Pride (2014 film)

Directed by Matthew Warchus and written by Stephen Beresford, Pride is the story about the British miner’s strike of 1984-1985 where miners reluctantly get the support of gay and lesbian activists who would raise money for the miners. The film is a dramatic account on how the gay and lesbian community get involved as well as display the act of solidarity during one of Britain’s most tumultuous periods. Starring Bill Nighy, Imelda Staunton, Paddy Considine, Dominic West, Andrew Scott, George MacKay, Joseph Gilgun, Menna Trussler, and Ben Schnetzer. Pride is a heartfelt and compelling film from Matthew Warchus.

The British miners’ strike of 1984-1985 was an event in Britain that had miners going against the rule of its then-prime minister Margaret Thatcher over pit closures and pay restraints. It was around this time that the National Union of Mineworkers would receive support but from the most unlikely group of people in the gay and lesbian community who saw the same amount of prejudice and abuse they had received from the police as they offered their own support as an act of solidarity. The film is a dramatic account of this event which is considered a watershed moment for the British gay and lesbian movement but also for the miners strike as well where it took a ragtag group of people who go to a small town in Wales to offer their support and raise money for the miners.

Stephen Beresford’s screenplay talks about the formation of the Lesbians and Gays Support the Miners campaign that started in a gay bookshop by a few activists where they just wanted to donate whatever money to help miners who are on strike and can’t pay the bills. While NUM was at first unwilling to take their money, it was through a small faction in this small Welsh mining town that said yes but unaware of who they’re getting money from as the locals are aghast of who is giving them donations. Still, one of the miners’ local organizers in Dai Donovan (Paddy Considine) would invite them as does the leader of the women’s support group in Hefina Headon (Imelda Staunton) where it took a while for the locals to accept them. Even as the LGSM would find ways to raise more money and awareness despite the fact that there is a lot happening in their own community as it relates to the AIDS crisis as one of them is HIV positive yet has found a way to curb his disease.

Matthew Warchus’ direction doesn’t really go for a lot of style except for a few scenes shot entirely on hand-held to give it a cinema verite feel. Yet, it does maintain a simplicity in not just the compositions but also the setting as it is shot not just in parts of London and its nearby suburbs but also in small towns in Wales to make it feel very real. Warchus would also find something ordinary and make it special as the film does have subplots as it relates to not just miners’ wives trying to do what they can for their husband but also find themselves in their own right. The direction also play into the realities of what is going on in Britain with footage of the news as well as what the tabloids were printing as a way to cause problems between the two factions. Even as a miner’s widow would create further problems upsetting her brother-in-law who is one of the organizers in the strike. Though it’s third act does give the film a bit of a different tone as it relates to not a lot of realities in both the mining and gay community. It does serve as some major moments in a few of its characters as well the fact that these two very different communities come together where they were able to make a difference in a way that is bigger than themselves. Overall, Warchus crafts a lively and engaging film about gay and lesbian activists helping striking miners in their time of need during the 1980s British miners’ strike.

Cinematographer Tat Radcliffe does excellent work with the film‘s cinematography from the vibrant look of London in its clubs and the gay bookshop that the LGSM organizers frequent at to the more drenched yet grey-like color of the small town in Wales. Editor Melanie Oliver does fantastic work with the editing as it does play into style with its usage of jump-cuts as well as some montage-based cutting. Production designer Simon Bowles, with set decorator Liz Griffiths and supervising art director Mark Raggett, does amazing work with the look of the bookshop the LGSM organizers meet as well as some of the clubs they go to and the community hall at the small Welsh town where the miners meet to have meetings. Costume designer Charlotte Walter does brilliant work with the costumes from the colorful look of the members of the LGSM to the more grey and casual look of the miners and their wives.

Hair/makeup designer Nadia Stacey does terrific work with the look of the hairstyles and makeup of some of the members of the LGSM as well as create a straight-laced look for the miners and their families. Visual effects supervisor Hugh MacDonald does nice work with some of the film‘s minimal visual effects which is just essentially set dressing to play into what London looked like in the 1980s. Sound designer Blair Jollands does superb work with the sound in the way some of the parties sound as well as the sparse yet eerie tension heard in a key meeting late in the film. The film’s music by Christopher Nightingale is wonderful for its mixture of low-key orchestral music and guitar-based rock music to play into the period of the times while music supervisor Nick Angel creates a fun soundtrack filled with a lot of the music of the times from the Smiths, Shirley & Company, Bronski Beat, Frankie Goes to Hollywood, Culture Club, Dead or Alive, and Pete Shelley as well as some folk-based pieces from Pete Seeger and Billy Bragg.

The casting by Fiona Weir is phenomenal as it include some notable small roles from Matthew Flynn and Monica Dolan as Joe’s parents, Olwen Medi as Gethin’s mother, Kyle Rees and Jack Baggs as a couple of young miners who go to Jonathan in getting dance lessons so they can get girls, Rhodri Meilir as the miner/co-organizer Martin James, Liz White and Nia Gwynne as a couple of miners’ wives, and the trio of Freddie Fox, Chris Overton, and Joshua Hill as members of the LGSM. Other noteworthy small roles include Karina Fernandez and Jessie Cave as two LGSM members who want to form a splinter group known as Lesbians Against Pit Closures while Lisa Palfrey is terrific as the widow Maureen Barry who isn’t keen on having LGSM at the town as she tries to create trouble only to get the ire of her brother-in-law Cliff. Menna Trussler is wonderful as the elderly widow Gwen who would be the first to take LGSM’s donation as well as find common ground with the lesbians. Andrew Scott is fantastic as LGSM co-founder Gethin who also runs the bookshop with his partner Jonathan as he admits to his reluctance in returning to Wales due to his relationship with his mother where he would eventually find the courage to see her again.

Jessica Gunning is excellent as Martin’s wife Sian who would find her voice in the activism as she would also the person to help the LGSM and miner’s union find common ground. Dominic West is brilliant as the HIV-stricken Jonathan who isn’t sure about what his friends are doing as he helps them while showing the young miners how to dance as a way to pick up women. Joe Gilgun is superb as LGSM co-founder Mike Jackson who would introduce the young Joe to activism as well as be the one to create banners for the cause. Faye Marsay is amazing as Stephanie Chambers who is the lone lesbian of the group who has a wild look but finds herself having more common ground with the miners’ wives where she takes a maternal role for Joe. George MacKay is great as Joe as a college student who finds himself taking on the cause to help the miners while trying to hide his sexuality from his parents where he finally makes a big decision as an adult.

Ben Schnetzer is incredible as the late LGSM co-founder Mark Ashton who is the group’s leader that rallies everyone around to the cause as he sees similarities in the struggles the miners are facing along with the gay and lesbian community as it’s just this riveting breakthrough. Paddy Considine is marvelous as local miners’ leader Dai Donovan who would be the first to meet the LGSM as he is taken aback by them at first only to see that they’re just cool people. Imelda Staunton is radiant as Hefina Headon as the head activist for the miners’ wives who is one of the first to welcome in the LGSM as she sees what they’ve done for the cause as well as realize how fun they are. Finally, there’s Bill Nighy in a remarkable performance as Cliff Barry as a miner who had seen a lot as he is one of the few who welcome the LGSM immediately as well as know what is at stake as it relates to the well-being of the miners and their families.

Pride is a sensational film from Matthew Warchus. Featuring a great ensemble cast, awesome music, and a compelling story that is based on the real British miners’ strike of the mid-1980s. It’s a film that doesn’t just explore a moment in time but also a moment where people came together just to help one another no matter what sexual preference they are. In the end, Pride is a phenomenal film from Matthew Warchus.

© thevoid99 2016

Taking Woodstock

Based on the memoir Taking Woodstock: A True Story of a Riot, a Concert, and a Life by Elliot Tiber and Tom Monte, Taking Woodstock tells the story of how the famous 1969 music festival in Bethel, New York came to life with the help of a young man who brought the festival to his town. Directed by Ang Lee with an adapted script by longtime collaborator James Schamus, the film is an exploration on Tiber’s young life as he tries to save his parents’ motel by getting more than half a million people to attend the festival. Starring Demetri Martin, Imelda Staunton, Henry Goodman, Liev Schreiber, Jonathan Groff, and Eugene Levy with appearances from Paul Dano, Dan Fogler, Kelli Garner, Mamie Gummer, and Emile Hirsch. Taking Woodstock is a good though underwhelming film from Ang Lee.

Elliot Tiber (Demetri Martin) is an aspiring interior designer/artist who returns home to the El Monaco Motel in his town of Bethel, New York as it’s in danger of foreclosure. With his parents Jake (Henry Goodman) and Sonia (Imelda Staunton) short on cash, Elliot decides to help them as he hopes to organize another small music festival to raise money. With the realization that he needs to raise the money by the end of the summer, he seeks help from a local drama troupe to help them as he hears the news about a concert festival that is looking for a location. Elliot, who is also the local chamber of commerce, offers a permit to the concert organizers where he meets Michael Lang (Jonathan Groff) who brings his team to scout the location. Finally finding the place on the farm of Max Yasgur (Eugene Levy), Yasgur makes them a deal to hold the concert on his land.

With Elliot having some money that could help his family, he faces some trouble with the locals and health inspectors looking over the hotel as a transvestite named Velma (Liev Schreiber) offers to help as security. With Elliot realizing that more than a 100,000 people will show up and a press conference where he gets high becomes a disaster. He gets into really big trouble with the organizers as people come in thinking it’s a free concert as a lot more people come in. With his parents working to deal with the people, Elliot meets a carpenter named Paul (Darren Pettie) whom he falls for though he wonders what his dad will think about his homosexuality.

With the Woodstock concert finally happening, Elliot tries to see the show as he encounters a couple of hippies (Paul Dano and Kellie Garner) while hanging out with his old friend Billy (Emile Hirsch), a former Vietnam vet. Elliot also tries to deal with his mother’s strict attitude while his father seems to enjoy having the young hippies around. With all of the things happening around him, Elliot ponders his life and the family he loves while trying to catch a glimpse of the show at Woodstock itself.

The film is about how the famed Woodstock festival in August of 1969 was organized and how it found its location near a motel run by a Jewish couple and their gay son where the woman is a Russian refugee. Yet, it’s an interesting story for some aspects of the film as it’s told from the perspective of a young man who is essentially trying to save the motel his parents had been working hard for. Once that motivation for Elliot to save his motel happens through getting Woodstock to come to his town, the film’s mood starts to change a bit from a comedy to a character study that doesn’t really work very well.

The third act has Elliot trying to go to the concert but the real disappointment isn’t that the film doesn’t get to show the concert as it’s happening. Instead, there’s an acid trip and a mud slide where it kind of meanders a bit. Then there’s the character of Elliot Tiber where as a protagonist, he isn’t very interesting despite his development and character struggle with his homosexuality. While there’s a bit of reference to the Stonewall riots, the homosexuality parts of the film doesn’t really fit in with the narrative. While screenwriter James Schamus does some fine work in creating some interesting supporting characters and the organization of the festival. He didn’t do enough to create a very engaging third act where isn’t sure what to do.

Ang Lee’s direction is very stylish in its presentation as the opening credits scene features a lot of split screens and multiple shots of events happening at the same time. Lee does a lot to create some light-hearted moments that includes some funny scenes of Elliot’s parents fighting some anti-Semitic kids or some mob guys or stuff where people decide to get naked. There is a looseness to the direction that makes it very engaging for most of the film. By the time it comes to the third act, there’s still a few funny moments but it starts to drag a bit once Elliot encounters various people where it includes a very silly acid trip with weird visual effects that looks very silly. While Lee does create some wonderful compositions and intimate camera work throughout the film, he creates a film that is pretty decent but loses its excitement in the third act.

Cinematographer Eric Gautier does some wonderful work with the film‘s colorful cinematography in capturing the gorgeous landscape of upstate New York. Gautier’s photography has a lushness to many of the daytime exteriors while creating a more intimate look for some of the interior scenes in the film along with the nighttime exterior shots. Longtime Lee collaborator Tim Squyres does some fantastic work with the editing by creating a lot of stylized cuts to re-create some of the shots and multiple split-screens that is really an ode to the original Woodstock movie.

Production designer David Gropman, along with set decorator Ellen Christiansen and art director Peter Rogness, does some fine work with the look of the motel that Elliot lives in along with the farm and places that he frequents to. Costume designer Joseph G. Aulisi does some excellent work with the costumes from the straight-laced clothes that Elliot wears to the more lavish clothes many of the hippies wear. Visual effects supervisor Brendan Taylor does some OK work with the visual effects for the acid trip scene where some of the animation is inspired but it doesn‘t fit in with the tone of the film and makes the scene to be very silly. Sound editors Eugene Gearty and Phillip Stockton do some good work with the sound to capture the quietness of the town to the chaos and blaring music once the concert starts to happen.

The film’s score by Danny Elfman is a very folk-driven score to play to the setting that is 1969 with brimming acoustic guitars as it’s mostly set in sparse places. While Elfman’s score is very good, the rest of the music is surrounded by cuts from the music of the time such as Richie Havens, the Band, Crosby, Stills, & Nash, Janis Joplin, Arlo Guthrie, Blind Faith, the Doors, the Seeds, Love, Ravi Shankar, Jefferson Airplane, and the Grateful Dead plus a song from Judy Garland to complement the taste of the gays. The overall soundtrack is a real highlight of the film since it brings a bit of nostalgia as well as a primer for new listeners to the music of the times.

The casting by Avy Kaufman is pretty good for the large ensemble that is created that includes memorable appearances from Skylar Astin as Woodstock organizer John P. Roberts, Richard Thomas as Reverend Don, Darren Pettie as the construction worker Elliot falls for, Adam LeFerve as a local who despises Elliot for bringing hippies to the town, Mamie Gummer as Lang’s assistant Tisch, and Dan Fogler in a tolerable performance as the theater troupe leader. Other notable appearances include Paul Dano and Kelli Garner as a couple of hippies who take Elliot on an acid trip along with Jeffrey Dean Morgan as Billy’s older brother and Emile Hirsch in a comical though overdone performance as the Vietnam Vet Billy.

Eugene Levy is very good in a very laid-back performance as the farmer Max Yasgur who offers his land to the Woodstock organizers while wowing them with his chocolate milk. Liev Schreiber is excellent as the drag-queen Velma who is very tough and cool while being the one person who helps loosen up Elliot’s parents. Jonathan Groff as Michael Lang is one of the film’s most uninspiring moments as he ends up looking very goofy while not really giving the Lang character anything to do except say “hey man” and “groovy” with just a straight face.

Henry Goodman and Imelda Staunton are great as Elliot’s parents as they bring a lot of humor to their characters. Goodman as the more laid-back father who finds an ally in Velma as they fight off anti-Semitic youths as he also sports some subtle humor to his character. Staunton is even funnier as the Russian immigrant mother who often spouts stories of how she walked from Russia to America with cold potatoes while being the more strict as it’s a remarkable role for the British actress. Demetri Martin is OK as Elliot Tiber as he tries to make the character he plays interesting but is unable to do since he‘s practically a comedy actor. The problem is that Martin isn’t very engaging in his performance as he mostly stares at his surroundings while doesn’t really he seems unsure what to do in some of the performance as it’s a pretty uninspiring performance.

Taking Woodstock is a film that has a lot of good moments but loses steam in the third act that includes a very dull lead performance by Demetri Martin and the lack of footage from the famed Woodstock concert. Audiences who are interested in the history of the famed music festival will find this to be insightful over how it got organized though the actual Woodstock movie is a much better introduction about the festival. For its director Ang Lee, the film is pretty much one of his weaker efforts as he creates something that is very loose and lively though is unable to keep things interesting in the third act. In the end, Taking Woodstock is a fine film from Ang Lee despite some underwhelming moments.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

© thevoid99 2011

Sense & Sensibility (1995 film)

Originally Written and Posted at Epinions.com on 4/2/09 w/ Additional Edits & Revisions.

Still popular for many years, the novels of Jane Austen has been ready by countless readers throughout the years. One of Austen's most popular novels is her first published novel called Sense & Sensibility released in 1811. The novel tells the story of two sisters who fall in love and deal with heartbreak while moving to a home as their left destitute when their father gives his estate to their half-brother. The book has been acclaimed by many readers though a film adaptation has been attempted for several years. While a 1981 TV serial was the first attempt some acclaim, it would be another adaptation in 1995 that would help create a new wave of film adaptations of Jane Austen's novels as the famed novelist would gain a new generation of fans through both books and film adaptations.

The 1995 film version of Sense & Sensibility tells the story of three sisters and a mother left destitute due to an inheritance deal as they move to a cottage with their relatives. Two sisters would fall in love and deal with heartbreak as their lives would change. Helming the film adaptation is Taiwan-born director Ang Lee, who had just come off the critical acclaim of his third film Eat Drink Man Woman as he makes his first Hollywood-style production. Writing the adaptation is actress Emma Thompson who takes on the role of Elinor Dashwood. Also starring Kate Winslet, Hugh Grant, Alan Rickman, Greg Wise, Gemma Jones, Imelda Staunton, Robert Hardy, Hugh Laurie, Imogen Stubbs, and Tom Wilkinson. Sense & Sensibility is a charming, dramatic, and wonderfully humorous film from Ang Lee.

After hearing his the last request of his dying father (Tom Wilkinson), John Dashwood (James Fleet) gets his inheritance only if he would take care of his stepmother (Gemma Jones) and his three half-sisters.  Unfortunately, John's wife Fanny (Harriet Waller) has ideas of her own forcing Mrs. Dashwood, Elinor, Marianne (Kate Winslet), and Margaret (Emilie Francois) out of their estate and a small inheritance which isn't enough.  Fanny's brother Edward Ferrars (Hugh Grants) makes a visit as he befriends Elinor and Margaret as he helps them gather their things much to Fanny's chagrin.   Moving to a cottage that is owned by Mrs. Dashwood's cousin Sir John Middleton (Robert Hardy) and his wife (Elizabeth Spriggs), the Dashwood women are invited to tea where Colonel Christopher Brandon (Alan Rickman) makes a visit as he becomes smitten by Marianne during a piano performance.

With Brandon befriending Marianne and Elinor longing for Edward, who remains in London and manages to mail Margaret's atlas book, Marianne walks with Margaret as they meet John Willoughby (Greg Wise) whom Marianne falls for.  Brandon holds a picnic with Mrs. Jenning's daughter Charlotte (Imelda Staunton) and her husband Mr. Palmer (Hugh Laurie) as their cousin Lucy Steele (Imogen Stubbs) attend.  Yet, the picnic is abruptly cancelled when Brandon had to go to London that only furthers Marianne's attraction to Willoughby who also has to go to London to meet with his aunt Lady Allen.  The distraught Marianne gets upset until an invite from the Palmers to go to London with Lucy and Mrs. Jennings has her wanting to see Willoughby while Eilnor reluctantly goes to London to accompany Marianne.  

During their trip to London, Marianne learns some news that devastates her while Col. Brandon reveals to Elinor about Willoughby.  Elinor also meets Edward already knowing about his secret engagement to Lucy, which eventually gets revealed putting Edward in trouble until Col. Brandon makes a deal for Edward that he couldn't refuse.  Returning to Devonshire with the Palmers and Col. Brandon, the Dashwoods stay at the Palmers where Marianne becomes ill prompting Elinor to ponder if she and her sister will ever find happiness.

One of the key traits of Jane Austen's novels is strong female protagonists. In this story, we have two in Elinor and Marianne Dashwood. Two sisters both mourning the death of their father and having to lose their home to their selfish, greedy sister-in-law. When they each encounter suitors who might seem fine for them only to realize something more complicated in their own lives. They face heartbreak and such while it's the bond between Elinor and Marianne that is unique. Emma Thompson, who is a devoted fan of Austen's novels, does a fantastic job with the adaptation in taking on what is needed for the story and such. Though with all adaptation, it's not perfect due to what details that are cut and such. Still, Thompson captures the heart of the story and its characters.

Thompson's screenplay is filled with plot structure and plot points that carry the story as it transitions from this lightly-humored story to something more dramatic. From its opening scene of the dying Mr. Dashwood telling his son to take care of Mrs. Dashwood and his half-sisters. Once the audience is introduced to Fanny, it's clear that the Dashwood women will be in trouble. When audiences get to know Elinor, it's clear she's kind of the head of the family who is organizing things and taking care of everyone. Including her mother, who is grieving, and her youngest sister Margaret who is adventurous and finds comfort in the likes of Edward and Col. Brandon. Marianne is a young woman who is just being helpful until she comes across Willoughby as she becomes lovesick over him. When Willoughby is forced to break off the relationship due to troubling circumstances and is forced to fend off Marianne. She becomes heartbroken and distraught only to go into illness when she walks towards Willoughby's home in the rain.

While Austen has been known for creating stories with strong women, there's always men in her stories that are just as complex. Edward Ferrars arrives as a man who is shy and at times, stutters when he's nervous yet provides a sense of charm and wit that Margaret enjoys and something comforting for Elinor. Yet, when it's revealed that he's engaged to someone else. He has no idea how to say all of this because he deeply cares for Elinor but doesn't want to hurt her or Lucy. Yet, Ferrars is a man that is certainly a joy to watch with flaws and all while revealing that he's just someone into simple things.

The character of Colonel Brandon is seen as a melancholic, morose man who had lost a great love in his life years ago and seems disconnected to some degree. The moment he hears Marianne sing and sees her play, it's as if he is awaken as it's love at first sight for the middle-aged army colonel. Becoming fully attentive to her needs and giving her flowers and such. It all goes well until the appearance of Willoughby where he finds himself competing with the younger, more dashing man. Brandon nearly concedes until learning what Willoughby had done as he focuses his sole attention towards Marianne.

Thompson's screenplay is rich with its development of characters and broad, light humor. Nearly every character gets a chance to shine whether it is through humor or drama. Helming all of this is Taiwanese director Ang Lee in his first English-language film debut. An outsider like Lee in doing a 19th Century period piece might seem like it could go wrong. Instead, Lee's straightforward direction with rich compositions, wide shots, and intimate scenery is mesmerizing in everything he captures. Even in allowing the humor to be well-played with such subtlety and the drama being restrained for the most part except in a few scenes. Lee also creates a great mix of humor and melancholia in a few scenes. Notably a scene in which Margaret, Marianne, and Mrs. Dashwood are all in their rooms crying with Elinor sitting on the stairs listening to them.

The way Lee captures those scenes along with the dramatic moment that includes long, wide shots of these hills and mountains of the English countryside. In other dramatic moments at the cottage that the Dashwood women live in, Lee knows when to pull the camera away for unique compositions and scenery as if he knows not to impose on the characters in these emotional moments. Lee also creates unique shots like a crane shot on a party scene from the inside or a shot from the ceiling to see what is happening. The creative compositions Lee creates along with his staging of the drama is purely rich and intoxicating in every scene he creates. It's a testament to his talent as he's regarded as one of cinema's great directors.

Cinematographer Michael Coulter does fantastic work with the film's cinematography from the gorgeous, exterior rainy day shots of the English countryside to the days of sunshine where it's done with little tricks and such. The interior scenes are truly majestic and dream-like to the period setting at hand. From the sepia-like candlelight shots of the nighttime exteriors to the shading of light through the windows. Coulter's work is magnificent in its atmosphere and devotion to the period in its look. Lee's longtime editor Tim Squyres does excellent work with the film's editing in the use of dissolve transitions and straight cuts to give the film a leisurely pace that isn't too slow. Squyres plays to the rhythm of the drama and humor with his cutting while moving the film from scene to scene with such ease without losing its rhythm and pace.

Production designer Luciana Arrighi along with set decorator Ian Whittaker and art directors Philip Elton and Andrew Sanders do an amazing job in the look of the estates and cottages of 19th Century England with its tables, appliances, and such. Even the huge atlas book that Margaret is fond of is well-made along with other little details including carriages. The art direction overall is superb in its authenticity including the costume design by Jenny Beaven and John Bright. The costumes from the suits the men wear with top hats and coats to the dresses the women wear from the simpler to the more lavish. The costume design is purely splendid in its detail and look. Sound editor Steve Hamilton does a great job in the sound work from the nature-like atmosphere of the countryside to the more busy, chaotic sounds of London. Even the interior scenes from the sounds of the floor to the clinks of tea are all masterfully captured.

The film's score by Patrick Doyle is wonderfully subtle and rich with its arrangements of piano-driven flourishes to more orchestral, broader sounds to play up the film's drama. Doyle's score is truly majestic while includes some traditional piano pieces played by Winslet who also sings in the film.

The casting by Michelle Guish is phenomenal in the casting of nearly every part of the film. From small appearances from Lone Vidahl as Lady Grey, Allan Mitchell as Mrs. Jennings' butler Pigeon, Oliver Ford Davies as Dr. Harris, and as the Dashwood women's loyal servants, Isabelle Amyes as Betsy and Ian Brimble as Thomas. Other notable performances from Richard Lumsden as Robert Ferrars and Tom Wilkinson in a small but memorable appearance as Mr. Dashwood are excellent. Small but memorable performances from Imelda Staunton as Charlotte Jennings Palmer and Hugh Laurie as her annoyed husband Mr. Palmer are funny with Laurie being all deadpan in his humor. Robert Hardy as Sir Middleton and Elizabeth Spriggs as Mrs. Jennings are also funny for their lavish personalities as they say the wrong things yet bring laughs in nearly every scene they're in.

James Fleet is good as John Dashwood, the half-brother who inherits everything while Harriet Waller is brilliant as the scheming, snobbish Fanny who wants everything for herself. Imogen Stubbs is wonderful as Lucy Steele, Edward Ferrars' secret fiancee who befriends Elinor though her intentions are good and just wants to be part of a family. Greg Wise is excellent as Willoughby, the dashing young man who falls for Marianne only to be hindered by his own troubles and later, rejecting her. Emilie Francois is great as Margaret, the youngest Dashwood girl who has a love of adventure and exploration as she has some great scenes with Hugh Grant doing some pretend sword fighting. Gemma Jones is good as Mrs. Dashwood, the grieving widow who is living with her daughters while dealing with some of Elinor's judgements over Willoughby and her fears for her daughters' future.

Hugh Grant is extraordinary as Edward Ferrars, the shy, stuttering man who falls for Elinor but deals with his loyalty towards Lucy while hoping for a simple life. Grant's subtlety and light, comic-timing is perfect for the character who is flawed but honorable as it's masterfully performed with such restraint from Hugh Grant. Alan Rickman, known to American audiences in villain-like roles as Hans Gruber in Die Hard and the complex Professor Snape in the Harry Potter films, is amazing as the melancholic, middle-aged Colonel Brandon. Rickman's restrained performance is a marvel to watch as he pines for Marianne and being attentive to her needs while forced to watch in the sidelines as she falls for Willoughby. Rickman is a real surprise as he has great scenes with both Emma Thompson and Kate Winslet while being the man that every woman needs in terms of loyalty and attention.

In one of her pre-Titanic film roles, Kate Winslet is phenomenal as Marianne. The innocent, lovesick young lady who deals with her first love and heartbreak over Willoughby only to find comfort in Col. Brandon shows Winslet in one of her great performances. Filled with humor, charm, and melodrama, it's a performance from a young actress who would later become a force in the years to come as it has Winslet showing her talents that rank up there with veterans like Thompson and Rickman. Emma Thompson is superb as Elinor Dashwood, the elder sister who is trying to take care of things while falling for the young Edward Ferrars. Thompson's subtle, hardened performance is one of the actresses great roles as she rarely displays any heavy emotions until the third act. It's a magnificent performance from the great actress who rarely gives bad performances as she displays herself with dignity and grace.

Released in late 1995, the film drew rave reviews as it was also a modest box office hit. The film garnered several nominations for the Academy Awards with a surprise win for Emma Thompson in the Best Adapted Screenplay category. The film also helped raise Ang Lee's profile as he officially arrived in Hollywood where he would have a career with several critical hits and landmark films for the years to come. The film also helped mark a new revival in the works of Jane Austen which was also helped by Amy Heckerling's adaptation of Emma in the hit teen-comedy Clueless released earlier that summer.

Sense & Sensibility is a majestic, charming, and remarkable film from Ang Lee featuring a superb cast led by Emma Thompson, Kate Winslet, Hugh Grant, and Alan Rickman. Fans of Jane Austen's work, whether in film or books, will enjoy the story as it's true to what Austen had envisioned. For Ang Lee, this film is truly one of his essential masterworks with such films like Crouching Tiger, Hidden Dragon, Brokeback Mountain, and The Ice Storm proving his versatility in stories and cinematic style. In the end, Sense & Sensibility is a film that is entertaining with such grace and style from the mind of Ang Lee, screenwriter Emma Thompson, and its novelist Jane Austen.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Taking Woodstock - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

(C) thevoid99 2011

Another Year

2008’s Happy-Go-Lucky was a surprise hit with audiences and critics as its writer/director Mike Leigh scored another hit film while giving its star Sally Hawkins a true breakout role. The film was also surprising for fans of Leigh as it was his most optimistic and upbeat film of his career. Sadly, it would be Leigh’s last film with longtime producer Simon Channing-Williams who died at age 63 in 2009 after a long battle with cancer. Leigh paid tribute to his late colleague and friend as he moved forward with a project about life in general with Another Year.

Written and directed by Mike Leigh, Another Year tells the story of a married couple whose blissful life is mired by the unhappiness around their friends as they help them out. Featuring many of Leigh’s improvisational style and exploration of all of the quirks about life. It’s a film that dabbles into many themes while finding some sort of solution about the way the world works. With an all-star cast that includes such Leigh regulars as Lesley Manville, Jim Broadbent, Ruth Sheen, Peter Wight, Philip Davis, and Imelda Staunton plus appearances from David Bradley and Oliver Maltman. Another Year is a charming yet touching film from Mike Leigh.

It’s springtime as Geri (Ruth Sheen) is helping a woman named Janet (Imelda Staunton) deal with her insomnia. Geri is a counselor who works with a doctor named Tanya (Michele Austin) and a secretary named Mary (Lesley Manville). Geri’s been happily married to Tom (Jim Broadbent) who works as a geologist. Whenever they’re not working or at home, Tom and Geri do a lot of time tending to their large garden filled their own fruits and vegetables. Mary often hangs out with Tom and Geri as she is looking for love while would get herself drunk every once in a while pondering about her lack of a strong love life.

While Ruth and Geri often invite Mary to their world, they also get visits from their son Joe (Oliver Maltman) who is also trying to find love as he often helps out with their garden. It’s summertime as a friend named Ken (Peter Wight) visits who is despondent over his age and other issues as he hangs out with Tom and Geri. A barbeque party is held with Ken, Mary, Tanya, Joe, and another friend named Jack (Philip Davis) as they’re all having fun while Tanya unveils her new baby boy. During the party, Mary reveals that she bought a new car as she also flirts with Joe as she asks they would meet again for a drink.

It’s autumn as Joe makes a surprise visit to see his parents as he unveils a new girlfriend named Katie (Karina Fernandez) where they all have lunch and dinner. During the dinner, Mary arrives to hang out with Tom and Geri only to learn about Katie. The dinner goes smooth but leaves Mary upset as she would later make another visit in the winter. Tom, Geri, and Joe however, go to meet Tom’s brother Ronnie (David Bradley) for some devastating family news that is worsened by the visit of Ronnie’s son Carl (Martin Savage). Mary’s visit to Tom and Geri’s home has her realizing how much trouble she is though it’s just another moment for Tom and Geri.

The film is about a couple who help out their friends and family in the time of need through the span of four seasons. Yet, the one friend who is in constant need of help is a woman named Mary, a 40ish secretary who likes to drink, have fun, and wear youthful clothes in order to be loved. Yet her character goes through the most changes throughout the year as she becomes more desperate and fragile. Through it all, it’s Tom and Geri that provide safety and love not just to her but to the people involved.

It’s really a film about good people who are there for those in need of comfort. Notably in the winter section when Tom and Geri with Joe visit Ronnie who is need of comfort. Though Ronnie doesn’t speak very much over what he had just been through, it is Tom and Geri that offer him a place to stay for a while. When their friend Ken is going through tough times, Tom takes him out to play golf with Joe and Jack just to cheer him up. Mike Leigh’s approach to the story is definitely well-structured in four parts as he gets the chance to create mood changes for each season. Even in creating characters that are lively and interesting to watch.

Leigh’s direction is definitely marvelous to watch in the way he creates a mood for each season. While its mostly straightforward, Leigh’s still yet moody compositions remains intoxicating to watch. Even as it has an air of theatricality in the way he shoots actors from where they’re standing to creating wonderful close-ups that explores the mood of the characters. Leigh underplays the drama while opening the film with a bitter woman wanting sleeping pills so she can sleep. While it’s mostly a dramatic, melancholic film, Leigh allows lots of humor into the mix so that the audience can get to know the characters and maybe want to hang out with them. The overall result in Leigh’s work is proof that is one of Britain’s great living directors working today.

Leigh’s longtime cinematographer Dick Pope does a wonderful job with the different array of color schemes for the film’s seasons. With the more colorful, brighter look of the spring and summer for the first half of the film including dabbles of rain. Pope also uses darker palettes for the autumn and winter scenes in the second half as it helps plays to the film’s emotional tone. Pope’s work is superb as it is definitely one of the film’s technical highlights.

Editor Jon Gregory does an excellent job with the film’s editing in presenting the film with a straightforward approach while adding bits of style to maintain a nice rhythm to the film. Even in letting each season fade to black to end and open the next season. Production designer Simon Beresford, along with set decorator Sophia Chowdhury and art director Andrew Rothschild, do a very good job with the film‘s set design from the comfortable home that Tom and Geri lives in to the tiny, decayed shack that they sit in at their large garden. Costume designer Jacqueline Durran also does a very good job with the film‘s costumes from the hippie-like clothes that Geri wears to the more casual stuff everyone else wears while the character of Mary wears clothes that represents her longing to be youthful.

Sound recordist Tim Fraser and sound editor Nigel Stone do some fine work in the sound work by capturing natural sounds to convey the energy and feel of the scene along with some crazier scenes involving traffic and trains. Music composer Gary Yershon brings a lovely yet plaintive score that plays to the film’s melancholia played with a harp as it helps introduce a new season or to play up to the dramatic elements of the film.

Casting director Nina Gold does a superb job in assembling a great cast for the film as part of what makes Mike Leigh’s films so fascinating is in the casting. Appearances from Leigh regulars such as Philip Davis as Jack, Michele Austin as Tanya, Martin Savage as Carl, and Imelda Staunton in a small but memorable appearance as Janet, an insomniac in the opening scene of the film. Other notable appearances include David Bradley as Tom’s laconic yet shell-shocked brother Ronnie and Karina Fernandez as Joe’s new, upbeat girlfriend Katie. Peter Wight is excellent as Ken, an old friend of Tom who has fallen on hard times as he seeks comfort in his friends while he carries a torch for Mary. Oliver Maltman is very good as Joe, Tom and Geri’s son who is there for his parents while trying to find love as well. Maltman’s performance is fun to watch as an adult-son who has all of the good qualities that he’s inherited from his parents.

Ruth Sheen is great as Geri, a no-nonsense but caring woman whose job is to help people sort out their situations. Even as she possesses a maternal warmth that people needed as she provides whatever they need for comfort as Sheen’s performance is marvelous. Jim Broadbent is phenomenal as Tom, a kind-hearted man with an eccentric behavior who also provides the things his friends need. Broadbent’s whimsical yet charming performance is one of the most uplifting and witty performances he has done as it proves why he’s one of the great actors working today.

Finally, there’s Lesley Manville in an amazing performance as Mary. A lovely but fragile woman desperate to find love as she drinks her sorrows while hoping to nab the much younger Joe. Manville’s performance is wonderful to watch as she starts out as this vibrant though flakey woman who often forgets things. To then descend into someone really desperate as Manville doesn’t overplay the drama by remaining still as she allows her character to gain sympathy for who she is. It’s definitely one of the best performances of 2010 as Manville’s work is just startling to watch.

Another Year is a wonderful yet mesmerizing film from Mike Leigh and company. Led by an amazing ensemble cast including Lesley Manville, Jim Broadbent, and Ruth Sheen. It’s a film that fans of Mike Leigh will enjoy about all of the ups and downs of life. Fans of great yet unconventional dramas will find something surprisingly uplifting in a melancholic film that reveals the goodness of people and why its important to have friends. It’s also another amazing film from Mike Leigh who adds another great film to his amazing filmography. In the end, Another Year is a superb yet engrossing film from the great Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Mr. Turner

© thevoid99 2011

Vera Drake

Originally Written and Posted at Epinions.com on 9/29/09.

2002's All or Nothing about working class families drew excellent reviews with most critics and audiences but some felt that the film's writer/director Mike Leigh created a film that was too depressing. Despite the criticism towards the film, Leigh moved ahead to another project that would be set in the 1950s about a woman performing illegal abortions for working class women as she would find herself getting in trouble with the law. The film would ultimately be one of Leigh's finest films entitled Vera Drake.

Written and directed by Mike Leigh, Vera Drake tells the story of a woman from a working class family who performs illegal abortions for women around her working class neighborhood. When something goes wrong, she is caught as she is questioned about doing the right thing. Playing the title role is Imelda Staunton, then a renowned and acclaimed supporting/character actress, in a rare leading role that would bring her much attention and acclaim. Also starring Phillip Davis, Ruth Sheen, Daniel Mays, Alex Kelly, Eddie Marsan, Sally Hawkins, and Jim Broadbent. Vera Drake is a harrowing yet powerful period-drama from Mike Leigh and company.

It's 1950 as Vera Drake works cleaning houses for the upper class while her husband Stan (Phillip Davis) works at an auto shop with his brother Frank (Adrian Scarborough). Vera and Stan's children also work as their son Sid (Daniel Mays) works for a tailor selling suits while Ethel (Alex Kelly) works at a factory. The family maintains a close bond as Vera also keeps track of the people she help out like George (Richard Graham) who is ill while inviting a young name Reg (Eddie Marsan) to dinner. The dinner turns out well as Reg and the shy Ethel start to date. What the family doesn't know is that the good-hearted Vera also helps young women in performing illegal abortions though she doesn't call them abortions.

Helping Vera out in giving assignments is her friend Lily (Ruth Sheen) as she takes payment from young women without telling Vera. Instead, she gives Vera things like sugar and such for a small fee. While Vera performs illegal abortions to working-class women, a young rich girl named Sarah (Sally Hawkins) was raped as she turns to a friend for help. Sarah talks to a psychiatrist (Allan Corunder) for help where she gets a private abortion that is performed. When Vera performs an abortion for a young woman (Liz White), the woman later becomes ill as her mother (Lesley Sharp) is forced to reveal secrets. The Drake family including Frank's wife Joyce (Heather Craney) decide to make a family celebration, an investigator (Peter Wight) appears to ask questions about Vera as she knows what it is about.

The film can be described as a drama about a woman who believes she does good thing and at heart, she is a good person. She helps out people and doesn't ask much in return. Whether it's her mother (Sandra Voe), a neighbor, or anyone. Even the rich people she works for seem gracious to her. Yet, she has a secret which is horrifying but she takes it in stride and maintains an upbeat persona. When she is caught, her world is shattered as well as the close bond of her family. Yet, the film is a character study of a woman who believes she is doing good things though what she is doing is wrong. At the same time, there's a little subplot about how rich women deal with abortions.

Mike Leigh's screenplay (or lack thereof) definitely reveals how abortions were performed and what working-class women had to do in order to get abortions performed along with insight of what rich women do. The script also goes into detail of the strong family bond and how they support each other where each character is given a chance for the audience to know about them. The film starts off in an upbeat tone throughout its first two acts but then comes this harrowing third act that shatters the upbeat tone of the film as it becomes devastating. Then comes this debate about the act of illegal abortions of whether what Vera did was right or wrong. Yet, the focus is more on her family and how they have to deal with it.

Leigh's direction is truly fascinating in terms of its dramatic staging, setting up a tone, and putting in a subplot without taking focus away from the film's subject and protagonist. Even in scenes where he creates simple shots for certain locations where there's a simplicity to his presentation. It's intimate, theatrical, yet engaging in what Leigh is doing with the camera and scenery. The dramatic tension of the film in the third act is presented with subtlety but also a heaviness that is expected but in a visceral way. The overall approach of Leigh's direction and how he presented each scene whether it's a moment of humor or a dramatic moment. He creates a film that is truly powerful while taking on a subject matter about abortion without taking on either sides.

Leigh's longtime cinematographer Dick Pope does brilliant work with the film's cinematography with low colors to help represent the dreary look of early 1950s England. With exteriors filled with light blue, gray, dark green colors depending on the tone of the scene and what's happening. Pope's work in the interior scenes is exquisite with a slew of colors for whatever scene that's happening. Whether its lighter colors for the posh scenes or the dark yet cheerful tone for the home of the Drake family. Pope's camera work is truly phenomenal in creating an atmosphere for the film and its period setting.

Editor Jim Clark does excellent work with the editing, notably in the rhythm of the dramatic tension and scenes involving objects. Clark's methodical pacing for the film works very well in terms of its structuring as well as setting a tone for what will happen in the third act. Production designer Eve Stewart with set decorator John Bush and art directors Andrew Grant and Ed Walsh do fantastic work with the design of the homes and places that Vera goes to from the posh homes that she works for to the home that she lives. Yet, the places in the film also play to the different class structure as Vera's sister-in-law lives in a middle class suburb with her husband as the art direction overall is brilliant. Costume designer Jacqueline Durran does exquisite work with the costume design in creating nice period clothing for all the actors and actresses involved including the green coat that Vera wears to the rich clothing that Sarah and her peers wear.

Sound editor Nigel Stone and recordist Tim Fraser do very good work with the sound, notably the atmosphere of 1950s London in its exteriors plus the harrowing sounds of the police station and courtroom scenes in the third act. Music composer Andrew Dickson creates a plaintive yet heavy score with orchestral arrangements that plays to the myriad of emotions that goes on in the film without being overdrawn or underplaying the scene. Dickson's score is excellent in its subtlety as it is one of the film's technical highlights.

The casting by Nina Gold is superb as it features cameos from some of Leigh's repertoire of regulars including Allan Corunder as a psychiatrist, Leslie Manville as Susan's mother, Lesley Sharp as the mother of a young woman who got ill from an abortion, and Jim Broadbent as a judge. In the roles of the women who get abortions from Vera are Sinead Matthews, Tilly Vosburgh, Vinette Robinson, and Liz White as the woman who gets sick. Other notable small roles include Nicholas Jones as a defense attorney, Paul Jesson as a magistrate, Martin Savage as a detective, Richard Graham as a sick neighbor of Vera, and Sandra Voe as Vera's mother. Peter Wight is excellent as a sympathetic investigator while Heather Craney is very good as Vera's sister-in-law who would become indifferent to her after what happened.

Alex Kelly is very good as Vera's shy daughter Ethel while Daniel Mays is great as Vera's son Sid as they both try to come to terms with what happened. Eddie Marsan is really good as Reg, a neighbor who becomes Ethel's new boyfriend as he manages to have a great moment through simple dialogue in a key scene in the third act. Sally Hawkins is also good as Sarah, a young rich woman who gets raped as she tries to get an abortion through her own world. Ruth Sheen is excellent as Lily, Vera's friend who makes money off of the illegal abortions while making rules of what to do while being a generous friend to Vera. Adrian Scarborough is really good as Frank, Stan's brother who has a loyalty to Vera as she helped him grow up through the years. Phillip Davis is superb as Stan, Vera's loving husband who is devoted to her. Even as he discovers her secret while having a say about what the family should do in the midst of all that has happened.

Finally, there's Imelda Staunton in what is truly a radiant performance for the veteran British actress in the title role. Staunton's cheerful, winning smile in the film's first two acts is filled with a joyful presence while making her likeable enough despite what she's doing illegally. At the same time, there's a sense of warmth that is comforting to watch until when she is caught. She loses all of that and she becomes this fragile being forced to lose things including herself. Yet, Staunton remains a powerful presence as she remains quiet and maintaining her dignity despite her attempts to overcome her emotions. It's truly a mesmerizing performance for the British actress.

Released in the fall of 2004, the film was a major hit at the Venice Film Festival winning two prestigious prizes including a Best Actress Volpi Cup prize to Staunton and the Golden Lion to Mike Leigh. The film would garner several accolades including 3 Academy Award nominations for Best Director and Original Screenplay for Leigh and Best Actress for Staunton. The film would win 3 British Academy Awards which included Best Actress for Staunton, Best Director to Leigh, and Best Costume design along with nominations for Best Picture, Supporting Actor & Actress, & Best British Film.

Vera Drake is a powerful, harrowing, yet entrancing film from Mike Leigh and company which includes a powerful performance from Imelda Staunton. The film is no doubt one of Leigh's best among such classics as Naked and Secret & Lies as Leigh fans will certainly enjoy it. Audiences who are into great acting, dramatic staging, and strong subject matters will no doubt enjoy this though it's not a film for everyone. In the end, Vera Drake is one of the best British films to come out of this decade as well as one of Mike Leigh's most enduring films of his acclaimed career.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail's Party) - (Kiss of Death) - (Who's Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011

Harry Potter & the Order of the Phoenix (film)

Originally Written and Posted at Epinions.com on 7/13/07 w/ Additional Edits.

Directed by David Yates of the TV film The Girl in the Cafe` and screenplay by Michael Goldenberg based on J.K. Rowling's book.  Harry Potter & the Order of the Phoenix tells the story of Harry Potter battling the recently resurrected Lord Voldemort as Harry and Dumbledore find themselves ostracized by the Ministry of Magic.  With Dumbledore isolating himself from Harry, the boy also finds himself out of favor with most of the wizarding world as the Ministry of Magic hires Dolores Jane Umbridge to make some changes at Hogwarts.  The new changes marks an era of rebellion as Harry, Ron Weasley, Hermione Granger, and other students decide to teach themselves on defensive magic while Harry finds romance with Cho Chang and an unlikely father figure in his godfather Sirius Black. Through it all, Harry has to face more tragedy and his own role into why Voldemort tried to kill as a baby.

Starring young franchise players Daniel Radcliffe as Harry Potter along with Rupert Grint, Emma Watson, Bonnie Wright, Matthew Lewis, James & Oliver Phelps, Tom Felton, Jamie Waylett, Joshua Herdman, Harry Melling, Chris Rankin, Katie Leung, and in her film debut as Luna Lovegood, Evanna Lynch. The film also includes returning adult cast members Michael Gambon, Maggie Smith, Alan Rickman, Gary Oldman, David Thewlis, Julie Walters, Mark Williams, David Bradley, Robbie Coltrane, Brendan Gleeson, Fiona Shaw, Richard Griffiths, Emma Thompson, Warwick Davis, Jason Issacs, Robert Hardy, and Ralph Fiennes as Lord Voldemort. Joining the franchise for this dark installment are Helena Bohnam Carter, Natalia Tena, George Harris, Sian Thomas, Jim McManus, and Imelda Staunton as Dolores Jane Umbridge.

After getting into trouble in saving his cousin's life from dementors, Harry Potter is forced to go to court to discuss his possible expulsion from Hogwarts. After being accompanied by the Order of the Phoenix to Grimmauld Place, he meets his friends Ron Weasley (Rupert Grint) and Hermione Granger (Emma Watson) about what's happening. After meeting his godfather Sirius Black (Gary Oldman) and family friend Remus Lupin (David Thewlis), they discuss about Voldemort's plans to build up an army. Following his trial, in which he's acquitted thanks to Albus Dumbledore (Michael Gambon) and the testimony of Harry's neighbor Arabella Figg (Kathryn Hunter). Harry returns to Hogwarts but is immediately alienated by everyone who thinks he’s a liar while Dolores Umbridge has been sent by the Ministry of Magic as the new Defense Against the Dark Arts teacher and High Inquisitor.

Umbridge's new plans for Hogwarts only causes problems as Harry's claim of Voldemort's return forces him to serve detention in the most punishing ways. Hermione however, is upset over not learning defense lessons as she along with fellow students to organize Dumbledore's Army. Harry reluctantly becomes the teacher as they learn defense spells secretly from Dolores Umbridge. Things go well at first until the visions in Harry's head only troubles him as he wonders why Dumbledore is alienating him. Returning to Grimmauld place, Harry finds comfort in Sirius Black as Harry dreads of returning to Hogwarts. Under Dumbledore's request, Professor Snape (Alan Rickman) teaches Harry Occlumency in order to get Voldemort out of his mind that doesn't go well for either.

Following the bad visions in his head and the return of Hagrid (Robbie Coltrane) following a failed mission to send envoy to the giants. Dumbledore's Army is suddenly ratted out by one of its participants as plans to expel Harry is thwarted again by Dumbledore. With O.W.L.s exams coming, Harry's mad visions occur as he is forced into another confrontation with Umbridge while getting unlikely help from Hagrid's half-brother giant Grawp (Tony Maudsley) and centaurs. For his mission against the Death Eaters including those from the recent Azkaban breakout, Harry goes on a mission with Ron, Hermione, Ginny Weasley (Bonnie Wright), Neville Longbottom (Matthew Lewis), and Luna Lovegood. It is there Harry would realize his connection to Voldemort and face tragedy.

While the book of Order of the Phoenix remains the longest of the series. It's pretty clear that to fans that it's got to be the one book in terms of its adaptation that has to be the most difficult to translate into film. Yet, David Yates and screenwriter Michael Goldenberg do succeed in some cases. However, several subplots didn't make it to the final cut. One involves Ron's Quidditch skills that explores his character development. Another is more to do with the character of Kreacher (voiced by Timothy Bateson) who is seen in the film only twice in brief appearances. Yet, his character is a lot bigger due to the fact that he ends up playing a role involving Harry's mission to the Ministry. Despite those missing subplots, the film is very faithful to the book by going to the core story of Harry’s newfound alienation and his quest to try to fight evil when few are with him.

Much of the credit really goes to screenwriter Michael Goldenberg, who replaces screenwriter Steve Kloves who takes a break from the series. Goldenberg's focus on the film's politics and Harry's alienation is by far the best script of the series. Even as he replaces the character of Dobby with Neville into finding the Room of Requirement. There, it makes sense as well as the way it introduces creatures like the threstals as well as places like the Ministry and Grimmauld Place.

The script, like all the other adapted scripts before, is also flawed. There are plot holes involved with the script on who sent the dementors to Privet Drive. How did Fred and George get the money to do their Weasley Wizard Wheezes tricks?  Yet, there's also some decisions into why aren’t there bigger parts for people like Professor Trelawney, Draco Malfoy, or even Ginny (who is featured in the film a lot but doesn't get many lines)? Why does Harry have to stay in Privet Drive? That along with several sequences that audiences will feel might be rushed. Still, the story is there as well as the characters people love.

It's always the problems of the script though the direction of David Yates is superb. Notably the way he presents the film's political contents like the huge poster of Fudge, the use of the Daily Prophet, and the school feels very totalitarian. It's in the images where the film has an adult feel of sorts but only furthers to drive Harry into alienation. That's a theme that was prominent in not just the book but also the film, Harry's own isolation. Whether it's people not believing him or him just trying to cut himself off from his friends. The heart of the film in terms of its relationship is the relationship Harry has with Sirius. Despite Sirius' flaws as a person who is trapped in his own home, that he hated. Sirius is the one person that Harry often confides to.

It's Yates experience in TV drama that helps with the film's dramatic tone while the action sequences, notably the battle at the Department of Mystery definitely lives up to the imagination of the book. Even the duel between Dumbledore and Voldemort is brilliant. It's clear that David Yates has done a fantastic job in what he had to use. Yet, there is rumor that he has a longer version of the film. Let's make sure that those scenes will be on the DVD.

Cinematographer Slawomir Idziak, famous for his work with the late Krzysztof Kieslowski, does some amazing work to the film's imagery. Bringing a sharper look to what Michael Seresin brought in the Prisoner of Azkaban. The film has a wonderful natural look in some of the exterior daylight scenes while using some stylish colors of blue, blue-green lights in some scenes as well the darker colors that goes on for the big battle scene. Production designer Stuart Craig and his team of art directors really do a fantastic job with the look of the Ministry of Magic. From the design of the statues in the fountain to the decayed look at Grimmauld Place including the Black family tree (that might feature a clue to who might be R.A.B. in the final book). Even Hogwarts manages to look amazing that includes the Room of Requirement and Umbridge's office. Costume designer Jany Temime definitely works her magic in not just the Goth-like clothing of Bellatrix Lestrange but also the pink clothes of Dolores Umbridge which will now, make probably everyone hate that color.

Visual effects supervisor Tim Burke and his team do great work with the film's creature designs that included a new make over for the dementors that look way more menacing as is the centaurs. The character of Kreacher looks very different in the way Dobby looked in The Chamber of Secrets. The threstals look amazing as is the character of Grawp who definitely looks like a baby giant and more innocent that he seems in the original book. Editor Mark Day definitely creates some magic with the editing in the sequence-to-sequence cut as well as the use of scenes from older film to convey Harry's madness. Sound editor James Mather along with sound designers James Boyle and Arthur Kennedy definitely create a tense atmosphere with the way the Death Eaters arrive and fly to the spells being thrown back and forth.

Composer Nicholas Hooper who continues to use the themes of John Williams, brings a very bombastic score that conveys the film's political tone as well as some of its dramatic elements. The sprawling arrangements and melodic tone really adds to the magic. The film also includes some stuff that is played on the radio that could be possibly stuff from some wizard-rock bands.

Finally, we have the film's sprawling cast. Younger actors with people like Devon Murray as Seamus Finnigan, Alfred Enoch as Dean Thomas, Shefali Chowdhury as Parvati Patil, Afshan Azad as Padma Patil, Harry Melling as Dudley Dursley, William Melling (who is playing a variation of the Creevey brothers) as Nigel, Joshua Herdman as Crabbe, and Jamie Waylett as Goyle are good. In the flashback scenes, we see some fine but very brief performances from Alec Hopkins as the young Snape, Robbie Jarvis as the young James Potter, and James Walter as the young Sirius Black. Sian Thomas as Amelia Bones, Tony Maudsley, and Kathryn Hunter have nice, brief appearances in their roles including Jim McManus in a cameo as the barman at the Hog's Head who is Dumbledore's brother Aberforth.

Other performances like Chris Rankin as Percy Weasley isn't really worth mentioning since he doesn’t have a line nor does Richard Leaf as Dawlish (who is a favorite of Pottercast's John Noe). Even the adult Dursleys in Richard Griffiths as Uncle Vernon and Fiona Shaw as Aunt Petunia don't have much to due, which is a shame in a way since Shaw's character is a bit bigger in the book.

Noted actors like Maggie Smith as Professor McGonagall, David Thewlis, Brendan Gleeson as Mad-Eye Moody, Emma Thompson as Professor Trelawney, and Warwick Davis as Professor Flitwick don't really have a lot of scenes which is kind of sad. Notably Thompson, whose character is very important to the book in relation to its ending. Robbie Coltrane only appears in two scenes in the film's second half, which might upset Hagrid fans but it's only because of what he's doing for the plot. David Bradley gets a lot of great screen time as Mr. Filch where he pretty much has a lot of hilarious scenes. Natalia Tena and George Harris are wonderful additions to the film's franchise as they play two loveable characters though aren't in the film as much. Especially Tena, who is very funny as Tonks while Harris as Kingsley Shacklebot has a great one-liner about Dumbledore's escape.

Jason Issacs is great in his role as Lucius Malfoy with his devilish presence while Helena Bohnam Carter rules as the psychotic Bellatrix Lestrange with all of her demented persona and catcalls. Julie Walters is wonderful as Mrs. Weasley as she tries to play the lost maternal figure for Harry while Mark Williams is excellent as Mr. Weasley. Robert Hardy is in excellent form as Minister Cornelius Fudge, who used to play this warm character to Harry in previous series, has now becomes this power-hungry leader in denial. Alan Rickman is great as usual as Severus Snape in his scenes with Harry during the Occlumency lessons where we see Snape in a darker way concerning Harry's father. Michael Gambon, who was criticized for his eccentric performance as Dumbledore in previous films, finally brings that wise, powerful persona to the fullest. Gambon definitely gives Dumbledore the sense of someone who cares about Harry while trying to deal with the tension against the Ministry over Voldemort's return.

Ralph Fiennes, who made his appearance as Lord Voldemort in the last film, is just as menacing and as evil as it could be. Fiennes is perfect as Lord Voldemort in how he tries to control Harry's mind.  Gary Oldman is phenomenal as Sirius Black, Harry's godfather who helps deal with Harry's troubled emotions while showing him some secrets about his family as well as stories about Harry's father.  It's Oldman finally getting the chance to play a fraternal figure as he would also be the source for the things that Harry would have to face later in his life.

The film's best performance without a doubt really goes to Imelda Staunton as Dolores Umbridge. Never in a single performance where a character that people love to hate comes to life in a way that would make her a lot less likeable. Staunton brings that annoying, girlish glee that people know of Umbridge that will get on audiences nerve that is very comical while being this completely awful thing that rhymes with witch. Staunton is perfect in playing Umbridge as she deserves full praise, even making the color of pink revolting. Tom Felton, who is great as Draco Malfoy, only has a few lines which sucks since his character is a bit bigger, even with the upcoming story in The Half-Blood Prince.

Katie Leung is good as Harry's crush Cho Chang who falls for Harry but feeling guilty over the death of boyfriend Cedric Diggory (Robert Pattison via flashback). Bonnie Wright is great as Ginny Weasley. Though she doesn't get many lines, she does prove to be a powerful witch and ally to Harry while hardcore fans will get to notices the look she has about Harry when Cho is involved. Matthew Lewis is amazing as Neville Longbottom, who started out as a loveable klutz who couldn't perform spells, that now becomes this young powerful wizard who is driven by the tragedy over what happened to his parents in the hands of Bellatrix Lestrange. James and Oliver Phelps are always great as Fred and George Weasley in how they sell their products to being the comic relief in the film as they leave Hogwarts with a bang. In her film debut as Luna Lovegood, Evanna Lynch is just awesome as the spacey, loopy Luna with her light sense of humor and eccentric persona that just makes her loveable while being a kick-butt witch.

Rupert Grint, who was often the comic relief in the series, shows more serious chops as Ron Weasley by being one of the few who supports Harry. Grint does get a few funny lines but acts more serious in just being a supporting role. Emma Watson is also good as the more serious Hermione Granger while she does get the chance to be funny with some one-liners and acting rebellious. Daniel Radcliffe, who always gets better with each film, finally pushes the limits into what the Harry Potter can do. While not giving in to the raging screams of Harry in the book version of OOTP, he does reveal the angst and troubles that people go through at 15. It's Radcliffe that really shines as he shows more of his physical capabilities as well as his emotional scenes in relation to where his character is going and such. It's just jaw-dropping to see that he’s getting better.

While it's not the best Harry Potter film of the series (that honor goes to Alfonso Cuaron's adaptation of The Prisoner of Azkaban), Harry Potter & the Order of the Phoenix is still a magnificent film in the franchise. With great, standout performances from Daniel Radcliffe as the title character plus Evanna Lynch, Gary Oldman, Ralph Fiennes, and Imelda Staunton. The film has something to offer for Potter fans and those new to the series.  In the end, Harry Potter & the Order of the Phoenix is one of the series finest films.

Harry Potter Reviews: The Novels: Harry Potter & the Sorcerer's Stone - Harry Potter & the Chamber of Secrets - Harry Potter & the Prisoner of Azkaban - Harry Potter & the Goblet of Fire - Harry Potter & the Order of the Phoenix - Harry Potter & the Half-Blood Prince - Harry Potter & the Deathly Hallows

The Films: Harry Potter & the Sorcerer's Stone - Harry Potter & the Chamber of Secrets - Harry Potter & the Prisoner of Azkaban - Harry Potter & the Goblet of Fire - Harry Potter & the Half-Blood Prince - Harry Potter & the Deathly Hallows Pt. 1 - Harry Potter & the Deathly Hallows Pt. 2

Related: Fantastic Beasts and Where to Find Them - Fantastic Beasts: The Crimes of Grindelwald

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