes that David and Kate lived in from the 1970s to the early 80s to the more posh home of the Marks family estate and offices. Costume designer Michael Clancy does a fantastic job with the costumes from the stylish dresses the women wear from the 1970s to the more casual, guarded clothing later in the film during the early 80s. Sound designers Karen Vassar and Tim Walston do a fine job with the sound work to play up some of the atmosphere of the locations while mixing Marks’ voice as he recalls some of things that was going on in his life.

The film’s score by Rob Simonsen is stellar for its orchestral-driven score with some low-key yet somber pieces to more dramatic arrangements to emphasize the dark elements of the film. Music supervisor Susan Jacobs creates a soundtrack that is filled with music from the 70s like Steely Dan, Carly Simon, and A Taste of Honey where some of it is anachronistic because some of the music wasn‘t made that year.

The casting by Douglas Aibel is wonderful as it includes some great appearances from Nick Offerman as Kate’s brother Jim, Liz Stauber as Jim’s wife Sharon, Marion McCorry as Kate’s mother, Michael Esper as David’s younger yet more responsible brother Daniel, Trini Alvarado as a neighbor that Kate befriends, David Marguiles as a NYC mayor, and Philip Baker Hall as the elderly neighbor that David befriends in 2000 Texas. Lily Rabe is very good as David’s longtime friend Deborah who tries to help David with his issues while Kristen Wiig is excellent as Kate’s friend Lauren as she has a funny moment during a scene where the two talk to an attorney.

Frank Langella is superb as David’s father Sanford, a man who likes to maintain certain standards while revealing to be very flawed in the way he treats David as he eventually starts to care for Kate. Kirsten Dunst is phenomenal as Kate, David’s wife who starts out as this lively woman only to deal with David’s dark behavior. Dunst’s performance is truly mesmerizing from the way she deals with her own depression as well as her struggle to be independent as it’s really one of her most chilling performances of her career so far. Finally, there’s Ryan Gosling in a spellbinding yet very entrancing performance as David Marks. Gosling’s performance has him starting off as very kind and quiet while it builds to a more brooding yet disturbing performance as a man undone by demons and his yearn for control. Gosling and Dunst have great chemistry while Gosling also has some great scenes with Langella proving that he is one of the best actors working today.

All Good Things is a good though very flawed drama from Andrew Jarecki that features a great cast led by Ryan Gosling, Kirsten Dunst, and Frank Langella. Due to some of the clichés revolving around the film and a few anachronisms that can be distracting. The film is still an intriguing drama about the disappearance of a woman in the hands of her husband and what drove him to possibly kill her. In the end, All Good Things is a solid but messy drama from Andrew Jarecki.

© thevoid99 2011