Set in the span of 24 hours at Clarksdale, Mississippi in the fall of 1932, the film revolves around twin siblings who bought a mill to create a juke joint for the locals with the help of people they have known for years where the music their young cousin plays unknowingly attracts a group of mysterious individuals who comes to destroy all. It is a film that is not a conventional vampire film but rather an exploration of American folklore and the temptations of humanity through music during a dark period in American history in a world where African-Americans try to create something for themselves. Ryan Coogler’s screenplay has a unique narrative structure where it opens with a young man in Sammie (Miles Caton) arriving to a local church holding a broken guitar neck where his preacher father (Saul Williams) asks what happened. It then shifts to what happened a day earlier where Sammie’s twin cousins in Elijah “Smoke” Moore and Elias “Stack” Moore (Michael B. Jordan) have returned from Chicago with money they stole from gangsters to buy a mill from this racist landowner Hogwood (David Maldonado) who claims that the Ku Klux Klan are dead.
The film’s first act is about Smoke and Stack gathering people in Clarksdale for this juke joint party hoping it would bring money to a community that is largely African-American as well as a Chinese couple in Grace and Bo Chow (Li Jun Li and Yao, respectively) who are shopkeepers in the town. They also bring in local bluesman Delta Slim (Delroy Lindo) while Sammie meets a married woman in Pearline (Jayme Lawson) who would go to the joint. Stack meanwhile, bumps into a former flame in a white woman in Mary (Hailee Steinfeld) who is in town for her mother’s funeral as she harbors resentment for leaving him years ago. Smoke would reunite with his estranged wife Annie (Wunmi Mosaku) who is an occultist as Smoke harbors resentment towards her over the death of their infant child years ago as she would help cook for the joint. The film’s second act is about the party with Mary also attending and getting reacquainted with Stack, yet the party is briefly interrupted by a trio of mysterious visitors led by the Irish immigrant Remmick (Jack O’Connell). Notably as they are drawn by the blues music that Sammie plays as they would play traditional Irish folk music as things go wrong. Notably as it leads to a third act of terror and violence.
Coogler’s direction is entrancing for not just its depiction of the American South during the Jim Crow era and in the final days of Prohibition during the Great Depression. It is also in playing up the many myths and spiritual elements about the American South as it is shot on location in and around New Orleans, Louisiana. Coogler opens the film with images of American folklore as it relates to the American South, Africa, and the Mississippi Choctaw tribe as they are seen briefly as they are in pursuit of something they deem is evil. The film then shows Sammie driving a car as he is covered in blood and holding a broken guitar neck as it would be shown again towards the end as it sort of plays into a reflective narrative. Coogler’s usage of wide and medium shots do allow him to get a lot of depth of field into the locations of the American South with a lot of coverage of cotton fields and ponds that do have this air of richness at a time when there is a lot of disparity and turmoil. A lot of its vast look is because Coogler shoots the film on 65mm IMAX film stock which allows him to get more coverage of the locations and the settings for the overall presentation.
Coogler also uses close-ups and medium shots to play into characters interacting with one another as well as some inventive tracking shots such as a scene of Smoke at a small town to meet the Chows. The direction also has this element of surrealism where Sammie plays a song on the Dobro resonator acoustic guitar that Stack claims is from Charley Patton. It plays into the way music can transcend all sorts of things where it can reach into the past as well as the future. The usage of music whether it is the blues or traditional Irish folk music is a key proponent of the film where Coogler also play into the sense of mysticism and spirituality that the music conjures. With the aid of choreographer Aakomon Jones, Coogler also play in the way music can bring together as it also has this sense of dread and terror that would play into the film’s third act where it does become a pure horror film. It is also where loss comes into play where many of the people who have become vampires are those filled with loss as well as resentment.
The third act is also filled with elements of surrealism as well as revelations about the mill that Smoke and Stack purchased. Notably as it forces people at the joint to fight for their own survival with Sammie at the center due to the music he played as well as being a survivor of what had happened. Coogler uses that film’s opening scene to also be an ending of sorts that would also include a mid-credit scene as it relates to Sammie and everything he endured back in his life. A lot of which plays into the legend of American blues as Clarksdale is a legendary area of where American blues came from dating back to Robert Johnson and the legend that he sold his soul to the devil. Coogler does a lot to play into these myths as it relates to the blues as he creates a film that does act like a blues song. Overall, Coogler crafts an unsettling yet ravishing film about twin brothers trying to create a juke joint in their hometown unaware of the evil forces they are inviting.
Cinematographer Autumn Durald Arkapaw does incredible work with the film’s cinematography where the usage of the 65mm film stock allows the film to have beauty in the nighttime interiors for the scenes at the juke joint with the usage of candles and available light as well as the gorgeous and colorful imagery for some of the daytime exteriors as it is a highlight of the film. Editor Michael P. Shawver does excellent work with the editing with its usage of stylish montages for some early bits in the film as well as some rhythmic cut to play into the suspense and horror. Production designer Hannah Beachler, with set decorator Monique Champagne and supervising art director Jesse Rosenthal, does brilliant work with the set design of the town of Clarksdale with its shops as well as the mill where Smoke and Stack have their juke joint as it is the centerpiece of the film. Costume designer Ruth E. Carter does fantastic work with the costumes in the posh-like dresses that Mary and Pearline wear in the juke joint as well as the expensive suits Smoke and Stack wear as well as the ragged look of some of the characters.
Special effects makeup artists Kelsey Berk, Bailey Domke, Lauren Spencer, and Kevin Wasner, along with hair designer Shunika Terry Jennings, do amazing work with the look of the characters in their vampire state with the colorful eyes as well as the hairstyle that many of the characters had at that time. Special effects supervisor Matt Kutcher and visual effects supervisor Michael Ralla do marvelous work with the visual effects as it play into the surreal elements of the film with the elements of mysticism and for some moments of set-dressing for the exterior scenes. Sound designer Steve Boeddeker does superb work with the sound as the layer of sound of what is heard on location as well as the way the music is presented when it is performed live as there are a lot of things that are presented as it is a highlight of the film.
The film’s music by Ludwig Goransson is phenomenal for its hypnotic and unsettling score that is a mixture of ambient, blues, and folk music. With additional production by Goransson’s wife Serena, the music is this collage of styles that play into elements of traditional music with elements of modern music including metal, hip-hop, and electronic music with contributions from musicians like Brittany Howard of Alabama Shakes, Raphael Saadiq, Lars Ulrich of Metallica, Jerry Cantrell of Alice in Chains, Bobby Rush, and Buddy Guy. The soundtrack also features elements of traditional blues and Irish folk songs along with original songs performed on set from Miles Caton, Jayme Lawson, Delroy Lindo, Jack O’Connell, Lola Kirke, Peter Dreimanis, and other recorded music from Hailee Steinfeld and Rod Wave. The soundtrack and score is a tremendous highlight of the film as it is a major proponent in the film’s story.
The casting by Francine Maisler is great as it feature some notable small roles and appearances from Helena Hu as the Chow’s daughter Lisa, Saul Williams as Sammie’s preacher father Jedidiah, Mark L. Patrick as a Choctaw horseback scout, David Maldonado as a landowner in Hogwood who sells the mill and its property to Smoke and Stack, Lola Kirke and Peter Dreimanis as married KKK members in Joan and Bert who later join Remmick in wreaking havoc, Yao as Grace’s shopkeeper husband Bo Chow, and Omar Benson Miller as a longtime friend of Smoke and Stack in Cornbread who works at the juke joint as a bouncer. Li Jun Li is fantastic as Grace Chow as a Chinese shopkeeper who creates the sign for the juke joint as well as serving alcohol as she also copes with the chaos that is happening later in the film as well as threats towards her daughter. Jayme Lawson is excellent as Pearline as a young married woman Sammie falls for as she would also prove herself to be a solid blues singer while also dealing with the chaos happening later in the film including being hesitant to eat garlic.
Jack O’Connell is brilliant as the Irish immigrant Remmick who arrives mysteriously as is later revealed to be a vampire as he is fascinated by the music that Sammie plays as he would channel his own traditional Irish folk music to seduce those who follow him. Delroy Lindo is incredible as Delta Slim as a blues musician who knows a lot about music as he is also someone who loves to drink where he is elder statesman of sorts who is aware of Sammie’s talents while also delivering some of the funniest lines in the film. Wunmi Mosaku is amazing as Smoke’s estranged wife who also works in the occult as she believes in superstitions and such while harbors resentment towards Smoke who left Clarksdale after the death of their daughter while also being someone who knows about how to deal with vampires. Hailee Steinfeld is phenomenal as Mary as a former flame of Stack who harbors resentment for being left behind where she hopes to rekindle their relationship while also dealing with the evil outside of the juke joint.
Miles Caton is tremendous in his film debut as Smoke and Stack’s cousin Sammie “Preacher Boy” Moore as a preacher’s son who is also a gifted musician that can play the blues in a way that is entrancing. Yet, he is also someone that is unaware of how gifted he is in how it would attract a form of evil that would haunt him where Caton brings a naturalism to a young man that would encounter fear of the worst kind as it is a major discovery in the film. Finally, there’s Michael B. Jordan in a spectacular dual-performance as the twin siblings Elijah “Smoke” Moore and Elias “Stack” Moore. Jordan’s performance as these twins has him bring different subtleties to two different characters with Smoke being the more serious and somber of the twins while Stack is a livelier person than Smoke as there are a lot of nuances that Jordan brings in the two performances. Even as things would intensify where Jordan adds elements of fear and terror in the roles to add up to the suspense and horror as it is a career-defining performance for Jordan.
Sinners is an outstanding film by Ryan Coogler. Featuring great performances from its ensemble cast, a gripping story of loss and fear in the American South, a balance of different genres, intoxicating visuals, an immersive sound design, and a grand yet unsettling music score and soundtrack. This is a film that does not define itself in any genre while also playing into the power of music as it transcends all sorts of things including past, present, and future in all its beauty and ugliness. In the end, Sinners is a magnificent film by Ryan Coogler.
Ryan Coogler Films: Fruitvale Station - Creed - Black Panther - Black Panther: Wakanda Forever - The Auteurs #74: Ryan Coogler
© thevoid99 2025
Set 16 months after events in which Miles Morales (Shameik Moore) became Spider-Man, the film follows the character who deals with a new enemy in Spot who holds a grudge towards Morales as he discovers new powers that threatens the entire multiverse with Morales and Gwen Stacy (Hailee Steinfeld) going on a mission to save the multiverse where some revelations occur as it relates to Morales. It is a film that doesn’t just play into Morales dealing with this threat that would destroy many different universes involving variations of Spider-Man but also so much more including the narrative of Spider-Man. Notably as Morales is still trying to find himself as he is trying to be the new Spider-Man but also a kid living in a prestigious high school in Brooklyn who is trying to do good for his parents. The film’s screenplay by Phil Lord, Christopher Miller, and David Callaham doesn’t just explore Morales’ struggle in his identity but also this new threat in Spot who is revealed to be someone that Morales had unknowingly met in the past who has the power to create portals through black spots as it allows him to go into the multiverse.
The film’s script doesn’t begin with Morales’ story and his connection with Spot but rather Gwen Stacy who not only misses Morales but also is still coping with the loss of her variation of Peter Parker as her Spider-Woman persona remains on the hunt by her father Captain George Stacy (Shea Whigham) who believes Spider-Woman killed Parker whom he cared about. It is during a mission where Gwen is being confronted by her father who would learn about her identity while also meeting other Spider-Man variants in Jessica Drew (Issa Rae) and Miguel O’Hara (Oscar Isaac) as the latter is the leader of the Spider-Society that the former is a member of as she invites Gwen into the fold after capturing a variation of Vulture (Jorma Taccone) from a Renaissance-inspired multiverse. Gwen’s return to Morales’ universe has her trying to capture the Spot as she would briefly visit Morales who is struggling on whether to tell his parents that he’s Spider-Man as revelations about the Spot as well as the fact that it was his spider that bit Morales.
Morales would follow Gwen who reluctantly invites him to her mission to stop the Spot as they travel to a multiverse known as Mumbattan where its Spider-Man in Pavtir Prabhakar (Karan Soni) is dealing with the Spot as they’re aided by another Spider-Man variation in Hobie Brown (Daniel Kaluuya). Despite not capturing the Spot, the Spider-People would save Mumbattan with Morales invited to the Spider-Society where he reunites with Peter B. Parker (Jake Johnson) and meets O’Hara where revelations about Morales’ role comes into play. Notably in his actions and a narrative that all versions of Spider-Man have to follow in order for them to become who they are.
The direction of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson is wild not just in the many different animated styles they put in but also in creating something that raises the bar of what animated films could do. Aided by a team of supervising animators in David Han, Nick Kondo, Jeff Panko, Mikaela Pfeifer, Daniel Pozo, Philip Rudolph, and Siggi Orri Thorhannesson in creating different worlds and animation styles ranging from comic-book inspired animation, hand-drawn 2D animation, and computer-based 3D animation. Dos Santos, Powers, and Thompson would also maintain this glitch-based style as it plays into the multiverse breaking apart while doing a lot in playing up these different locations that all of these characters go into. The direction also infuse a lot of unique compositions along with shots that play into the drama and suspense such as the scene where Captain Stacy walks into a rubble where he finds Spider-Woman where he would learn of her identity.
With the aid of production designer Patrick O’Keefe, along with art directors Dean Gordon and Araiz Khalid, and visual effects supervisor Mike Lasker in creating the backdrops for the many worlds. The direction also does a lot to establish the stakes as well as what their respective Spider-Man variations have to endure as part of a grand narrative that all of these variations follow. It is something that Gwen is dealing with knowing as being forced to reveal her own identity to him as it creates a lot of conflict for her when it comes to Morales and his role as a Spider-Man. Even as his own father in Jefferson Morales (Brian Tyree Henry) is about to become a police captain with Morales dealing with the fact that his father could be part of an on-going narrative that he’s not ready to deal with. Its third act that is filled with these dazzling visuals and set pieces as well as many Spider-Man variants with a lot of attention to detail on its look with costume designer Brooklyn El-Omar helping to create a different look for all of these variants. Even as they venture into these alternate universes with the Spot being this major threat who will destroy everything as Morales is forced to confront realities he isn’t prepared for. Overall, the trio of Dos Santos, Kemp, and Thompson craft a visually-grand and audacious film about young superhero dealing with new realities and a new foe who threatens to destroy the multiverse.
Editor Mike Andrews does amazing work with the editing in creating some unique fast-cuts for some of the action but also knowing when to slow things down in the dramatic scene and suspenseful moments with some split-screen shots to help play into the drama. Sound designers Alec Rubay and Kip Smedley do brilliant work with the sound as its creation of sound effects and sparse sound textures add to the sense of urgency into the action and suspense. The film’s music by Daniel Pemberton is incredible for its mixture of electronic music, hip-hop rhythms, and orchestral flourishes that help play into the suspense and action as well as some themes including using Indian-based instruments for the scenes in Mumbattan while music supervisor Kier Lehman creates a fun music soundtrack that features contributions from Coi Leray, Nas, Swae Lee, Future, Don Toliver, James Blake, Offset, Wiz Kid, Lil Uzi Vert, 21 Savage, Lil Wayne, A$AP Rocky, and 2 Chainz.
The casting by Mary Hidalgo is great as it features a massive ensemble voice cast along with a few live-action appearances such as Peggy Lu as the convenience store owner from the Venom films who has a brief encounter with Spot. Other voice cameos including J.K. Simmons as various versions of J. Jonah Jameson, Peter Sohn as Morales’ school roommate Ganke Lee, Melissa Strum as Peter B. Parker’s wife Mary Jane Parker, Elizabeth Perkins as a variation of Aunt May and the Quippy Spider-Person, Josh Keaton as Spectacular Spider-Man from the late 2000s TV series, Ziggy Marley as a Jamaican convenience store owner, Rachel Dratch as Morales’ school principal, Amandla Stenberg as Margo Kess/Spider-Byte who is a Spider-Person from a virtual reality, Jack Quaid as Gwen’s version of Peter Parker, Greta Lee as the Spider Society AI assistant Lyla, Andy Samberg as a variation of Spider-Man in Ben Reilly/Scarlet Spider, and Jorma Taccone as a variation of Vulture from a Renaissance-based universe whom Gwen tried to capture with help from Miguel O’Hara and Jessica Drew.
Shea Whigham is superb as Gwen’s father George Stacy as a police captain who is trying to hunt Spider-Woman over the death of Peter Parker as he copes with Spider-Woman’s identity. Brian Tyree Henry and Luna Lauren Velez are fantastic in their respective roles as Morales’ parents in Jefferson and Rio Morales who both deal with their son’s absences as well as his struggles in school with the former pondering his faults as a father just as he is about to become a police captain. Daniel Kaluuya and Karan Soni are excellent in their respective roles as Spider-Man variants in Hobart “Hobie” Brown/Spider-Punk and Pavtir Prabhakar/Spider-Man India with the former as this British punk rocker with a Cockney accent who is rebellious while the latter is this Indian-based figure who got his powers through magic while wearing Indian-inspired clothing for his own costume. Issa Rae is brilliant as Jessica Drew/Spider-Woman as a pregnant Spider-Woman variant who mentors Gwen and rides a motorcycle that she uses as a weapon where she brings a lot of humor but also is the second-in-command to Miguel.
Jake Johnson is amazing as Peter B. Parker as Morales’ former mentor who has managed to get his life together while being accompanied with a baby girl in Mayday Parker who also has powers of her own where he tries to help Morales over dealing with the Spot. Oscar Isaac is great as Miguel O’Hara/Spider-Man 2099 as a ninja-like, muscular version of Spider-Man who doesn’t have a sense of humor as he is someone who takes the security of the multiverse very seriously as he sees Morales as someone that could ruin things despite the fact that the Spot is an even bigger threat. Jason Schwartzman is incredible as Dr. Jonathan Ohnn/the Spot as a former scientist whose creation makes him into a villain that can travel through holes until he gains new powers that would allow him to destroy the multiverse as he has a grudge towards Morales.
Hailee Steinfeld is phenomenal as Gwen Stacy/Spider-Woman as a teenager still coping with not just the death of her version of Peter Parker but also what is at stake where Steinfeld brings a lot of emotional angst as well as someone filled with a lot of conflict about her friendship with Morales and saving the multiverse. Finally, there’s Shameik Moore in a tremendous voice performance as Miles Morales/Spider-Man as a teenager who is still dealing with growing pains in both as a regular kid and as Spider-Man while dealing with this new villain in the Spot as he also becomes aware of what is at stake where it is this great voice performance that allows Moore bring a lot of nuances to Morales as someone that is just still trying to find himself.
Spider-Man: Across the Spider-Verse is an outstanding film from the trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson that features a phenomenal ensemble voice cast. Along with a strong and gripping story, visuals that takes animation to new heights, grand set pieces, and an exhilarating music score. The film isn’t just this enthralling superhero film but it is also a film that really raises the bar of what animated films could be as well as how to present something with a story that plays into all sorts of issues such as identity, growing pains, and what it means to be a hero. In the end, Spider-Man: Across the Spider-Verse is a magnificent film from Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson.
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home - Spider-Man: No Way Home - (Spider-Man: Beyond the Spider-Verse)
© thevoid99 2023
Written and directed by Kelly Fremon Craig, The Edge of Seventeen is the story of a high schooler who confides to one of her teachers about wanting to kill herself as it relates to the complication of her life that includes her older brother dating her best friend. The film follows the life of a young woman dealing with growing pains as well as the many complications relating to loss and the uncertainty of being a teenage girl. Starring Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Kyra Sedgwick, Hayden Szeto, and Woody Harrelson. The Edge of Seventeen is a riveting and witty film from Kelly Fremon Craig.
The film follows a seventeen-year old high school student whose life has become troubling as she turns to one of her teachers where she has thoughts about killing herself. During this conversation with her teacher, she thinks about the events in her life that has shaped her including her tumultuous relationship with her older brother, the death of her father a few years before, and the fact her brother is now dating her best friend. Kelly Fremon Craig’s screenplay opens with the film’s protagonist Nadine Franklin (Hailee Steinfeld) driving to her school and then walk to the classroom of one of her teachers in Mr. Bruner (Woody Harrelson) as much of the film’s first two acts is about Nadine telling Mr. Bruner what’s been happening with her life. Much of it involves having to be in the shadow of her older brother Darian (Blake Jenner) who often gets his way since they were kids as the only friend she had is Krista (Haley Lu Richardson) who had always been there for Nadine.
During a sleepover one night when Nadine and Darian’s mother Mona (Kyra Sedgwick) is out of town, something happens that changes everything where Krista and Darian become a couple much to Nadine’s disgust. It play into Nadine’s own insecurities as she often feels like her brother always get what he wants and is often considered the favorite since their mother always calls on Darian. Nadine also copes with her own desires as she has a crush on an older classmate in Nick Mossman (Alexander Calvert) but has befriended another classmate in Erwin Kim (Hayden Szeto) who has feelings for her. Still, it raises a lot of confusion for Nadine who is dealing with so much including her relationship with her mother that is reaching its breaking point.
Craig’s direction is quite simple where it doesn’t rely a lot in style in favor of something more straightforward. Shot largely in Anaheim, California as Portland, Oregon with some scenes shot near Vancouver and Surrey, British Columbia in Canada, the film is set in a suburban world where everyone kind of knows each other but it’s a world where Nadine feels like she doesn’t really belong to. Even in moments where Craig would use wide shots to establish her own isolation when she breaks off her friendship with Krista as Craig would also use some medium shots to play into the growing confusion and anguish that Nadine is enduring. There are some close-ups in some scenes such as a moment where Nadine is thirteen dealing with the awkwardness of growing up as she sports a bad haircut. It’s among the few moments in the film where Craig displays some humor while much of the drama is low-key and restrained to play into Nadine’s own growing pains as she tells her story to Mr. Bruner. When the film returns to that opening scene where it would lead to the third act, some revelations occur about not just Nadine but also Mr. Bruner and Darian as the latter copes with being the man of the house. All of which play into Nadine’s search in finding herself as well as deal with the fact that there’s people who do care about her. Overall, Craig creates a compelling and heartfelt film about a seventeen year-old girl dealing with loneliness and herself.
Cinematographer Doug Emmet does excellent work with the film’s cinematography as it is largely straightforward in its autumn setting while using some lighting schemes for some of the scenes at night. Editor Tracey Wadmore-Smith does nice work with the editing as it is also straightforward with some stylish montage cuts to play into Nadine’s own troubles including the film’s opening sequence. Production designer William Arnold, with set decorator Ide Foyle and art director John Alvarez, does fantastic work with the look of Nadine’s home as well as the home she, Darian, and their mother live in as well as the home of Erwin.
Costume designer Carla Hetland does terrific work with the costumes as it is largely casual as well as the usage of color to play into the personality of the characters. Sound designer Kami Asgar and sound editor Erin Oakley do superb work with the sound as it is straightforward including the way things sound at a party or at the school cafeteria. The film’s music by Atli Orvarsson does wonderful work with the music with its mixture of folk and keyboard-based music to play into some of the film’s dramatic moments while music supervisor Jason Markey creates a fun mixture of music ranging from old-school music from Billy Joel, the Alan Parsons Project, Aimee Mann, Pixies, Beck, and Spandau Ballet to current music from Cut Copy, Miles Betterman, Santigold, Craig Austin, Cloves, Miike Snow, Valentino, Birdy, ASAP Ferg, Caribou, Two Door Cinema Club, Anderson Paak with Schoolboy Q, Phantogram, and the 1975.
The casting by Melissa Kostenbauder is marvelous as it feature some notable small roles from Lina Renna as the young Nadine, Ava Grace Cooper as the young Krista, Christian Michael Cooper as the young Darian, Eric Keenleyside as Darian and Nadine’s father Tom in the film’s flashbacks, Alexander Calvert as an older student named Nick that Nadine has a crush on, and Hayden Szeto in a terrific performance as Erwin Kim as a classmate that Nadine befriends as he tries to woo her awkwardly while listening to her problems. Kyra Sedgwick is fantastic as Nadine and Darian’s mother Mona as a woman that is very image-conscious as she is trying to be young and vibrant but copes with Nadine and her issues where she really doesn’t understand her. Blake Jenner is excellent as Darian as Nadine’s older brother who is the epitome of perfection as someone that is just trying to be a good person yet hides his own secret about the way things are going for the family.
Haley Lu Richardson is brilliant as Krista as Nadine’s best friend who finds herself falling for Darian as she finds herself torn in wanting to be there for Nadine but also finding someone in Darian that she likes being with. Woody Harrelson is incredible as Mr. Bruner as a teacher who listens to everything Nadine is going through as he is a man that knows that Nadine is a lot smarter than the students he’s taught while also being a very calm and observant man that knows a lot as well as provide some sensitivity in trying to help this young girl. Finally, there’s Hailee Steinfeld in a remarkable performance as Nadine as this seventeen-year old girl that is dealing with a lot in her life as she tries to cope with her loneliness as well as her own wants and needs where Steinfeld provide that air of energy and angst into the role of a teenager dealing with growing pains and her role in the world.
The Edge of Seventeen is a sensational film from Kelly Fremon Craig that features great performances from Hailee Steinfeld and Woody Harrelson. Along with its supporting cast, fun soundtrack, and an engaging story on growing pains and teenage identity, it’s a film that has elements of realism but enough entertaining moments to create something that audiences can connect with. In the end, The Edge of Seventeen is a phenomenal film from Kelly Fremon Craig.
© thevoid99 2018
Directed by Elizabeth Banks and written by Kay Cannon, Pitch Perfect 2 is the sequel to the 2012 film where a group of female a capella singers try to enter a global a capella competition in the hopes to save their sorority following a national scandal. The film is another tale about a group of young women who find themselves in a new world as some try to cope with life after college along with the fact they’re being scrutinized over something that was an accident. Starring Anna Kendrick, Brittany Snow, Rebel Wilson, Hailee Steinfeld, Alexis Knapp, Hana Mae Lee, Skylar Astin, Ester Dean, Anna Camp, Adam Devine, Ben Platt, John Michael Higgins, Katey Sagal, Flula Borg, Brigitte Hjort Sorenson, and Elizabeth Banks. Pitch Perfect 2 is a delightful and witty comedy from Elizabeth Banks.
Set three years after the events of the first films, the Barden Bellas become a national treasure in the world of a capella singing until a concert in front of the American president becomes a scandal where the group is faced with suspension and not being able to perform or bring in new members. This sets the course for what happens in this film where they find a loophole that would allow them to compete in a global a capella singing competition though their chances of winning is very long. Along the way, the group takes in a new member whose mother was a Bella while the group’s co-leader in Becca (Anna Kendrick) becomes an intern for an egocentric music producer. It’s a film that isn’t just about these ladies wanting to redeem themselves but also face with the prospects of growing up and dealing with life after college as it’s something Bella co-leader Chloe (Brittany Snow) isn’t ready to cope with as she had purposely flunked classes to remain a Bella.
Kay Cannon’s script doesn’t just play into the growing conflicts and struggles the group face from within but also in the fact that they’re considered pariahs over the scandal caused by Fat Amy (Rebel Wilson) when she accidentally exposes herself in front of President Obama during a birthday concert. Adding to their struggle is the fact that they’re being replaced by a super-German a capella group known as Das Sound Machine who provide a lot of things that overwhelm the Bellas in their attempt to redeem themselves. While Cannon provides some funny one-liners and some structure to the story, the story does feel a bit familiar but it has some unique subplots such as the group taking in freshman Emily Junk (Hailee Steinfeld) who is a legacy as she wants to write songs. Another subplot involves Fat Amy’s own attraction towards former Treblemaker leader Bumper (Adam Devine) who is now the university’s security chief.
Elizabeth Banks’ direction is quite straightforward in terms of the compositions that are created while maintaining that lively sense of humor that made the first film so special in the first place. Though much of what happens is quite conventional, Banks does make sure many of the moments of the film are engaging while having that sense of feeling improvised to make it feel more natural. Banks’ usage of medium shots and close-ups help maintain that sense of intimacy as well as the importance of sisterhood among the young women while using a few wide shots for some of the performances including an attempted comeback performance in the second act where the Bellas try too hard to outdo the Das Sound Machine. Shot largely in Louisiana State University in Baton Rouge, Louisiana, the film doesn’t just play into something that is vibrant as well as modern while using some of its older streets for the film’s climatic showdown at Copenhagen. Even as Banks knows that the film’s heart is in the music and singing a capella where it manages to do a lot in its performance and a whole lot more. Overall, Banks creates a fun and exhilarating film about a group of young ladies trying to win back their respect in an a capella competition.
Cinematographer Jim Denault does excellent work with the film‘s cinematography with its naturalistic yet colorful look for many of the daytime scenes set at the college campuses to the usage of lights for some of the musical performances and scenes set at night. Editor Craig Alpert does nice work with the editing as a lot of it is straightforward with some stylish usages of jump-cuts and montages for some of the livelier moments of the film including musical performances. Production designer Toby Corbett, with set decorator Monique Champagne and art director Nate Jones, does fantastic work with the look of the Bellas‘ house as well as the studio Becca would intern at along with the retreat camp the girls would go following a humiliating performance. Costume designer Salvador Perez Jr. does wonderful work with the clothes from the casual yet stylish look of the clothes to the array of stylish costumes the Bellas would wear as well as the clothes of Das Sound Machine.
Key hairstylist Meagan Herrera and key makeup artist Judy Yonemoto do terrific work with the look of the characters in the way they would present themselves during a musical performance. Visual effects supervisor Steve Parish does superb work with some of the film‘s visual effects as much of it is set dressing for the scenes set in Copenhagen. Sound editor Erin Oakely and sound designer Jack Whittaker do amazing work with the sound in capturing the naturalistic sound of a capella singing in all of its layers as well as the raucous sounds of the crowds and parties. The film’s music by Mark Mothersbaugh is brilliant for its mixture of electronics, dance and orchestral music as well as providing that same mix for the sound of a capella music while music supervisors Sarah Webster and Angela Leus would create a soundtrack filled with contemporary pop tunes and hip-hop into some of the songs as well as what is playing in the background.
The casting by Kerry Barden and Paul Schnee is incredible as it features appearances from Clay Matthews, David Bakhtiari, Don Barclay, Josh Sitton, and T.J. Lang as real-life players of the Green Bay Packers who do sing a capella, David Cross as a riff-off host, Keegan-Michael Key as a music producer Becca is interning for, Shawn Carter Peterson as the producer’s hipster yet dim-witted nephew, Snoop Dogg as himself, and as members of the Tone Hangers group, Reggie Watts, Joe Lo Truglio, Jason Jones, and John Hodgman. Other notable small roles include Kelly Jakle and Shelley Regner in their respective roles as senior Bellas Jessica and Ashley, Birgitte Hjort Sorensen and Flula Borg as leaders of Das Sound Machine, Ben Platt as Treblemakers co-leader Benji who has a crush on Emily, Skylar Astin as Treblemakers co-leader/Becca’s boyfriend Jesse, Anna Camp as former Bellas leader Aubrey who runs a retreat camp as she would help the team get back up, and Katey Sagal as Emily’s mother Katherine who is considered a legend among the Bellas. Hana Mae Lee is a total delight as the very quiet yet creepy Lilly who is the group’s beat-boxer as she always says some very funny things.
Ester Dean is excellent as the soulful lesbian Cynthia with top-notch rhyming skills while Alexis Knapp is wonderful as sensual Stacie who often uses her sex appeal to get ahead. Adam DeVine is hilarious as the former Treblemakers leader Bumper as the college’s new security chief that is trying to get himself back into the world of singing. Chrissie Fit is fantastic as the Guatemalan exchange student who joined the Bellas a year after the events of the first films as she provides some very funny comments about everything that is foreign to her. Hailee Steinfeld is amazing as Emily Junk as a freshman who is accepted by the Bellas because of her mother as she copes with her new surroundings as well as wanting to create original songs. Elizabeth Banks and John Michael Higgins are incredible in their respective roles as a capella broadcasters Gail Abernathy-McKadden-Feinberger and John Smith as they provide some funny commentary with the latter being very misogynistic.
Brittany Snow is brilliant as Chloe as a super-senior Bella who is obsessed with trying to win as it is really a cover for the fact that she’s not ready to leave college and the Bellas while being very funny. Rebel Wilson is phenomenal as Fat Amy as the Australian in the group whose accidental actions has given the Bellas a lot of trouble as she tries to set things right while dealing with her own feelings for Bumper. Finally, there’s Anna Kendrick in a remarkable role as Becca as the group’s co-leader who is trying to help the Bellas redeem themselves from scandal but also deal with her own future where she learns what it really takes to become a record producer where she finds inspiration and help from a Bella.
Pitch Perfect 2 is a delightful and entertaining film from Elizabeth Banks. Led by a great cast, some very funny moments, and wonderful musical performances, the film is definitely something that has a lot to offer while providing enough substance and characters for audiences to care about. In the end, Pitch Perfect 2 is a sensational film from Elizabeth Banks.
Pitch Perfect
© thevoid99 2016
Written and directed by John Carney, Begin Again is the story of a struggling music executive who finds a young singer-songwriter as the two collaborate on making an album through various locations in New York City. The film is an exploration into two people who both endured failures and disappointments as they try to do something together to express their love for music. Starring Mark Ruffalo, Keira Knightley, Catherine Keener, Hailee Steinfeld, Adam Levine, CeeLo Green, Mos Def, and James Corden. Begin Again is a touching and enjoyable film from John Carney.
The film revolves around a music executive who is down on his luck as he stumbles into a club where he hears a song from a young woman as he wants to sign her to his label and make her album. While it is a simple story of two people who both endured moments in their life as they’re down on their luck as they find something that brings them together through the love of music. For the music executive Dan Mulligan (Mark Ruffalo), he wants to find something that matters regardless if it sells or not as he was once a great music producer whose life has not gone well and has a shaky relationship with his daughter Violet (Hailee Steinfeld). For Gretta James (Keira Knightley), she’s a singer-songwriter still stinging not just from the break-up of her musician boyfriend Dave Kohl (Adam Levine) who cheated on her. It’s also in the fact that really cares about the music and learns that Kohl has sold out in order to become part of the machine.
John Carney’s screenplay has a unique structure where its first act is about Dan stumbling into the club meeting Gretta who reluctantly sings in a club after being prodded by her friend/musician Steve (James Corden). It plays into what Dan and Gretta were doing on the day before they meet as well as the latter and her relationship with Dave. Most notably in how it fell apart when Dave returned with a new song where Gretta learned that he cheated on her. The second act is about Dan and Gretta collaborating to make the album as Dan reluctantly produced himself as he is aware that he’s not getting any support from his label nor his business partner/label head Saul (Mos Def). With a group of several unknown musicians and Steve, Dan would record Gretta’s album on any location as they’re eventually aided by Violet in a means to reconnect with her father. It’s third act isn’t just about the reality of the music industry but also about Dave who returns to meet Gretta as it becomes clear how much he’s changed as it plays into what Gretta wants for herself and her music.
Carney’s direction is very simple as it plays into the wonders of New York City and how music fills that world where Dan and Gretta are eager to make use of its many locations and record whatever they can flesh out musically. Much of it involves a lot of hand-held camera movements with lots of close-ups and medium shots as Carney doesn’t really go for anything big. Yet, he does manage to find moments that are engaging such as Gretta and Dave’s break-up scene where it is about the song that Dave created and their reactions which has Gretta very upset. Carney also creates moments that are lively not just in the outdoor sessions where Dan is recording Gretta and her band but also in a moment where the two walk around New York City listening to music from their earphones. It is all about the love and power of music where Dan would also reveal why things with him and Violet hadn’t been easy until he invites her to play on Gretta’s record where it is this cathartic moment. The scenes involving Dave and the results of Gretta’s record doesn’t just play into some of the cynical realities of the music business but also what music is supposed to be for the artist rather than what Dave and Saul represent. Overall, Carney creates an exhilarating film about two people who find salvation through their love for music.
Cinematographer Yaron Orbach does excellent work with the cinematography from the naturalistic yet colorful look of the scenes set in the day to the usage of lights for the interior/exterior scenes at night. Editor Andrew Marcus does nice work with the editing as it‘s straightforward with some stylish jump-cuts and montage cuts to play into its energy and humor. Production designer Chad Keith, with set decorator Kris Moran and art director Anne Goelz, does fantastic work with the look of the apartments Steve and Dan live in to play into their personalities as well as the massive loft apartment Dan and Gretta lived in where things were good.
Costume designer Arjun Bhasin does terrific work with the costumes as it‘s mostly casual with the exception of the rich designers suits that Saul and Dave wear. Visual effects supervisor Yuval Levy does good work with the minimal visual effects that is used which includes an acceptance speech Dave does that Gretta and Steve see on YouTube as well as an inspiring scene of what Dan sees in Gretta‘s performance. Sound editor Lewis Goldstein does superb work with the sound to capture every layer of the music as it‘s presented on location as well as the atmosphere of the clubs and other venues.
The film’s music by Gregg Alexander is amazing as it‘s a very low-key yet melodic-based score that features elements of folk and pop while music supervisors Matthew Rush Sullivan and Andrea von Foerster bring in music from Stevie Wonder and other artists yet it’s the originals song by Alexander, John Carney, Glen Hansard, and other writers that is the heart of the film as it includes Lost Stars and other songs that Knightley would sing as well as the songs that Levine sings.
The casting by Jeanne McCarthy is brilliant as it includes notable small roles from Cee-Lo Green as rapper Troublegum who helps Dan find musicians and Mos Def (under his real name Yasiin Bey) as Dan’s old friend and business partner Saul who tells him about why he can’t help Dan because of the changes of the music business. Catherine Keener is wonderful as Dan’s ex-wife Miriam who is surprised by Dan’s recent enthusiasm as she would later help him in making Gretta’s album. Adam Levine is superb as Gretta’s ex-boyfriend Dave Kohl who became successful despite the things he had done for her as he copes with not just success but also the fact that he has made a lot of compromises for the music he and Gretta made in the past for the sake of commercialism. James Corden is fantastic as Gretta’s friend Steve who is a street musician who not only helps Gretta cope with her break-up but also to get her to play music again as he would also help Dan in the recording of her album.
Hailee Steinfeld is excellent as Dan’s daughter Violet who isn’t just dealing with growing pains but also not having her dad around as she copes with his frequent absences until she is asked to join his project where she reveals her brilliance as a musician to her father. Keira Knightley is remarkable as Gretta James as a songwriter who just loves to make music as she copes with her ex-boyfriend and his success as well as the need to make music that is true and honest while Knightley shows she can really sing. Finally, there’s Mark Ruffalo in a marvelous performance as Dan Mulligan as a once-famous producer turned music executive who experiences some bad luck until he hears Gretta’s song where he collaborates with her as a way to make something that is meaningful again as Ruffalo brings a lot of humor and some great chemistry with Knightley.
Begin Again is a phenomenal film from John Carney that features great performances from Mark Ruffalo and Keira Knightley. The film isn’t just about the celebration of music but also in the idea of how music can mean so much to people in an age where purity is being coerced by commerce. In the end, Begin Again is a sensational film from John Carney.
John Carney Films: (On the Edge) - Once - (Zonad) - Sing Street
© thevoid99 2015
In 1968, an American author named Charles Portis published a book called True Grit. The story of a young girl who turns to an aging, drunken marshal named Rooster Cogburn to avenge the death of her father by a drifter. With help from a Texas ranger named La Boeuf, the three go after the drifter. The Western story captivated actor John Wayne as he was able to get a film made for director Henry Hathaway as Wayne would win an Oscar for Best Actor as Rooster Cogburn. In 2010, another adaptation of True Grit emerges as it’s in the hands of Joel and Ethan Coen.
Written for the screen and directed by Joel and Ethan Coen, their adaptation of True Grit is based more on the book rather than the 1969 Henry Hathaway film that starred John Wayne. Particularly on the fact that the book was told from the perspective of the 14-year old girl Mattie Ross. With this new perspective, the Coen Brothers go for a darker yet grittier Western that is less romanticized in Hathaway’s film. With The Big Lebowski’s Jeff Bridges taking on the role of Rooster Cogburn and Matt Damon as La Boeuf. The film also stars Coen Brothers regular Josh Brolin plus Barry Pepper, Dakin Matthews, Leon Russom, Paul Rae, and introducing Hailee Steinfeld as Mattie Ross. True Grit is a gritty, humorous, and breathtaking film from the Coen Brothers.
In Fort Smith, Arkansas in 1877, a drifter named Tom Chaney (Josh Brolin) killed a man named Frank Ross and stole two horses plus two gold pieces. Ross’ 14-year old daughter Mattie comes to collect her father’s belongings as well as settle some business. She also wants vengeance for his father’s death as she knew it was Chaney as she asks about who should she turn to. Learning about the reputation of Rooster Cogburn, Mattie turns to the grizzled, drunken marshal for help but he rebuffs her. After a few days of businesses including getting money over the lost horses from Colonel Stonehill (Dakin Matthews), she meets a Texas Ranger named La Boeuf who is also after Chaney over the death of a Senator.
Though she rejects La Boeuf’s offer, she tries to go Cogburn again with an offer which he accepts. On the day she was to join Cogburn, he sends her a note to go home as she later follows him where he’s joined by La Boeuf. Though Cogburn takes Mattie to the journey with reluctance, La Boeuf goes on his own as Cogburn and Ross go on Chaney’s trail. After finding a gold piece, they go to the home of a couple outlaws where they ask about Chaney but trouble happened when the two outlaws turned on each other. After getting some information from the younger outlaw, they learn that Chaney has joined the gang of “Lucky” Ned Pepper (Barry Pepper) whom they were waiting for.
Cogburn and Ross hide to wait for Pepper and his gang where they see La Boeuf riding ahead as he’s cornered by Pepper’s gang. Though Cogburn was able to save La Boeuf, he did accidentally shoot La Boeuf as the Ranger joins Cogburn and Ross. With the trio of Cogburn, Ross, and La Boeuf trying to find Chaney and Pepper, the journey becomes difficult as another argument between La Boeuf and a drunken Cogburn leads to despair for Mattie. Then one day, she sees Chaney as she confronts him while Chaney takes her to the crazed Pepper as Cogburn sees what happen. With Pepper using Mattie as a tool to lure Cogburn, it all leads to a climatic showdown.
The film is essentially about vengeance for a young girl who lost her father in the hands of a drifter. Yet, she wants justice as she turns to a merciless but drunken marshal and a young Texas Ranger to help her in the journey to find this drifter named Tom Chaney. While the 1969 film by Henry Hathaway was more about Rooster Cogburn than Mattie Ross. The Coen Brothers chose to stick to the original source material and in doing so. They tell it from the perspective of Mattie Ross.
The film opens with a voiceover narration by an older Mattie Ross (Elizabeth Marvel) where the narration appears again near the end of the film where the older Ross is finally seen 25 years later. Since she is a character that is very tough with the people she meets in terms of business. She is also someone that wants to have justice for her father while finding some way to get things the right way. Even in making sure Tom Chaney is brought to justice. That’s when she turns to Rooster Cogburn, a one-eyed marshal who has done a fair share of killing while has a penchant for drinking whiskey. Then there’s La Boeuf, a Texas Ranger who plays by his own set of rules and is the most disciplined though is reluctant in taking Mattie to the journey to find Chaney.
When the journey takes place throughout the entirety of the second act, the relationship between the three does develop. Though Cogburn’s alcoholism is an issue along with La Boeuf’s way to do things himself. They later find a mutual respect of sorts towards each other as well as their relationship with Mattie. Though she is seem as a nuisance to them, La Boeuf would have respect for her later on while Cogburn also becomes an unlikely caretaker to her. The Coen Brothers’ interest in relationships and the journey is important to the story as they add a few of their own brand of humor into the film. Notably a scene where Mattie and Cogburn encounter a man wearing bear skin (Ed Corbin).
The script the Coen Brothers create is faithful while it allows them to put their own spin to the story by adding some humor. The direction of the Coens is truly intoxicating. While the Coens maintain a certain grit that is more realistic than Henry Hathaway’s 1969 film. It’s also one of the more straightforward films the Coens have made since they’re creating a Western that doesn’t just play to formula where there’s a climatic showdown near the end. It’s also about the journey where the Coens often have the camera following the trio as well as go into the woods and desert. A lot of which is shot on location in Santa Fe and parts of Texas. Even as they use tracking shots and steadicams for some of the film’s intense action sequences. Overall, it’s the Coen Brothers at their finest as they bring their own style into their take into the Western genre.
Longtime collaborator Roger Deakins does a phenomenal job with the film’s lush, hypnotic cinematography. Deakins’ work for many of the film’s exterior recalls some of the work he did for Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford. Yet, Deakins chose to maintain the grittiness of the film by surrounding himself in dirtier locations. Even in the interiors, the photography is more intimate with some amazing shading in the courtroom scene where Cogburn testifies. The nighttime exteriors also have a dreamlike look that is gorgeous to watch as Deakins’ work is definitely the film’s technical highlight.
The editing by the Coen Brothers, under the alias Roderick Jaynes, is definitely superb for its leisurely-paced rhythm and stylized use of dissolves and transitional cuts. Notably the way the transitions cut to black and then goes to a new scene where it’s the Coens creating a mood for the film. When it comes to the more active, shootout scenes, the Coens definitely picks up the pace as it’s definitely editing at its finest.
Production designer Jess Gonchor, along with set decorator Nancy Haigh and art directors Stefan Dechant and Christina Ann Wilson, does an amazing job with the recreation of late 19th Century Fort Smith with buildings, saloons, and hotels where it feels like a real place. Even the cabins that the main characters encounter have an authentic feel to it as the art direction is outstanding. Costume designer Mary Zophres, another longtime Coen Brothers collaborator, is superb with her late 19th Century clothing filled with dresses and old cowboy clothes the men wear along with the jangly spurs that La Boeuf wears as Zophres continues to create great costumes.
Longtime Coen Brothers sound editor Skip Lievsay and sound designer Craig Berkey do a spectacular job with the film’s sound. Whether it’s the hollow atmosphere of the courtroom that Cogburn was testifying in or the calm landscape where Cogburn, Ross, and La Boeuf are. The sound work is definitely masterful for what is needed. Even with the shootout scenes as the gunshots play to the story of what the characters needed to do. Longtime Coen Brothers’ music composer Carter Burwell does a fantastic job with the few score pieces he creates. Notably some intense, dramatic pieces for the climatic shootouts and a few other key scenes. Yet, the soundtrack is mostly surrounded by hymns and other traditional pieces along with the song Leaning On the Everlasting Arms that is sung by Iris DeMent in the closing credits.
The casting by longtime Coen Brothers cohort Ellen Chenoweth plus Jo Edna Boldin and Rachel Tenner is definitely inspiring not just for its cast of big actors but also for its use of lesser-known actors. In small but memorable roles, there’s Ed Corbin as a man wearing a bear skin, Jarlath Conroy as an undertaker, Leon Russom as the sheriff, Peter Leung as Cogburn’s Chinese friend Mr. Lee, Orlando Smart as a stable boy, Candyce Hinkle as the landlady, and Joe Stevens as a cross-examining lawyer at the trial Cogburn is testifying at. Other notable small supporting roles that are very memorable include Paul Rae and Domhnall Gleeson as the two men at the cabin that Cogburn confronts, Elizabeth Marvel as the 40-year old Mattie Ross, and Dakin Matthews in a very funny performance as Col. Stonehill.
Barry Pepper is great as the dirty, nasty-looking “Lucky” Ned Pepper as a brutish man who is a criminal with a code of honor. Even as he faces off against Cogburn in a fight while they do some talking before the battle as Pepper definitely shines in his brief role. Josh Brolin is superb as Tom Chaney, the drifter who killed Mattie Ross’ father. Brolin brings a terrifying presence as well as a guy who is just a simple criminal and a fuck-up with no sense of remorse as it’s definitely a phenomenal performance from Brolin. Matt Damon delivers a truly solid yet comical performance as La Boeuf. Damon plays up to the character’s individuality and no-nonsense attitude while often sneering at Cogburn over his age and personality. While Damon gets to be funny, he also is someone who understands the sense of honor in the West as he makes La Boeuf into a complex everyman that audiences can relate to.
In the role that won the legendary John Wayne his only Academy Award for Best Actor in 1969. The character of Rooster Cogburn needed someone that personifies everything that is great about American cinema and no actor represents that better than Jeff Bridges. Though Bridges doesn’t try to imitate John Wayne in terms of creating a grand presence and personality. Instead, he makes Cogburn into his own by playing up to his haggard, drunken persona as well as someone who has honor though doesn’t always have the right intentions. Even as Bridges brings a bit of the Dude to make the character humorous while he’s also the kind of man you don’t want to face in a duel as it’s definitely a towering follow-up to his performance in 2009’s Crazy Heart which he won the Best Actor Oscar that year.
Finally, there’s Hailee Steinfeld in what is definitely a magnificent debut performance. Playing the role of Mattie Ross, Steinfeld has all of the character’s no-nonsense attitude about business and vengeance. Even as she outsmarts all of the people who were dealing her father’s dealings as well as even someone like Cogburn and La Boeuf. Though Steinfeld is restrained at times, she is mostly lively as she is someone hell-bent on going after Tom Chaney while having great chemistry with veterans as Jeff Bridges and Matt Damon. Even where she out-performs them at times where its clear that the veterans are intimidated by her. It’s definitely one of the best discoveries of 2010 and what a way to be discovered in a film by the Coen Brothers with Jeff Bridges and Matt Damon.
The Coen Brothers’ adaptation of True Grit is definitely one of the brothers’ most phenomenal and entertaining films of their career. Featuring superb performances from Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper, and newcomer Hailee Steinfeld. Though it may not have some of the grittiness of their other films like Blood Simple, Fargo, Miller’s Crossing, and No Country for Old Men, it is a film where the Coens play it straight but show what they can do with the Western genre. Featuring some great technical work including Roger Deakins’ gorgeous cinematography. It’s a film that still proves that the Western is alive and well as it’s something fans of that genre can enjoy. In the end, True Grit is another spectacular film from the Coen Brothers.
Coen Brothers Films: Blood Simple - Raising Arizona - Miller’s Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - 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 2011
