It’s the winter of 1981 during one of its tumultuous years as an immigrant businessman is trying to buy a refinery as he finds himself being targeted by competitors where many of his trucks are stolen as it leads to harrowing acts of violence. It is a film that explore a moment in time just as this man who had worked his way to become an American citizen as he owns a small heating oil company as he’s managed to become successful and with a wife and family but he is also an idealist who wants to do things the right way. J.C. Chandor’s screenplay follows a month in the life of Abel Morales (Oscar Isaac) who is about to embark on a major deal that would expand his empire but the theft of trucks by hoodlums threaten this deal as well as questions about his business dealings where an assistant district attorney in Lawrence (David Oyelowo) believes Abel is hiding something.
While Abel’s wife Anna (Jessica Chastain) is looking into their books and their attorney Andrew Walsh (Albert Brooks) is trying to handle all of the legal issues. Both Anna and Andrew urge Abel to fight fire with fire as they suspect their competitors are involved as it lead to the assault of one of their drivers in Julian (Elyes Gabel) and one of their young salesman in Alex (Ben Rosenfield). Abel however is convinced that violence isn’t the answer as he knows Lawrence is after him while he is trying to ask his competitors to stop the violence unaware that these hired thugs are just trying to hurt his business. Then there’s Julian who would have another encounter with thugs that lead to trouble where Abel asks Julian’s wife Luisa (Catalina Sandino Moreno) about his whereabouts as his activities would threaten everything Abel is hoping to have.
Chandor’s direction definitely echoes a lot of the films of the 1970s in terms of the crime drama as it play into this man trying to expand his small business empire into something bigger but without trouble and violence during a period of violence in New York City. Shot on location in New York City and areas around the city, the film does play into this cold winter where there is a lot of chaos that include these trucks being stopped either during traffic jams or coming out of a toll booth. Chandor’s usage of wide and medium shots do play into the scope of the city as well as an intense chase scene during the third act through a tunnel and later into a subway is among these moments in the film where there is a lot of suspense. The film also has these small moments that do play into the drama as it relates to a handgun that one of Abel and Anna’s daughters had found following an attempted attack on Abel that got botched. Chandor also play into the stakes of what Abel is trying to do as this piece of property he acquired and his intentions for it yet he has 30 days to make the down payment or else the owners will sell the property to one of Abel’s competitors.
Chandor also play into this underworld that Abel refuses to be a part of but it is a world that Anna’s father used to be in and it’s a world that Walsh is aware of as he talks to a teamster chief in Bill O’Leary (Peter Gerety) about the need to bear arms which Walsh agrees with but Abel refuses to go into that route. Even as he has to deal with Lawrence where Chandor definitely uses some unique camera angles and medium shots to play into their conversations where it is about power play as Lawrence is just someone that wants to uphold the law but he too is a man of ambition like Abel. The film’s ending is about this idea of what to do to achieve that goal but for someone like Abel who wants to maintain some morals and ideals about doing things without illegal means. There is no such thing as morals and ideals when it comes to running a business and dealing with other competitors as it is also about having it all or having nothing at all. Overall, Chandor crafts an astonishingly eerie yet intense film about an immigrant businessman trying to expand his empire in 1981 New York City amidst an era of violence.
Cinematographer Bradford Young does brilliant work with the film’s cinematography from the usage of natural lighting for some scenes in the day to bits of sepia for a few interior/exterior scenes at night including some eerie low-key lighting for the tunnel chase scene. Editor Ron Patane does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense as well as a few intense moments of violence. Production designer John P. Goldsmith, with set decorator Melanie J. Baker and art director Doug Huszti, does amazing work with the look of the lavish home that Abel and Anna live in with their family as well as the offices and places they go to as it play into the early 80s aesthetics. Costume designer Kasia Walicka-Maimone does fantastic work with the costumes from the designer clothes that Anna wears as well as the suits and expensive winter coat that Abel wears.
Makeup artist Stephanie Pasicov does nice work with the look of Anna from her hairstyle and the makeup that she wears at times to play into the period of the times. Visual effects supervisors Luke DiTommaso, Jason Forster, and Mark Russell do terrific work with the visual effects as it is largely set-dressing for some of the exteriors to play into the period that is 1981 New York City. Sound designer Steve Boeddeker does superb work with the sound as it help play into the atmosphere as well as add to the suspense including scenes such as the chases and the tunnel scene. The film’s music by Alex Ebert is wonderful for its low-key music score with some orchestral flourishes that play into the drama and bits of suspense while music supervisor Linda Cohen creates a soundtrack that is largely low-key that includes a song from Marvin Gaye early in the film and a classical piece.
The casting by Tiffany Little Canfield and Bernard Telsey is marvelous as it feature some notable small roles and appearances from Jerry Adler and Quinn Meyers as a couple of Hasidic businessmen who are making a deal with Abel, Ashley Williams as Lawrence’s deputy Lange, the trio of Daisy Tahan, Taylor Richardson, and Giselle Eisenberg as Abel and Anna’s daughters, Nick Bailey and Jenilyn Rodriguez as a couple of sales recruits, Linda Marie Larson as Abel’s secretary Debbie, David Margulies and Annie Funke as a couple of business people whom Abel asks for a loan, Ben Rosenfeld as a young sales recruit who gets mugged by a thug, Pico Alexander as Abel’s younger brother Elias, Peter Gerety as a teamster manager in Bill O’Leary, Elizabeth Marvel as a party guest at a birthday party for one of Abel and Anna’s daughters, Christopher Abbott as a thug that Abel confronts late in the film, Glenn Flesher as a competitor that Abel sees at a barbershop, and Catalina Sandino Moreno in a fantastic one-scene performance as Julian’s wife Luisa who is aware of what her husband has done but also the stakes of how it will affect Abel’s business.
Elyes Gabel is superb as the truck driver Julian who gets mugged by muggers and later gets himself in trouble following another confrontation that puts himself and Abel in serious trouble. Alessandro Nivola is excellent as Peter Forente as a competitor of Abel who also has connections with organized crime as he is aware of what is happening to Abel though is cagey about his involvement where he tries to make a deal with Abel that is in his favor. David Oyelowo is brilliant as Lawrence as the assistant DA who is investigating Abel’s activities though he knows that Abel is a good man but has a job to do while he is also an idealist of sorts but is aware of what needs to be done. Albert Brooks is amazing as Abel’s attorney Andrew Walsh as a man who is trying to handle all sorts of business but is also aware of what needs to be done as he is someone who had seen a lot and knows that not everything is clean.
Jessica Chastain is incredible as Anna Morales as Abel’s wife who has been supportive in his ambitions but is also aware that her husband needs to play dirty as she is annoyed by his idealism as she also watches over their books and finances as it’s something she’s done in working with her father. Finally, there’s Oscar Isaac in a phenomenal performance as Abel Morales as an immigrant businessman who owns a heating oil business as he hopes to expand his business only to deal with the chaos and violence that is looming around him as it is this fierce yet calm performance of a man that is just trying to do the right thing only to learn that there is no straight arrow when it comes to ambition.
A Most Violent Year is a tremendous film from J.C. Chandor that features phenomenal leading performances from Oscar Isaac and Jessica Chastain. Along with its ensemble cast, eerie visuals, and its study of ambition along with its dangers and complexities. It is a film that explores a period in time in New York City that showcases what some will do to get ahead in business and how an immigrant businessman is trying to maintain some morality in a world that is immoral. In the end, A Most Violent Year is a magnificent film from J.C. Chandor.
J.C. Chandor Films: Margin Call - All is Lost - (Triple Frontier) – (Kraven the Hunter) – (The Auteurs #73: J.C. Chandor)
© thevoid99 2021
Written and directed by J.C. Chandor, All is Lost is the story of a man who is lost at sea as he endures a terrible storm as well as other things in his boat. The film is a simple story of survival as it revolves on a man in the middle of the sea as he is played by Robert Redford. The result is a spellbinding yet mesmerizing film of survival from J.C. Chandor.
Set in the middle of the Indian Ocean, the film revolves around the week of the life of a man who wakes up finding that his yacht has collided with a shipping container which has severely damaged the hull of his boat. Yet, it’s just the start of a series of challenges for this man who would endure a lot during this boating expedition across the sea. The film’s script doesn’t have much of a structure nor any back story about this unnamed man as it’s more focused on him trying to survive in the middle of the Indian Ocean with a damaged boat as much of the electronic equipment he has is already damaged by water. There is very little dialogue in the film as it’s more about action and a man trying to survive with all of the skills and tools he has. Even as he has to fix his boat and endure everything from mother nature as well as storms that could kill anything.
J.C. Chandor’s direction is very intense as it’s shot mostly on a boat and in the water though much of it is actually shot in a studio in Mexico to give the feel that it is shot in the open sea. While there are some wide shots, much of it is very intimate where it’s often on the boat or from above to showcase this man trying to fix it and prepare for what is to come. Much of the camera work is hand-held to capture not just a sense of intimacy but also the idea of what it’s like to be in the middle of a sea on a damaged boat. There’s also moments that play into what has to be done as there’s some scenes shot underwater to display the intensity of a man trying to survive heavy storms in the Indian Ocean. Even as there’s some moments where it looks like there’s glimmers of hope but Chandor’s emphasis to keep things realistic play into the drama as well as the air of suspense that plays into whether this man could survive this ordeal. Overall, Chandor creates a very chilling yet thrilling film about a man surviving in the middle of the sea.
Cinematographer Frank G. DeMarco does amazing work with the film‘s very colorful yet exquisite cinematography from the look of the open sea in the daytime when it‘s sunny to some of the interiors of the boat as well as the use of lights for the scenes at night that features some gorgeous underwater photography courtesy of Peter Zuccarini. Editor Pete Beaudreau does brilliant work in creating some jump-cuts and offbeat rhythms to play into the drama and sense of dread that looms over the film. Production designer John P. Goldsmith, with set decorator Ramirez Gabriela and art director Marco Niro, does excellent work with the look of the yacht in its interior and exteriors as well as the life raft and the shipping container that damaged the boat. Costume designer Van Broughton Ramsey does nice work with the costumes which is mostly just casual as well as the rain gear that the man would wear.
The visual effects work of Collin Davies, Robert Munroe, and Brendan O’Dell do superb work with the visual effects for a few scenes set underwater as well as some of the thunderstorm scenes on the sea. Sound editors Steve Boedekker and Richard Hymns do fantastic work with the sound to convey some of the calm aspects of the sea as well as the layers of sound during the storms and the feel of a boat being punished by treacherous waters. The film’s music by Alex Ebert is incredible for its mixture of ambient music with low-key string pieces with some choral arrangements as well as song in the final credits.
Finally, there’s Robert Redford in a truly towering performance as this unnamed man trying to survive the treacherous Indian Ocean. It’s a performance that is the heart and soul of the film as Redford doesn’t say much other than a voice-over in the film’s opening scene as well as a few words in his attempt to make contact. Even as there’s moments which has Redford doing much of his own stunts to convey that struggle to survive at its most punishing. It’s really a performance for the ages from Redford who gives it his all and more in this film.
All is Lost is an astonishing film from J.C. Chandor that features a tremendous performance from Robert Redford. It’s a film that manages to take a very simple premise while doing so much with it without the need of any kind of conventional ideas of storytelling and formulas in order to tell a much more realistic and gripping story about survival. In the end, All is Lost is a magnificent film J.C. Chandor.
J.C. Chandor Films: Margin Call - A Most Violent Year - (Triple Frontier) - (Kraven the Hunter) - (The Auteurs #73: J.C. Chandor)
© thevoid99 2014
Written and directed by J.C. Chandor, Margin Call is the story of a group of investment bank employees dealing with a financial collapse during the 2007-2008 financial crisis. The film explores the world of finances told by a group of people in the span of 36 hours as they all try to figure out how to get out of the crisis. Starring Kevin Spacey, Jeremy Irons, Penn Badgley, Simon Baker, Demi Moore, Zachary Quinto, Paul Bettany, Mary McDonnell, and Stanley Tucci. Margin Call is a captivating ensemble drama from J.C. Chandor.
After laying off several workers including firm manager Eric Dale (Stanley Tucci), Dale asks one of his risk analyst Peter Sullivan (Zachary Quinto) to look over a report he had been trying to finish with a warning. Sullivan works late to look into Dale’s report where he makes a startling discovery as he calls junior risk analyst Seth Bregman (Penn Badgley) and trading desk head Will Emerson (Paul Bettany) about what he sees. They call their floor head Sam Rogers (Kevin Spacey) about the report as they realize that due to excessive marketing, the firm assets in mortgage-backed securities have decreased more than 25% as the firm is in danger of losing a whole lot more. Rogers asks Bregman and Emerson to locate Dale who has disappeared as they were unable to find him as the four men are called to a meeting.
They meet Rogers’ superior Jared Cohen (Simon Baker) and chief risk management officer Sarah Robertson (Demi Moore) to confirm Sullivan’s reports as Robertson realizes that everything Sullivan and Dale found is true. This would get the attention of the company’s CEO John Tuld (Jeremy Irons) who wants to know what is going on. After Sullivan reveals to Tuld what he found, Tuld decides to do some damage control as he looks for someone to put the blame on while getting his people to find Dale. After Cohen suggests something that would help the firm, Rogers believes that it’s only going to cause more trouble as he later asks his traders to make great sales with those making a 93% reduction in assets will get seven-figure bonuses while telling them what is going on. After the market closes, Rogers sees something that makes him uneasy as he’s forced to make a decision about his future.
The film is about 36 hours in the day of a market collapse that a risk analyst discovers as his bosses and executives try to see how to cut the losses and look for someone to blame. Meanwhile, a floor manager tries to assure his traders about what is to happen as they’re forced to look at something that is very ugly while they try to find the manager who was working on this report. When there’s people that confirms that the report is true and that trouble is brewing, top people try to see how to salvage their money in order to save face. Yet, there are those that is aware that something like this could’ve been prevented and there’s some good people who will be not just losing their jobs but also their reputations.
Characters like Sarah Robertson and Jared Cohen are people who kind of run the whole thing as Robertson is someone who knows more than what is going on. Cohen just wants to believe that nothing will go wrong as is CEO John Tuld who is hoping that something will work out. There’s no villains in a story like this but people who are just trying to keep the market going and just make money yet there are those who fall as the third act is about who to get rid of and who to keep. This would make Rogers uneasy as he doesn’t want to lose anybody as it eventually becomes too much for him.
J.C. Chandor’s direction is quite straightforward in terms of its visual presentation and the way he frames his actors in a scene. Yet, he does manage to create compelling moments that does drive the drama. Even in the meetings that take place as there’s a lot of tension as Chandor has his camera focused on one or more characters to establish what is being discussed. The camera definitely has a sense of claustrophobia that is felt as things are becoming more uncomfortable as the film progresses. Overall, Chandor creates a very engaging and smart drama that explores the world of finances and market collapses.
Cinematographer Frank DeMarco does nice work with the photography to capture the lights of the computers and lights inside the offices at night as well as some of the nighttime exteriors of the city. Editor Pete Deaubreau does terrific work with the editing by creating fast-forwards on some of the film‘s city shots as well as montages for the film‘s fire-sale trading scenes in the third act. Production designer John Paino and set decorator Robert Covelman do brilliant work with the look of the offices and meeting rooms where the characters meet to have their discussions where it looks like a place of immense importance.
Costume designer Caroline Duncan does very good work with the costumes as a lot of it are suits that many of the male characters along with the suit that Sarah Robertson wears. Sound supervisor Damian Volpe does some fine work with the sound to capture the intimacy of the meetings as well as the raucous nature of the city. The film’s music by Nathan Larson is excellent for its chilling, ambient-driven score to play out the drama that unfolds throughout the film.
The casting by Tiffany Little Canfield and Bernard Tesley is brilliant for the ensemble that is created as it features some small appearances from Mary McDonnell as Sam’s ex-wife Mary and Aasif Mandvi as an executive who works with Robertson and Cohen. Stanley Tucci is wonderful as manager Eric Dale who deals with being fired as well as making a warning to Sullivan about what was about to discover. Demi Moore is excellent as management officer Sarah Robertson who reveals to know more about what is happening as she realizes that everything Sullivan has confirmed is true. Simon Baker is terrific as division head Jared Cohen who tries to deal with Rogers’ feelings as well as the trouble that is happening as he makes a drastic suggestion. Jeremy Irons is great as the CEO John Tuld who is looking for a solution to deal with the matter as he turns to Sullivan and Rogers for what is being faced while being upfront about what he will do.
Penn Badgley is very good as the idealistic Seth Bregman who adores his job as he realizes the impact of the financial crisis will be as he later faces the possibility of something much harsher. Paul Bettany is superb as the more hardened Will Emerson who provides a lot of insight into the world while realizing that what he’s facing is far worse than he realizes. Zachary Quinto is amazing as Peter Sullivan who makes the discovery that would unveil the financial collapse as he comes to terms with the reality of what is happening as well as the fact that things will get worse. Finally, there’s Kevin Spacey in a marvelous performance as floor head Sam Rogers who tries to deal with the crisis while becoming morally troubled by what his superiors are doing as he is forced to do things that he didn’t want to do as it’s one of Spacey’s finest performances.
Margin Call is a unique yet compelling drama from J.C. Chandor that features an incredible ensemble cast that includes Kevin Spacey, Zachary Quinto, Jeremy Irons, Paul Bettany, Penn Badgley, Demi Moore, Simon Baker, and Stanley Tucci. While it’s a film that is about a world that not many people know about, it does create a very fascinating study on the world of the financial market and how things can fall apart where people would make drastic decisions that would be questionable. In the end, Margin Call is an extraordinary film from J.C. Chandor.
J.C. Chandor Films: All is Lost - A Most Violent Year - (Trile Frontier) - (Kraven the Hunter) - (The Auteurs #73: J.C. Chandor)
© thevoid99 2012
