Set mainly in Austin, Texas in its respective music and arts scene, the film revolves around two songwriters/musicians, a music mogul, and a waitress as they all take part in whirlwind of a love affair that would each play into their ambitions and desires. It’s a film that doesn’t have much plot nor does it feature a traditional narrative due to the fact that its writer/director Terrence Malick didn’t write a script and created everything through notes and what he can capture on film. Yet, the film plays more into the themes of these four people who all meet as they fall in love but deal with temptation, doubt, and the search for meaning. Especially as Faye (Rooney Mara) is trying to make it into the music industry as she falls for the slightly-successful BV (Ryan Gosling) as she gets him to meet music mogul/lover Cook (Michael Fassbender). Yet, Faye continues her tumultuous affair with Cook who would marry the waitress Rhonda (Natalie Portman) but things go into strange turns due to Cook wanting to engage more into his decadent lifestyle with Faye and BV both trying to find something.
Malick’s direction definitely plays into the loose nature of the film’s unconventional narrative as it has this sense of freewheeling approach in the way he films everything around him. Shot largely on location near and in Austin, Texas with some shots in Mexico for a scene where BV, Faye, and Cook take a trip to Mexico. The usage of wide and medium shots not only allow Malick to get a look into the surroundings that these characters encounter but also in its connection with the world itself. Even as Malick would have characters also encounter elements of nature as it play into their search for love and identity while also encountering the chaos in the Austin music scene. The camera would often be in the middle of the action whether it’s in a mosh pit or people dancing in a rave. Malick’s close-ups add to the film’s unconventional tone as he always play into these characters and all of the highs and lows they endure as the four principle characters of Faye, BV, Cook, and Rhonda also express their feelings through voice-over narration.
Though the film centers on this music and arts scene in Austin, there are also these spiritual elements in the film though a lot of is subtle as it relates to journeys of these four characters. Notably as Faye is filled with doubt over her relationship with BV who has some issues with Cook over business reasons. Even as she learned that BV has been in a past relationship with Swedish singer Lykke Li and another former flame in Amanda (Cate Blanchett) whom he would briefly reconnect despite the fact that Faye would also continue her tumultuous affair with Cook to the point that he would have her and Rhonda in a brief three-way affair. Cook is this metaphoric figure of temptation and decadence who would often lure Faye into his world to the point that Rhonda feels neglected, lost, and yearning for answers leading her to go to the world of faith. The usage of music plays into this idea of people bringing together yet it is also used for decadence in Cook who continuously tries to find some sort of meaning through drugs and partying.
The film’s third act is about the journeys that these four characters endure where Malick showcases this air of loss through the trappings of temptation and decadence with some trying to find a bigger meaning in their lives with others forced to accept reality as well as cope with some of their poor decisions. Still, there are people who do give them some guidance as a way to cope with loss but also on love as Malick brings that sense of reality and gracefulness to show that as hard as the world can hit someone. It is all about getting hit and taking it to move forward as it play into the story that these four characters endure. While there’s a lot that is happening and can meander at times due to the film’s lack of a conventional narrative, Malick is able to maintain something that is more of a thematic study set against this culture of music and art with the four people at the center of it. Overall, Malick crafts an intoxicating and compelling about four people going through their own desires, doubts, and identity issues in Austin, Texas.
Cinematographer Emmanuel Lubezki does incredible work with the film’s cinematography as its usage of natural lighting, available light, different film stocks, and digital photography adds to the look of the film with its vibrant colors as it is a major highlight of the film. Editors Rehman Nizar Ali, Hank Corwin, and Keith Fraase do amazing work with the editing with its stylish approach to jump-cuts and rhythmic cuts as it play into the film’s dream-like and gliding tone. Production designer Jack Fisk, with set decorator David Hack and art director Ruth De Jong, does brilliant work with the look of the homes of the characters including the hotel that Cook often parties at or the look of the stages at the South by Southwest music festival.
Costume designer Jacqueline West does excellent work with the costumes with its mixture of casual and stylish clothing including some of the designer clothes that some of the richer characters wear as well as the look of the music performers in the film. Sound designers Joel Dougherty and Will Patterson do superb work with the sound as it play into the atmosphere of the locations as well as how music sounds live and on stage as well as the way the voiceover narrations are mixed. Music supervisor Lauren Mikus does fantastic work with the film’s music soundtrack with its mixture of classical, rock, indie, electronic music, and other kinds ranging from classical cuts from Zbigniew Preisner, Gustav Mahler, Camile Saint-Saens, Maurice Ravel, Nicholas Britell, Avro Part, and Claude Debussy along with music from Iggy Pop, Public Image Ltd., the Black Lips, Florence + the Machines, Lykke Li, Patti Smith, the Red Hot Chili Peppers, Bob Dylan, Elmore James, Del Shannon, Neon Indian, and many others.
The casting by Francine Maisler and Lauren Grey is wonderful as it feature cameos from the Red Hot Chili Peppers, John Lydon, Florence Welch, Iggy Pop, Tegan & Sara, Die Antwoord, and the Black Lips as themselves as well as Swedish artist Lykke Li as a fictional version of herself as a former flame of BV and American punk rock legend Patti Smith as a woman who is helping Faye with a lot of advice about art and life. Other notable small roles include Linda Edmond as BV’s mother, Tom Sturridge and Austin Amelio as BV’s younger brothers, Val Kilmer as one of Cook’s clients in a performer named Duane, Dana Falconberry as Faye’s sister, Brady Coleman as Faye’s father, Neely Bingham as BV’s ailing father, and Holly Hunter in a fantastic performance as Rhonda’s mother Miranda who is eager to have a life without trouble but becomes concerned for her daughter’s well-being. Berenice Marlohe is excellent as the French artist Zoey whom Faye meets and has a brief affair with as a woman who would give Faye some attention. Cate Blanchett is brilliant in her small role as Amanda who is a former flame of BV as she rekindles her relationship with him but realizes there’s some cracks in the relationship.
Natalie Portman is incredible as Rhonda as a waitress/former kindergarten teacher who falls for Cook as she is tempted by what he offers but finds herself lost in his decadent lifestyle as she seeks to find something with more meaning. Michael Fassbender is amazing as Cook as a music mogul who is a man that offers a lot and wants to be part of the fun but gets upset whenever he doesn’t get what he wants as he is this charming figure of corruption and temptation. Ryan Gosling is remarkable as BV as a successful musician trying to figure out what to do next as he falls for Faye while dealing with some business and personal issues with Cook as it is a somber performance from Gosling as someone who has seen a lot and is searching for answers. Finally, there's Rooney Mara in a phenomenal performance as Faye as a musician trying to get her break despite her attachment with Cook and her growing feelings for BV as it has this air of radiance and anguish as it is one of Mara’s finest performances to date.
Song to Song is a sensational film from Terrence Malick. Featuring a great ensemble cast, rapturous visuals, a rich music soundtrack, and themes of identity, doubt, and temptation against the backdrop of a vibrant music and arts scene in Austin, Texas. It is a film that explore four people trying to find their way in the world in the music scene as well as endure many ideas despite the film’s unconventional narrative and lack of a strong plot which won’t appeal to a lot of people. In the end, Song to Song is a phenomenal film from Terrence Malick.
Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) – A Hidden Life – (The Way of the Wind)
© thevoid99 2020
Written and directed by Brad Bird, Incredibles 2 is a sequel to the 2004 film about a family of superheroes who come out of hiding to fight supervillains as they deal with trying to win back the support of the public for past mistakes as well as deal with a secret supervillain. The film is an exploration of family dynamics as a family cope with trying to rehabilitate their image as well as maintain their life as a family. Featuring the voices of Holly Hunter, Craig T. Nelson, Samuel L. Jackson, Sarah Vowell, Catherine Keener, Bob Odenkirk, Sophia Bush, Brad Bird, Michael Bird, Huck Milner, Jonathan Banks, Phil LaMarr, and Isabella Rossellini. Incredibles 2 is a riveting and exciting film from Brad Bird.
Bao
Directed by Domee Shi, Bao is the story of a Chinese mother who deals with loneliness following the departure of her son to college as a dumpling she created comes to life. It’s a film with a simple premise that plays into a woman’s sense of loss and longing as it play into the idea of a child growing and what a mother would often expect. All of which is told in a simple yet calm manner through its rich animation as well as being accompanied by Teddy Chu’s understated yet rapturous score that rely on traditional Chinese string music and woodwinds. It is truly a spectacular short film that is moving as well as being engaging and funny.
Incredibles 2
The film picks up where the previous film left off where the Parr family find themselves fighting a supervillain in the Underminer (John Ratzenberger) as they succeed in saving the city but the damage that was created accidentally by the Incredibles left the family in trouble as superheroes are still forbidden by law. It’s a film that is about the Incredibles trying to get back in the game with the help of a telecommunications tycoon who wants to get superheroes back in the world seeing that they can still make the world safer. Yet, it would lead to a change in dynamics as Helen Parr/Elastigirl (Holly Hunter) is chosen to be the representative to bring superheroes back into public eye while Bob Parr/Mr. Incredible (Craig T. Nelson) stays at the family’s new home to watch over the kids as he deals with being a full-time father and not doing superhero work. Brad Bird’s screenplay doesn’t just play into Bob’s struggle with raising three children including the baby Jack-Jack who is starting to gain multiple superpowers. It’s also the fact that Helen was chosen instead of him as he’s forced to realize that he isn’t the right choice due to the damages he accidentally causes in trying to save everyone.
Bob’s arc is the most interesting aspect of the film where he is seen out of his comfort zone as he tries to help Dash (Huck Milner) with his math homework and to not get into trouble while Violet (Sarah Vowell) is dealing with growing pains as it would relate to the fact that her crush Tony Rydinger (Michael Bird) doesn’t know who she is due to the fact that his memory was erased over the Underminer incident. It’s where the kids realize how much they miss their mother as Helen is doing work for Winston Deavor (Bob Odenkirk) who is willing to help the superheroes get their jobs back as he felt the superhero ban was unjust due to the fact that his father was killed by a robber. Helping Helen in her new work is Winston’s sister Evelyn (Catherine Keener) who would create some new technology as she feels underappreciated for her work as she and Helen bond as the latter is trying to discover of the identity of this mysterious villain known as the Screenslaver. The Screenslaver is an unusual antagonist whose intent is to control everyone and is against superheroes wanting to return in order to stabilize the status quo.
Bird’s direction is definitely grand in terms of the world that the Parrs are in as it does start off with this battle with the Underminer as they’re aided by longtime family friend Lucius Best/Frozone (Samuel L. Jackson) in stopping his machine from wreaking havoc. It is a massive set piece that play into the strengths of the family but also for the fact that Dash and Violet are still new in the superhero game as they have to watch over Jack-Jack while their parents and Frozone stop the Underminer. Bird’s usage of the wide shots play into the scope of these action set pieces as it include this intense scene of Helen trying to stop a train from going out of control as its engineer was unknowingly controlled by the Screenslaver. It’s a sequence that play into Bird’s approach to action including this massive climax as it relates to the Screenslaver and its power on everyone which feature some unique hypnotic lighting where Bird and animation director Travis Hathaway use it as a way for Screenslaver’s desire for control.
Bird’s direction for Bob’s arc is more intimate with its medium shots and some close-ups as it play into his struggle in trying to keep up with Jack-Jack’s growing powers that include a comical sequence of Jack-Jack fighting with a raccoon. The sequence of Bob taking Jack-Jack to Edna Mode (Brad Bird) is also comical for how Edna reacts to Jack-Jack as someone she believes can inspire her to create better costumes while being upset that Helen is given a new one without her consent. Bird also knows when to create these small moments as it relates to Bob trying to understand Violet’s growing pains as well as finding his footing as a dad where he can be himself and Mr. Incredible. It all play into the idea of the family dynamic as Helen’s time away from her family has her needing them once she deals with the Screenslaver whose plans for control is at great risk prompting the Incredibles, Frozone, and other superheroes to go out there and fight for the good of the world. Overall, Bird crafts an exhilarating yet engrossing film about a family of superheroes trying to get back in the game as well as balance their lives as themselves.
Cinematographer Mahyar Abousaeedi does brilliant work with the film’s cinematography in creating moods and shading for many of the animated sequences as well as things look at night and in the day. Editor Stephen Schaffer does amazing work with the editing as it help play into the intensity and craziness of the action scenes through some fast cutting as well as slowing things down in straightforward cuts for the dramatic and comedic scenes. Production designer Ralph Eggleston and art director Josh Holtsclaw do fantastic work with the look of the city as well as the new home of the Parrs as well as the office building that the Deavors live in Sound designer Ren Klyce and co-sound editor Coya Elliott do superb work with the sound in creating some effects for some of the weapons, Jack-Jack’s voice based on archives from the previous film, and superpowers as well as the effects in Screenslaver’s images. The film’s music by Michael Giacchino is great for its jazzy score with elements of horns, strings, and percussions as it help play into the air of excitement as well as some smooth and heavy pieces for the suspenseful moments as it’s a highlight of the film.
The voice casting by Natalie Lyon and Kevin Reher is wonderful as it include some notable small roles from John Ratzenberger as the Underminer, Kimberly Adair Clark as Lucius’ wife Honey, Bill Wise as the mysterious Screenslaver, Paul Eiding as an aging superhero named Reflux, Phil LaMarr in dual roles as the superheroes Krushauser and Helectrix, Michael Bird as Violet’s crush Tony Rydinger, Jonathan Banks as the Parrs’ old government friend Rick Dicker who tries to help them while dealing with the loss of his job, and Sophia Bush as a young superheroine named Voyd who idolizes Elastigirl as she can get objects to disappear and reappear through different dimensional voids. Brad Bird is fantastic in the voice role of Edna Mode as the fashion designer who creates superhero costumes as she helps Bob deal with Jack-Jack whom she sees as a muse while creating a tracking device to anticipate his growing powers. Isabella Rossellini is terrific in a small but memorable voice role as the Ambassador as a foreign official who is eager to get them back in service while befriending Elastigirl.
Bob Odenkirk is superb as Winston Deavor as a telecommunications mogul who wants to help Mr. Incredible, Elastigirl, and Frozone get back into the game in the hopes of bringing superheroes back into the world as he’s also a hardcore fan of the superheroes. Catherine Keener is brilliant as Evelyn Deavor as Winston’s older sister who is a tech genius and creates all of the gadgets yet feels underappreciated for her work while at least getting some compliments from Elastigirl. Huck Milner is excellent as Dash Parr as the boy with super-speed who is trying to be a good kid despite being a troublemaker as well as trying to solve math problems. Sarah Vowell is amazing as Violet Parr as a teenage girl who can turn invisible and create force-fields as she starts to deal with growing pains as well as uncertainty in wanting to be a superhero.
Samuel L. Jackson is remarkable as Lucius Best/Frozone as a superhero with the ability to create ice and freeze things who is first recruited Deavor into getting the superheroes back on the job while he also helps Bob deal with Jack-Jack’s growing powers. Craig T. Nelson is marvelous as Bob Parr/Mr. Incredible as a hero of great strength who deals with sitting at home to watch over the kids as he laments his own bruised ego and shortcomings as a father forcing him to find his balance. Finally, there’s Holly Hunter in a phenomenal performance as Helen Parr/Elastigirl as a heroine with the ability to stretch her body parts into anything as someone who is given the chance to bring heroes back into the public eye while dealing with the mysterious foe in the Screenslaver as she suspects that something isn’t right.
Incredibles 2 is a film that definitely lives up to its incredible namesake thanks in part to Brad Bird’s sprawling vision as well as a spectacular voice cast. Along with its gorgeous visuals, Michael Giacchino’s thrilling score, and a mixture of genres that blend together to create something entertaining and compelling. It’s a film that manages to provide so much in the idea of what a superhero film can be as well as showcase the life outside of a superhero that is trying to find that balance in being both a hero and a regular person. In the end, Incredibles 2 is a sensational film from Brad Bird and Pixar.
Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) – (Finding Nemo) – The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) – (Cars 3) – Coco – Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)
© thevoid99 2018
Directed by Michael Showalter and written by Emily V. Gordon and Kumail Nanjiani, The Big Sick is the story of a Pakistani-American who falls for an American girl as their relationship is tested when the latter falls ill as he meets her parents. The film is based on the real-life relationship between Gordon and Nanjiani in which the latter stars as an aspiring comedian who is torn in his love for this young woman and being true to his own family. Also starring Zoe Kazan, Anupam Kher, Ray Romano, and Holly Hunter. The Big Sick is a charming and riveting film from Michael Showalter.
The film follows a Pakistani-American stand-up comedian trying to make it as he falls for a young American graduate student as they endure a relationship only for things to get complicated until a rare illness occurs where the comedian meets the young woman’s parents. It’s a film that explore a man who is dealing with expectations from his family in finding a Pakistani wife to marry as well as become an attorney yet he is more interested in becoming a comedian while being a driver for Uber to pay the bills. Upon meeting this young woman whom he embarks on a relationship with until they break up over things he hasn’t been able to tell her where he later gets a call from one of her friends that she’s in the hospital as her parents would arrive to watch over her as she’s in a coma. The film’s screenplay by Kumail Nanjiani and Emily V. Gordon that is based on their real life relationship on how they met and such does play into the many ups and downs expected in an interracial relationship between this Pakistani-American man and white woman as they live in Chicago.
Among the obstacles they face has to do with parents and how they would react as it’s something the character of Kumail (Kumail Nanjiani) is dealing with as he’s unsure what his parents would think of Emily (Zoe Kazan) as he chooses not to tell them about her as he’s also reluctant in meeting her parents over what they would think of him. When Emily becomes ill, he would meet her parents in Beth (Holly Hunter) and Terry (Ray Romano) who know about Kumail and appreciate the fact that he called them. Though they initially don’t want anything to do with him, they eventually get to know him as well as more about how Kumail and Emily broke up. Kumail’s time with Beth and Terry during the film’s second act is key to not just about Kumail dealing with the fear of having to tell his parents about Emily but also the realization that, despite their best interests for him, times are changing and he has to follow his heart but do it truthfully.
Michael Showalter’s direction is largely straightforward as it doesn’t really go for any kind of stylistic shots nor does it play into the conventions that is often expected in a romantic comedy. Shot largely on location in Chicago with bits of the film shot in New York City, the film does play into the world of comedy clubs where comedians try to get laughs as well as figure out what they should say and what routine they should go for. Even if it doesn’t work as Kumail would see a few of his peers try out ideas that is still in development as he is also working on a one-man show that is about himself and being Pakistani-American. While there are a few wide shots, Showalter would emphasize more on close-ups and medium shots to play into the developing relationship as well as some low-key comical moments of Kumail’s moments with his family where he would eat lunch/dinner with them as the recurring gag would include a prospective bride being invited by his mother Sharmeen (Zenobia Shroff).
The comedy is light-hearted as the funnier moments are based through dialogue but there are also some dramatic moments as it relates to the seriousness of Emily’s illness and Kumail eventually telling his parents about her. Yet, Showalter knows that the film is a love story of the unconventional kind in how a man is willing to stand by his love one no matter how close to death she is. Even as it would prove for all of Kumail’s mistakes and hesitation in telling Emily about his devotion for his family only to see that he wants her to be part of it. Overall, Showalter crafts a touching yet witty film about an unlikely romance and devotion between a Pakistani-American comedian and a white graduate student.
Cinematographer Brian Burgoyne does excellent work with the cinematography as it’s largely straightforward in terms of the exterior/interior scenes in the day as well as how clubs are lit at night. Editor Robert Nassau does terrific work with the editing as it does have bits of style in a few jump-cuts in a montage as well as some rhythmic cuts for some of the film’s humor. Production designer Brandon Tonner-Connolly and art director Andy Eklund do fantastic work with the look of Kumail and Emily’s different apartments as well as the home of Kumail’s family.
Costume designer Sarah Mae Burton does nice work with the costumes as it is largely casual with the exception of the traditional Pakistani clothing Kumail’s mother, sister-in-law, and some of the women he’s being forced to meet wear. Sound editor Tom Paul does superb work with the sound as it play into the atmosphere of the comedy clubs as well as the sounds of the hospital in the waiting room. The film’s music by Michael Andrews is wonderful for its low-key score that mixes elements of ambient music with some traditional Pakistani music to play into the two worlds that Kumail and Emily live in while music supervisor Joe Rudge provides a fun soundtrack that mixes elements of pop, indie rock, and country music as it would help provide moments where Kumail finds himself connecting with Emily’s parents.
The casting by Gayle Keller is great as it feature some notable small roles from Linda Edmond as one of several doctors watching over Emily, Vella Lovell as a prospective bride for Kumail that he would meet during the film’s second act after accidentally snubbing her during a meeting he was supposed to have, Rebecca Naomi Jones as Emily’s friend Jessie, Kurt Braunohler as Kumail’s aspiring-comedian flatmate Chris, Shenaz Treasury as Naveed’s wife Fatima, Aidy Bryant as a fellow comedian in Mary who is trying to develop her own routines about herself, and David Alan Grier in a small role as the comedy club emcee/owner who organizes the line-up for all of the performances. Adeel Akhtar is terrific as Kumail’s brother Naveed as the only person in Kumail’s family that tells him about Emily as he knows that Kumail isn’t trying to hurt anyone but reveals that the relationship with Emily could still have severe consequences. Bo Burnham is superb as the comedian CJ who is also trying to get his break but often has criticisms about others over routines he feel that are tired.
Anupam Kher and Zenobia Shroff are excellent as Kumail’s parents with Kher as the father who is more lenient about Kumail’s choices while Shroff’s role as the mother is a more traditionalist woman who just wants her son to find a nice Pakistani woman to marry. Holly Hunter and Ray Romano are brilliant as Emily’s parents with Hunter as the mother in Beth as someone who is more practical as she is concerned with making sure Emily is getting the best treatment while Romano is more reserved with some funny lines as well as giving Kumail advice on love as well as what he has to face as it relates to his parents. Zoe Kazan is amazing as Emily as a psychology grad student who heckles Kumail at a comedy club as she befriends and later falls for him while eventually falling ill as she later copes with the illness and the things that forced her to break-up with Kumail. Finally, there’s Kumail Nanjiani in an incredible performance in a semi-fictionalized version of himself as a stand-up comedian trying to get a break as he deals with Emily’s illness and his own fears of telling his parents about her as it’s a performance of great wit as well as humility when he learns about the seriousness of Emily’s illness.
The Big Sick is a sensational film from Michael Showalter. Featuring a great cast and a touching yet witty story about an interracial relationship that would grow stronger through a life-threatening event. It’s a film that definitely bring some new ideas to a genre that is in need of going into other directions as well as be a film that explore the idea of family and cultural traditions as well as how one person wants to follow his heart and not stray from traditional values. In the end, The Big Sick is a spectacular film from Michael Showalter.
Michael Showalter Films: (The Baxter) - Hello, My Name is Doris - (The Lovebirds (2020 film)) - The Eyes of Tammy Faye (2021 film) - (Spoiler Alert)
© thevoid99 2018
Based on the characters from DC Comics, Batman v Superman: Dawn of Justice is about two superheroes who both go into conflict with each other unaware that a mogul is stirring the pot from underneath to get them to kill each other. Directed by Zack Snyder and screenplay by David S. Goyer and Chris Terrio, the film is a sequel to 2013’s Man of Steel where Superman copes with being a polarizing figure in the world with Batman being uneasy with Superman’s action from that film as Superman/Clark Kent/Kal-El is once again played by Henry Cavill and Batman/Bruce Wayne is played by Ben Affleck. Also starring Amy Adams, Jesse Eisenberg, Laurence Fishburne, Diane Lane, Jeremy Irons, Holly Hunter, and Gal Gadot as Diana Prince/Wonder Woman. Batman v Superman: Dawn of Justice is an enthralling but messy film from Zack Snyder.
The film revolves around a growing conflict between two superheroes who both want to do good but have different ideas of what to do with it as they would eventually have a showdown unaware that a mogul is trying to get them to fight each other for his own gain. It’s a film that plays into not just actions but also its consequences where it begins with the climatic showdown between Superman and Zod at Gotham from Man of Steel but it is seen from the perspective of Bruce Wayne who would watch thousands of innocent people killed including some of his employees at a building he owns with one of them losing his legs. Superman not only copes with being a polarizing figure trying to do good though innocent people would be killed in these attempts as members of the United States government want to question his intentions. Still, Clark Kent would question the intentions of Batman who had been doing vigilante work on his own brand of justice where even the people of Gotham are afraid of him.
The film’s screenplay by David S. Goyer and Chris Terrio definitely play not into this conflict between these two men but also questioning themselves where Wayne and several others aren’t sure if Superman is really trying to do good as there are those who are also willing to discredit Superman. The one person that is doing that and more as well as stirring the pot between Batman and Superman is this mogul in Lex Luthor (Jesse Eisenberg). While Wayne’s longtime butler Alfred Pennyworth (Jeremy Irons) believe that Superman isn’t the enemy and Kent’s adoptive mother Martha (Diane Lane) tries to assure her son to do good no matter all of the bad that is happening. Even Kent’s girlfriend/fellow journalist Lois Lane (Amy Adams) tries to assure Clark that he is doing good while she would do her own investigation into a bullet shell she found in Africa during an assignment that went wrong where Superman saved her but he would be accused of killing several people.
While the film’s script does establish the characters including their motivation as well as their own suspicions. The narrative however is a total mess due to the fact that there is so much that is going on as well as a lot of exposition of how Luthor views the world and this subplot that relates to these other individuals with superpowers that Wayne would learn. One of which would reveal to be Wonder Woman who would be integral to the film’s climax as she brings some weight into unveiling the truth of what is happening and who is the real enemy. Yet, the journey for Wonder Woman to be involved is a clunky one in the script as other aspects that relate to the suspicion Wayne and Kent have toward each other as well as the government’s suspicion on Superman aren’t fully realized.
Zack Snyder’s direction definitely has a lot of stylistic elements not just in the conventional aspects of bombastic action films but it does have moments where he does break away from the action. Shot on various locations in Detroit, Chicago, and parts of New Mexico as Africa, the film does play into a world that is uncertain about what is going to happen with Superman being seen as a savior for some but others see him as a false idol. Snyder does use a lot of wide shots to establish some of the locations as well as some medium shots to play into the vastness of the crowds along with some of the conversations. There are some close-ups where Snyder does play into some of the intrigue such as a meeting between Wayne and Diana Prince at a museum where the former is intrigued by the latter. It’s among one of the highlights of the film that shows Snyder just restraining himself a bit as well in his slow-motion action scenes.
The direction does have moment that feature moments that are surreal such as a few dream sequences of what Wayne is dealing with as it relates to the death of his parents and the idea of Superman as a threat. There are moments that drive the story such as Superman attending the U.S. Senate Committee in the hope that he can announce his intentions which would lead to a key plot point in the film. It’s just that Snyder tends to draw things out while also trying to find time to introduce other characters that is to be part of something bigger. It is part of the reason for the film’s uneven tone where there is this story about Superman going against Batman but also wanting to tell the story of these two men working together for something good. The film’s climax where the two team up with Wonder Woman to face a monster called Doomsday is quite thrilling but it is followed by a more drawn-out ending that goes a little overboard. Overall, Snyder does create an exhilarating yet flawed film about two superheroes being manipulated by a tyrannical mogul who wants them both dead by killing each other.
Cinematographer Larry Fong does excellent work with the film‘s stylish cinematography with its usage of de-saturated colors and some low-key grainy camera work for some of the nighttime interiors as well as the usage of blue and sepia for some of the daytime exteriors. Editor David Brenner does nice work with the editing as it does go into the typical fast-cutting style that is expected in action films though it does allow each scene to establish what is going on while it also has some stylish jump-cuts. Production designer Patrick Tatapoulos, with set decorator Carolyn “Cal” Loucks and supervising art director Troy Sizemore, does brilliant work with the look of the Luthor estate as well as the home and land of Bruce Wayne along with the secret room where he does his own investigation with Alfred. Costume designer Michael Wilkinson does fantastic work with the design of the costumes that Superman, Batman, and Wonder Woman wear as well as those gorgeous dresses that Prince wears in social gatherings.
Visual effects supervisor John “D.J.“ Des Jardin does amazing work with the visual effects as it play into some of the design of the cities and the powers of Superman as well as in the look of the monster that is Doomsday. Sound designers Chuck Michael and Jussi Tegelman, with sound editor Scott Hecker, do superb work with the sound with the layer of sound effects and the way Doomsday sound along with how some of the locations are presented with the sound. The film’s music by Tom Holkenberg aka Junkie XL and Hans Zimmer is wonderful for its mixture of bombastic orchestral score provided by Zimmer with some of Holkenberg‘s approach to rock and electronic power as it has some amazing themes including the one for Wonder Woman‘s arrival.
The casting by Jo Edna Boldin, Kristy Carlson, and Lora Kennedy is great as it feature some notable small role and appearances from news reporters Soledad O’Brien, Anderson Cooper, and Charlie Rose as themselves along with the famed astrophysicist Neil deGrasse Tyson as himself. Other small roles from Jeffrey Dean Morgan and Lauren Cohan as Bruce’s parents in the flashback scene of their murder, Michael Cassidy as the young Bruce, Mark Edward Taylor as an executive at Wayne Enterprises who would be killed in the film’s opening sequence, Christina Wren and Harry Lennix in their respective roles as Major Farris and Secretary Swanwick who are among the few that believe that Superman was set-up in Africa, Kevin Costner in a cameo appearance as Clark’s adoptive father Jonathan Kent, and Robin Atkin Downes as performance-capture model of the monster that is Doomsday.
Other noteworthy small roles include Scoot McNairy as a former Wayne Enterprises employee Wallace Keefe who has a legit grudge towards Superman, Tao Okamoto as Luthor’s assistant Mercy Graves, and Callan Mulvey as the Russian terrorist Anatoli Knyazev whom Wayne suspects to have some affiliation with Luthor as he would also be involved in setting up Superman for an incident in Africa. Holly Hunter is terrific as Senator June Finch as a woman that wants to question Superman to see if his intentions are good while becoming uneasy about Luthor and his obsession towards Superman. Diane Lane is fantastic as Martha Kent as Clark’s adoptive mother who tries to assure her son about his role in the world as she would also become a key factor in the climax into what Superman has to fight for.
Laurence Fishburne is superb as Daily Planet editor-in-chief Perry White who is frustrated with Kent’s frequent absences and the compromises he had to make to keep his paper afloat. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/guardian who is kind of the conscience of sorts while getting to say some funny lines as well as have Wayne see reason about what Superman is doing. Amy Adams is amazing as Lois Lane as Kent’s colleague/lover who is trying to see what really happened in Africa as well as try to help Kent see that he is someone trying to do good. Jesse Eisenberg is brilliant as Lex Luthor as a mogul who despises Superman and will do anything to destroy him where Eisenberg has this darkly-comic approach to the character that is quite offbeat but fun to watch.
In the role of Diana Prince/Wonder Woman, Gal Gadot is phenomenal as the Amazonian warrior who disguises herself as an antiques dealer who doesn’t appear much but her scenes do provide some importance while showing what she can do when she is Wonder Woman when she joins the fight against Doomsday as she steals the show. Henry Cavill is marvelous as Clark Kent/Kal-El/Superman as someone who is struggling with his role as a superhero while dealing with its consequences and expectations where he also finds himself in conflict with Batman over different ideas of doing good. Finally, there’s Ben Affleck in a remarkable performance as Bruce Wayne/Batman as a vigilante who brings fear to his enemies as he wonders if Superman is really on Earth to bring chaos as well as have suspicion towards Luthor where he makes a discovery about others who might join in the fight for good where Affleck really brings in the sense of ingenuity and awesomeness that is Batman.
Despite its flaws due to a messy script and some drawn-out storylines including its ending, Batman v Superman: Dawn of Justice is still a terrific film from Zack Snyder. Featuring a great cast, a fantastic score, dazzling visual effects, and an intriguing yet flawed premise, it is a superhero film that is exciting while setting the stage for something bigger to come. In the end, Batman v Superman: Dawn of Justice is a stellar film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) - 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) - Sucker Punch - Man of Steel
DC Extended Universe: Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - The Lego Batman Movie - The Batman (2022 film)
Superman Films: (Superman) - (Superman II) - (Superman III) - (Superman IV: The Quest for Peace) - (Superman Returns) - (Superman II: The Richard Donner’s Cut) - Superman (2025 film)
© thevoid99 2016
Directed by Catherine Hardwicke and written by Hardwicke and Nikki Reed, Thirteen is the story of a thirteen-year old girl who befriends a bad girl in middle school as she is introduced to the world of chaos and self-destructive behavior as she would worry her mother. Loosely based on Reed‘s own experiences, the film is a coming-of-age film that explores a young girl‘s growing pains and her mother becoming frightened by her daughter‘s behavior. Starring Evan Rachel Wood, Nikki Reed, Brady Corbet, Jeremy Sisto, Deborah Kara Unger, D.W. Moffett, Vanessa Hudgens, Kip Pardue, and Holly Hunter. Thirteen is a thrilling yet haunting film from Catherine Hardwicke.
The film follows the life of a thirteen-year old girl who goes from a sweet and caring honor student with a lot of promise who then befriends a popular bad girl as she becomes an unruly bad girl exploring sex, drugs, and alcohol much to the worry of recovering alcoholic mother. It is told in a very straightforward fashion as this young girl doesn’t just struggle with being in middle school but also the transition of growing out of an adolescent into becoming a teenager who would do wild things as she is introduced to all sorts of things by a girl who is also thirteen. The film’s screenplay by Catherine Hardwicke and Nikki Reed which is sort of based on the latter’s experiences as a young girl that is struggling to find herself in that period between childhood and adulthood as it is very confusing and volatile at times. For the protagonist Tracy Freeland (Evan Rachel Wood), she is a young woman that is full of innocence but there is something about her that is off and confused.
Notably as Tracy often feels slighted by her mother Melanie (Holly Hunter) who devotes time trying to work as a hairdresser as well as spend time with a recovering addict in Brady (Jeremy Sisto) whom Tracy isn’t fond of. When Tracy enters middle school as this epitome of goody two-shoes kind of girl, she is mocked by some of her classmates as she begs her mother to get trendy clothes to fit in. Once the popular bad girl Evie Zamora (Nikki Reed) takes notice of Tracy as well as see what Tracy does to fit in, Tracy becomes part of this clique of girls wearing racy clothing and do outrageous things. When Evie’s legal guardian Brooke (Deborah Kara Unger) goes away for a convention for a few weeks, Evie would temporarily live with Tracy, Melanie, and Tracy’s older brother Mason (Brady Corbet) for a while. Melanie reluctantly let Evie live with them as she becomes a positive maternal figure for Evie in some ways but she eventually would drive a wedge between Melanie and Tracy. The latter of which becomes more destructive and less caring as it makes everyone uncomfortable except for Evie.
Hardwicke’s direction is definitely stylized with its usage of hand-held cameras as well as create certain moods in the photography to help express the whirlwind of emotions that Tracy would go through. Shot on location in and around Los Angeles, California on 16mm film, Hardwicke would go for something that is intimate where she mainly uses a lot of close-ups as well as some medium shots to play into the family dynamic as well as the growing friendship between Tracy and Evie. While there are some wide shots, it also has this stylized approach to the way the camera moves such as the scenes of Tracy and Evie walking around Hollywood where Tracy gets really high and loses Evie who would be someplace else as Mason would make a chilling discovery of what Tracy has become. The direction also play into this air of recklessness into what Tracy and Evie would do such as the opening scene of how wild these girls are and it would return again as it shows how far Tracy has descended. By the time the film reaches its third act, the de-saturated look in the colors become less defined and moodier as it play into that descent but also some of the realities that even Melanie is unprepared for. Overall, Hardwicke creates a gripping yet visceral film about a thirteen-year-old girl trying to grow up too fast in the worst ways.
Cinematographer Elliot Davis does incredible work with the film‘s stylish photography with the usage of blue-colored filters as well as some grainy yet de-saturated look of some of the scenes set in the daytime and at night in the interior/exterior scenes. Editor Nancy Richardson does excellent work with the editing as it features a lot of stylish jump-cuts and dizzying fast cuts as it play into the craziness of what Tracy would go through as it is a highlight of the film. Production designer Carol Strober, with set decorator Donti Hurst and art director John B. Josselyn, does fantastic work with the look of the home the Freelands live in as well as some of the shops the characters go to.
Costume designer Cindy Evans does wonderful work with the costumes from the stylish clothes that Tracy and Evie would wear as well as some of the clothes that Melanie wears. Sound designer Frank Gaeta does superb work with the sound as it play into some of the chaotic moments that go on at the house and at some of the locations as well as some of the quieter moments in the film. The film’s music by Mark Mothersbaugh is amazing for its electronic-based score that features some playful melodies as it also has bits of rock and pop to play into the culture that Tracy and Evie are in while music supervisors Michelle Norrell and Amy Rosen provide a soundtrack that play into that world as it features music from Liz Phair, Clinic, Folk Implosion, MC 900 Ft. Jesus, the Like, Katy Rose, Kinnie Star and Carmen Rose, and Imperial Teen.
The casting by Jakki Fink, Shani Ginsberg, and Christina Sibul is great as it feature some notable small roles from Charles Duckworth as a teenage boy that Tracy likes in Javi, Jenicka Carey as a friend of Evie in Astrid, Cynthia Ettinger as a frequent customer of Melanie, Sarah Clarke as a family friend of Melanie, Kip Pardue as a neighbor named Luke that Evie would seduce, Vanessa Hudgens as a friend of Tracy who would be abandoned only to maintain her nice-girl persona, and D.W. Moffett as Tracy and Mason’s father who is startled by what happened to Tracy as he is unsure of what is happening. Deborah Kara Unger is terrific as Evie’s guardian Brooke who gives Evie a home and often lets her do what she wants while having a scary moment during the film’s climax as it relates to Tracy’s behavior. Jeremy Sisto is superb as Melanie’s boyfriend Brady as a recovering addict who is trying to redeem himself despite being disliked by Tracy as he becomes aware of the bad influence Evie has become.
Brady Corbet is excellent as Mason as Tracy’s older brother who has a thing for Evie but eventually becomes overwhelmed as he realizes how bad of an influence she’s become. Nikki Reed is amazing as Evie Zamora as a troubled teenager who is popular as she is quite wild and can do a lot of things as she introduces Tracy to a lot of things while being a true friend of sorts where she goes to Melanie in needing a positive maternal figure. Holly Hunter is brilliant as Melanie Freeland as a woman that is struggling to raise two kids as she is unaware of what her daughter is going through as she then becomes scared of what Tracy is becoming as she has a hard time about all that is happening. Finally, there’s Evan Rachel Wood in a phenomenal performance as Tracy Freeland as a thirteen-year old girl who goes from sweet and innocent to being unruly and unpredictable as it’s a wild and scary performance from Wood who displays all of the manic energy and terror of being a teenager.
Thirteen is a spectacular film from Catherine Hardwicke that features incredible performances from Evan Rachel Wood, Nikki Reed, and Holly Hunter. Along with an excellent supporting cast, dazzling visuals, and a fantastic music score and soundtrack. It’s a film that is quite intense as a coming-of-age drama where it does have elements that feel very real but also provide some hope about how a parent handle the growing pains of a child. In the end, Thirteen is a tremendous film from Catherine Hardwicke.
Catherine Hardwicke Films: (Lords of Dogtown) - (The Nativity Story) - (Twilight (2008 film)) - (Red Riding Hood (2011 film)) - (Plush) - (Miss You Already)
© thevoid99 2016
Written and directed by James L. Brooks, Broadcast News is the story of a neurotic TV news producer who finds herself torn between her loyalty to a cynical reporter and a charismatic but dim anchorman. The film is an exploration of the world of news media where three people try to help bring news to the world in an ever-changing world. Starring Holly Hunter, Albert Brooks, William Hurt, Joan Cusack, Lois Chiles, Robert Prosky, Peter Hackes, and Jack Nicholson. Broadcast News is a witty yet captivating film from James L. Brooks.
The film revolves around a love triangle between a TV news producer, a veteran reporter, and a new anchorman for a Washington D.C. news station as they all try to report the news and sell it to the public. It’s a film that isn’t just an exploration of the world of news but also the lives of three people who are part of this world as they struggle to find their roles in it. Especially as their professional ideals and lives begin to clash with their own personal lives in this complicated love triangle where they’re all trying to do the same thing despite their different takes on the news. James L. Brooks’ script doesn’t just the explore the conflict about how the news should be presented and sold to the public but also in the ideals of these three characters.
The TV producer Jane Craig (Holly Hunter) is someone that believes that the news should be told and not embellished as it’s something the reporter Aaron Altman (Albert Brooks) also believes though he is more cynical about the way news is being told and commercialized for a mass audience. Coming into their lives is Tom Grunick (William Hurt) who has the looks and charm of a news anchor but isn’t very smart as he knows that where he wants to help as he met Craig during a convention about the ethics of news. Grunick is someone that has the look to report and tell the news to the public as he is everything Altman isn’t as he is nice and not trying to offend anyone. Altman is a prick because he is passionate about wanting to get the facts straight and be true to the news. While Craig doesn’t think highly of Grunick at first, she eventually realizes his potential as well as the fact that he is actually presentable and can do his job.
It’s not just in the development of the story and the characters where Brooks succeeds at but it’s also in the many quirks of the characters such as Craig who is quite neurotic and often cries daily. She is also not in a relationship or involved with anyone other than Altman until Grunick appears as he is a very interesting person despite his lack of intelligence. Altman is baffled by how Grunick would get work so easily yet when Altman is given the chance to cover the news. Grunick gives him a few pointers on how to present himself as it would be a turning point for him but also with some realizations that he must face. The film also features a subplot that comes in its second half as it relates to a dangerous layoff due to budget cuts as it plays into the reality of the TV news world where it’s not just about ratings but also money.
Brooks’ direction is very simple in terms of the compositions he creates yet does manage to infuse some style into the way the newsroom and what goes on behind the scenes are shown. The film opens with a trio of prologues that relates to the main characters as children as it shows exactly who they are and what they would become as adults. Shot largely in Washington D.C. with some parts shot in Maryland and Virginia, the film does play into a world that is very energetic and demanding where Brooks doesn’t use a lot of wide shots as he favors something more intimate in the medium shots and close-ups. There are moments where Brooks’ direction does have some style such as this shot of Grunick in the foreground shot from behind while Craig is in the background very far in a wide shot as it play into what goes on in news reporting.
One notable sequence involving trying to get tape and such for a news report is among one of the most inventive and exciting moments in the film where it does have this air of realism in what Brooks is showing. Even as it shows an editor trying to cut something to the last second and get it to be aired for the evening news. Brooks’ direction is also very light-hearted in scenes where there’s a gathering or moments that are quite comical but not overtly. It’s told with a sense of restraint while not being totally forced as well as some of the drama though it does get quite heavy towards the third act as it relates to the love triangle between Craig, Altman, and Grunick. Especially as it reveals a lot about who they are and what they want for the world of TV news reporting. Overall, Brooks creates an insightful yet riveting film about three people in a love triangle while trying to report the news to the world.
Cinematographer Michael Ballhaus does excellent work with the film‘s cinematography as it‘s mostly straightforward to play into the look of the locations in its daytime/nighttime exteriors as well as some unique lighting for the interior scenes. Editor Richard Marks does brilliant work with the editing as it play into the frenzy of what goes on in the newsroom and behind the scenes along with some straightforward cutting for the dramatic and comedic moments outside of the newsroom. Production designer Charles Rosen and set decorator Jane Bogart does fantastic work with the look of the editing room in the news room and the homes of some of the characters.
Costume designer Molly Maginnis does nice work with the costumes as it is kind of casual with bits of style as well as some of the infamous clothing of the 1980s with fake shoulder pads. Sound editor Robert Grieve does terrific work with the sound from the way the chaos of trying to get a story displayed on television to the sound of the gatherings the characters go to. The film’s music by Bill Conti is wonderful for its score that is mainly a mixture of low-key piano-based music with some electronic keyboards to play into the world of the TV news.
The casting by Ellen Chenoweth is great as it features some notable small roles from Kimber Shoop as the young Grunick, Dwayne Markee as the young Altman, Gennie James as the young Craig, Stephen Mendillo as Grunick’s father, Ed Wheeler as an anchorman in George Wein, Glen Roven and Marc Shaiman as a couple of music composers trying to create a new theme for the news channel, Christian Clemenson as the TV editor Bobby, Leo Burmester as Craig’s father, Marita Geraghty as a date-rape woman that Grunick interviews, and a low-key cameo appearance from a faceless John Cusack as an angry messenger. In another notable small role that is a cameo of sorts, Jack Nicholson is superb as the evening news anchorman Bill Rorish as this legendary reporter that tells the news to the world as he carries some seniority as well as being the one guy everyone has to make sure he looks good. Peter Hackes is excellent as the news station boss Paul Moore who tries to keep things going while dealing with the financial chaos of the station. Joan Cusack is fantastic as Blair Litton as a staff member who is also Craig’s best friend of sorts who has an amazing scene running around the office to bring a tape in and evade all sorts of obstacles.
Lois Chiles is wonderful as anchorwoman Jennifer Mack who takes a liking towards Grunick as she would briefly go out with him. Robert Prosky is brilliant as Ernie Merriman as the station’s manager who tries to keep things afloat while being aware of the layoffs that might emerge. Albert Brooks is phenomenal as Aaron Altman as this very intelligent and idealistic reporter who has always been behind the scenes or covering events around him as he copes with Grunick’s presence as well as his attempts to bring some substance to the world of news. William Hurt is remarkable as Tom Grunick as this dim but kind-hearted reporter that has the looks and charms to be an anchorman as it’s a very complex character as he represents someone that wants to make the news more accessible. Finally, there’s Holly Hunter in an incredible performance as Jane Craig as a TV news producer who is torn between two men while often crying for some odd reason as it’s a very fiery and energetic performance that play into a woman trying to maintain the idea of what TV news should be.
Broadcast News is a marvelous film from James L. Brooks that features great performances from Holly Hunter, William Hurt, and Albert Brooks. It’s a film that is very smart as well as being very funny thanks in part to its witty script as well as a superb supporting cast. In the end, Broadcast News is a sensational film from James L. Brooks.
James L. Brooks Films: (Terms of Endearment) - (I’ll Do Anything) - (As Good as It Gets) - (Spanglish) - (How Do You Know)
© thevoid99 2016
Directed by Danny Boyle and written by John Hodge, A Life Less Ordinary is the story about a disgruntled Scottish janitor who kidnaps his boss’ daughter as they conspire to get a ransom unaware that angels are trying to get them to fall in love. The film is a romantic-comedy of sorts with a bit of an edge that revels in a bit of violence but also fantasy. Starring Ewan McGregor, Cameron Diaz, Delroy Lindo, Holly Hunter, Dan Hedaya, Tony Shalhoub, Maury Chaykin, Stanley Tucci, and Ian Holm. A Life Less Ordinary is a witty yet off-the-wall film from Danny Boyle.
When true love is involved, fate comes into play to ensure that true love does happen while anything else that prevents that from happening have to be pushed aside. The film is about a couple of angels who arrive to Earth to make sure that an enraged Scottish janitor named Robert (Ewan McGregor) and a spoiled rich girl named Celine (Cameron Diaz) get together where if they don’t succeed, the angels will be forced to stay on Earth forever. Yet, the angels in O’Reilly (Holly Hunter) and Jackson (Delroy Lindo) do whatever it takes to make sure Robert and Celine together as the former decides to kidnap Celine for a ransom after he was fired by her father (Ian Holm) who replaced him for a robot. Though Robert is inexperienced in the idea of kidnapping, Celine helps him so she can collect some of the ransom money after realizing that her father decides to cut her off.
John Hodge’s screenplay definitely plays to the schematics of love where Robert and Celine are two people with very different views as the former is a dreamer who wants to write a novel as he’s going through a string of bad luck. The latter is a rich young woman who likes to do dangerous things and live a certain lifestyle as she had been through too many bad relationships to even consider the idea that there’s such a thing as true love. Because of the idea that true love is hokey, it causes problems up in Heaven where Gabriel (Dan Hedaya) is overwhelmed as God told him that he’s making new rules about to deal with the failure of love not happening. Hodge’s script isn’t just filled with some elements of black comedy as well as a bit of satire into the idea of the rom-com. He also allows the script to have some funny dialogue that plays into the idea of love while giving Robert and Celine reasons into why they should be with each other.
Danny Boyle’s direction is definitely engaging as well as stylized in some of the framing he creates as well as just letting things be much looser. Notably as Boyle incorporates a bit of the musical in the form of a duet between Robert and Celine to Bobby Darin’s Beyond the Sea. While it is a romantic comedy, Boyle is also aware that he wants to infuse the film with other genres such as crime and black comedy. Though the results can be a bit of a mess, Boyle does enough to make sure that the story is still there where he adds some suspense and moments to keep things light-hearted and fun. Overall, Boyle creates a very exciting and heartfelt film about love and fate.
Cinematographer Brian Tufano does excellent work with the film‘s photography where a lot of it is straightforward for the exteriors set in Los Angeles and parts of Utah while using some more stylish lights in some of the film‘s interior scenes. Editor Masahiro Hirakubo does nice work with the editing as it‘s very stylized to play up some of the humor and action as well as some dazzling moments in Robert‘s fantasy scenes. Production designer Kave Quinn, with set decorator Marcia Calosio and art director Tracey Gallacher, do great work with the look of Heaven where it’s all white and looks like a police station while keeping things more simpler for the scenes set on Earth. Costume designer Rachael Fleming does terrific work with the costumes from the more casual clothing of Robert to the more stylish clothes of Celine to display their personalities as well as bringing some styles to the clothes of O‘Reilly and Jackson.
Animation director Michael Mort does fantastic work with a claymation epilogue that reveals more into the fate of the film‘s characters. Sound editor Andy Kennedy does terrific work with the sound to capture some of the funnier moments of the film as well as some of its action scenes. The film’s music by David Arnold is superb for its playful use of electronic music to capture some of its humor and romantic elements. Music supervisor Randall Poster creates a very fun soundtrack that features music from Diana Ross & the Supremes, R.E.M., Ash, Elastica, Underworld, Oasis, Elvis Presley, Bobby Darin, Sneaker Pimps, the Prodigy, Beck, Orbital, the Shirelles, Gladys Knight, Luscious Jackson, Faithless, the Folk Implosion, and the Cardigans.
The casting by Donna Isaacson is brilliant as it features some notable small roles from K.K. Dobbs as Robert’s former girlfriend, Timothy Olyphant as a hitchhiker, Ian McNiece as Celine’s father’s bodyguard, Tony Shalhoub as a bar owner Robert later works for, Maury Chaykin as a cabin neighbor Robert and Celine befriends, and Stanley Tucci as a former prospect of Celine who would briefly help them out only to try to flirt with Celine. Dan Hedaya is excellent as the archangel Gabriel who gives O’Reilly and Jackson the mission while realizing that he might have the power to play into the fates of Robert and Celine. Ian Holm is superb as Celine’s very greedy and smarmy father who would rather keep the money than pay Robert’s ransom causing more dissent from his daughter.
Holly Hunter and Delroy Lindo are great in their respective roles as O’Reilly and Jackson as two angels who pose as bounty hunters who are doing whatever it takes to get Robert and Celine together even if it hurts or kills them. Ewan McGregor and Cameron Diaz are remarkable in their roles as Robert and Celine as two people brought together by circumstances as they deal with their differences. Notably as McGregor brings a comical approach to his character who is sort of a dimwitted dreamer while Diaz is more cool as a jaded spoiled rich girl who doesn’t believe in love where the two are also very fun to watch.
A Life Less Ordinary is a stellar yet enjoyable film from Danny Boyle that features top-notch performances from Ewan McGregor and Cameron Diaz. Armed with a wonderful supporting cast and a kick-ass soundtrack, it’s a film that doesn’t take itself seriously while wanting to give the audience something that is something different and fun in comparison to some of the more darker and intense films of Boyle’s other work. In the end, A Life Less Ordinary is a fantastic film from Danny Boyle.
Danny Boyle Films: Shallow Grave - Trainspotting - The Beach - 28 Days Later - Millions - Sunshine - Slumdog Millionaire - 127 Hours - Trance - Steve Jobs (2015 film) - T2 Trainspotting - (Yesterday (2019 film))
© thevoid99 2013
Top of the Lake is a seven-part TV miniseries about a detective who is trying to find a 12-year old pregnant girl whose father is a local drug lord in a small yet remote New Zealand town. Written and created by Jane Campion and Gerard Lee and directed by Campion and Garth Davis, the miniseries is a suspense story that involves a world where many people are carrying secrets and some are trying to hide from the secrets just as a girl is disappearing from the world. Starring Elisabeth Moss, Peter Mullan, David Wenham, and Holly Hunter. Top of the Lake is a chilling yet mesmerizing miniseries from Jane Campion, Garth Davis, and Gerard Lee.
A 12-year old girl named Tui (Jacqueline Joe) is pregnant as she is the daughter of a local drug lord named Matt Mitcham (Peter Mullan) where people are wondering who got her pregnant. An investigation happens led by Robin Griffin (Elisabeth Moss) as she questions Tui about who the father is where the only thing Tui reveals are the words “no one”. When Tui suddenly disappears, a manhunt happens where Griffin turns to her former boyfriend and Tui’s half-brother Johnno Mitcham (Thomas M Wright) for help while getting aid from Detective Sergeant Al Parker (David Wenham). While the investigation progresses as it involves land disputes, drug trades, and all sorts of things in the underworld while a group of women are seeking sanctuary in a camp led by the enigmatic GJ (Holly Hunter).
Things eventually take an emotional and mental toll on Griffin, who was the victim of a rape at the age of 15, as her mother (Robyn Nevin) is dying while she becomes troubled by her own past. Secrets are unveiled that leads to Griffin to get more questions about Tui’s whereabouts as well as the mystery into who is the father of Tui’s baby. What the miniseries does is create a story that isn’t just a suspense-drama but a woman’s exploration into facing her own demons just as she is trying to find this young girl. Even as she is surrounded by women who are victims of abuse, neglect, or something incomprehensible as they try to save themselves in this camp led by this strange figure. Just as the series progresses in each episode, the stakes of trying to find Tui becomes much more troubling as it’s not just the police that are trying to find her but the girl’s father who is descending into madness over her disappearance.
The teleplay by Jane Campion and Gerard Lee does play with some of the conventions of a mystery where little clues do arrive to reveal something big or small. By breaking the story into seven parts, it allows each episode to reveal little clues on not just Tui’s disappearance but why Robin Griffin is so personally invested in this case as it relates to her own demons from the past. Even as each clue she finds brings her closer to not just about Tui but also a dark underworld involving the drug trade and prostitution. She also has to confront the people around her including her boss, her former boyfriend, and her ailing mother about these secrets where her mother is carrying one of her own that would later impact Robin to the brink of an emotional breakdown.
The script also plays into characters like Matt Mitcham, Johnno Mitcham, and Al Parker as they’re these three different men who are all connected to Robin Griffin as well as the case. While Matt Mitcham may be this local drug lord with a dark reputation as well as having casual conversations with the police, he’s also a man that is becoming troubled by Tui’s disappearance. Either he’s in denial or he might be involved about what happened to Tui yet he is someone that does have good intentions to get his daughter back. Matt’s estranged son Johnno is a man trying to start a new life after serving an eight-year prison in Thailand as he was living with Tui’s mother. Having Robin back in in his life creates complications as he remembers the night Robin was raped while his presence makes her mother uncomfortable which relates to the secret that she carries during her visit to GJ’s compound.
Al Parker is just as mysterious as the other characters as he is a leading police figure who is very rich and lives in a lavish home which causes Robin to raise questions about how he makes his money. Although he would help Robin and even ask her to marry him, there are still things about him that makes Robin uneasy as well as his connection to Mitcham. Then there’s the camp compound leader GJ who is easily the most mysterious person of the entire story. Though she doesn’t really do much when it involves Tui or the case, she is someone who provides shelter to women yet she says mysterious things that are very eccentric. Yet, she knows what these women are going through but doesn’t provide answers that will help them but rather point them in the right direction.
The direction of Jane Campion and Garth Davis is very entrancing for the way it presents this small town in New Zealand that is surrounded by mountains and a big lake where these locations are characters in the miniseries. Shot in the cities of Queenstown and Glenorchy, the miniseries does have this air of chilling ambiance in its settings where there’s a lot of bluish, grey colors while there is this mix between nature and the city. Notably for the scenes set in the day where there is this sense of unease throughout the town where there is something that is secretive but no one wants to speak out. The images that Campion and Davis create are full of mesmerizing imagery and lots of little tidbits such as deer heads, bones, and other things to establish a world that is modern but still reveled in something that harkens back to the idea of an old world order.
Filled with a mixture of shots ranging from hand-held to gazing establishing shots of the location, the direction is quite stylish but also intimate at times to play out some of the drama that occurs. Notably as it has this air of suspense that happens throughout including some flashback scenes where it plays into Griffin’s past and her motivation to find Tui. There are twists and turns that happens throughout the miniseries where it does reach a climax that isn’t just horrifying but also maintains an air of ambiguity where some answers are revealed though are also questions that don’t get answered. Overall, Jane Campion, Garth Davis, and Gerard Lee create a hypnotic yet engrossing suspense-drama that explores the world of demons and dark secrets.
Cinematographer Adam Arkapaw does excellent work with the look of the miniseries with its exotic blue-grey color to create an air of despair and uncertainty to many of the miniseries‘ locations as well as keeping things natural for the scenes at night and the scenes at the forest. Editors Alexandre de Franceschi and Scott Gray do fantastic work with the editing to give each episode some stylish cuts from jump cuts and fade-outs while building up the suspense with slow yet methodical cuts. Production designer Fiona Crombie does amazing work with the set pieces from the look of Parker‘s posh home to the more cabin-like home of Matt Mitcham that includes a drug lab under his bathroom.
Costume designer Emily Seresin does nice work with the costumes as a lot of it is mostly casual though the clothes do help out in establishing key parts of the film as it relates to clues about Tui‘s whereabouts. Sound designer Tony Vaccher does superb work with the sound to create an atmosphere in some of the party scenes as well as in the suspenseful moments to maintain that air of dread. The music by Mark Bradshaw is exquisite for its hypnotic mood with its plaintive sounds of guitar and piano to create a sense of melancholia and dread throughout the miniseries.
The casting by Kirsty McGregor is brilliant for the ensemble that is created for this miniseries. Notable appearances include Genevieve Lemon and Robyn Malcolm as a couple of women at the compound, Darren Gilshenan as the real estates agent Bob Platt who is hiding a dark secret about the town, Luke Buchanan as Tui’s friend Jamie, Mirrah Foulkes as Jamie’s mother Simone who also works for Mitcham, Kip Chapman and Jay Ryan as two of Mitcham’s adult sons, Calvin Tuteao as Jude Griffin’s Maori boyfriend, and Lucy Lawless as Platt’s wife who tells Robin about the secrets in Bob’s computer. Jaqueline Joe is excellent as the young girl Tui who finds herself the subject of a mysterious hunt about who the father of her baby is as she suddenly disappears. Robyn Nevin is wonderful as Robin’s mother Jude who is dealing with her illness while carrying a secret that would shake up Robin’s relationship with Johnno.
Thomas M. Wright is terrific as Matt’s estranged son Johnno who helps Robin out in finding Tui while dealing with his own issues as it relates to his relationship with Robin in the past as he yearns to start a new life for himself. Peter Mullan is great as the drug lord Matt Mitcham who is man eager to find his daughter while coming undone by her disappearance as he tries to hold on to his drug empire and finding some redemption. David Wenham is amazing as Detective Sgt. Al Parker who heads the investigation to find Tui while he being very ambiguous about his connection with Mitcham as well as his finances.
Holly Hunter is superb as GJ as she is just this very strange woman who is the head of a sanctuary as she says very weird things that would later prove to be helpful. Finally, there’s Elisabeth Moss in a remarkable performance as Robin Griffin where Moss brings a chilling intensity to a woman eager to find this young girl and face her own demons where Moss displays a sense of rawness and vulnerability to a role where a woman is trying to do something good in a chaotic world.
Top of the Lake is a phenomenal TV miniseries from Jane Campion, Garth Davis, and co-writer Gerard Lee that features top-notch performances from Elisabeth Moss, Peter Mullan, David Wenham, and Holly Hunter. It’s definitely one of Jane Campion’s fine works in terms of creating a suspense film led by a female protagonist while adding layers that makes the project far more compelling. It’s also a very provocative miniseries that explores a dark underworld as well as secrets that people don’t want to unveil. In the end, Top of the Lake is a fantastic TV miniseries from Jane Campion, Garth Davis, and Gerard Lee.
Jane Campion Films: Sweetie - An Angel at My Table - The Piano - The Portrait of a Lady - Holy Smoke! - In the Cut - Bright Star - (Top of the Lake-China Girl) - The Power of the Dog - The Auteurs #25: Jane Campion
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