Directed by Michael Mann and written by Stuart Beattie, Collateral is the story of a cab driver who is forced by a hitman to drive him to destinations around Los Angeles to kill various targets during the night. The film is a suspense-thriller that play into a cab driver who is given a troubling night as he deals with the danger of taking a hitman to kill people leading to chaos and violence. Starring Tom Cruise, Jamie Foxx, Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Irma P. Hall, Bruce McGill, and Javier Bardem. Collateral is a riveting and entrancing film from Michael Mann.
Taking place in the span of nearly 12 hours in Los Angeles, a cab driver is forced by a hitman to drive him to various locations in the city where he is to kill four key witnesses and prosecutor for the man who hired him. It’s a film that explores a cab driver’s awful night as he endures a journey of darkness as he has to accompany this man to destinations as he is there to kill and that is it. Stuart Beattie’s screenplay follows Max Durocher (Jamie Foxx) who is a cab driver with a meticulous personality that works part-time as a cab driver hoping to raise enough money to start a limousine business where one of his first clients is a prosecutor in Annie Farrell (Jada Pinkett Smith) whom he converses with as it leads to a brief sense of attraction. Then he meets Vincent (Tom Cruise) who asks to go to this destination and then a body falls onto Max’s cab as it begins a hellish night as Vincent is a professional who carries a list as he does whatever he can to kill making Max uneasy.
Vincent is a mysterious character who can be charming one minute and then ruthless the next minute where Max gets a close look at Vincent’s work and through the trail of bodies he left behind. The script also play into these conversations between Vincent and Max where there is a unique dynamic between the two as the latter knows he’s not in control but is eager to get out. Even as Vincent’s killings would attract the attention of the police including LAPD detective Ray Fanning (Mark Ruffalo) who believes something is up as one of his witnesses had been killed knowing it’s a professional hit. Once the story progresses and body count pile up, Max would do drastic means to stop Vincent from killing more only for things to get more complicated where Max is forced by Vincent to meet up with the man who hired Vincent in Mexican drug lord in Felix Reyes-Torrena (Javier Bardem) who would only raise more suspicion as Max realizes he’s in a far darker world that is not prepared for.
Michael Mann’s direction is astonishing in terms of the visuals he creates as it is shot largely on high-definition digital video with the exception of a nightclub scene shot on 35mm film. Shot on location in Los Angeles which is a character in the film, Mann displays this air of grit into his compositions where he would use a lot of wide and aerial shots to capture so much attention to detail as well as where Max’s cab is at in a certain location. Still, much of the direction is set inside the cab throughout the film where Mann maintains that intimacy through the close-ups and medium shots as well as in the different locations that Max has to take Vincent to. The scenes of violence are brutal though some of it occur off-screen yet there’s one violent scene that is brutal as it relates more to Max’s reaction and how close he is to the violence. Mann’s direction definitely play into this air of cinema verite with its usage of hand-held cameras as well as maintaining this air of realism into the direction.
Mann also creates this air of tension as it relates to the trail of bodies that Vincent leaves behind as detectives, FBI agents, and others go on the case to find out what is going on. The nightclub scene before the film’s third act where a witness is at is among one of the most suspenseful moments in the film as it shows how ruthless Vincent is in his pursuit. The third act is about the final target and what Max is willing to do to protect that person as well as realizing what kind of person Vincent really is. It’s among the most thrilling sequences ever captured on film as Mann uses the locations and compositions to help play into the stakes of a man who is having a bad night. Overall, Mann crafts a visceral yet evocative film about a cab driver being forced to drive a hitman to various destination on a dark night in Los Angeles.
Cinematographers Dion Bebe and Paul Cameron do brilliant work with the film’s digital video photography with Bebe doing much of the work to play into its sense of grit and crudeness but also in some gorgeous imagery for many of the interior/exterior scenes set at night. Editors Jim Miller and Paul Rubell do amazing work with the editing with its usage of jump-cuts and other rhythmic cuts to play into the action and suspense. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Daniel T. Dorrance, does fantastic work with the look of some of the places that Max and Vincent go including a few clubs as well as the nightclub for one of the film’s big shootouts. Costume designer Jeffrey Kurland does terrific work with the costumes as it is largely straightforward that includes the grey suit that Vincent wears.
Prosthetic/special effects makeup artist Matthew W. Mungle, along with special makeup effects artists Jake Garber, Cleve Gunderman, Jamie Kelman, and Bart Mixon plus prosthetic makeup artist Wesley Wofford, does excellent work with the look of Vincent with his hair as well as the look of a few characters. Visual effects supervisor Robert Stadd does some fine work with the visual effects as it is mainly set dressing for a few shots in the city. Sound designer Elliott Koretz does superb work with the sound to help play into the atmosphere of what it sounds like inside a cab or at a club as well as how music is heard on a certain location. The film’s music by James Newton Howard is wonderful for its low-key orchestral score that has elements of electronic ambient music that help play into the unsettling tone of the film while music supervisor Vicki Hiatt creates a soundtrack that feature some additional score pieces from Antonio Pinto plus music from the Roots with Cody Chesnutt, Groove Armada, Calexico, Tom Rothrock, Green Car Motel, Johann Sebastian Bach, Miles Davis, Paul Oakenfold, and Audioslave.
The casting by Francine Maisler is incredible as it feature some notable small roles and appearances from Jason Statham as a man Vincent bumps into at the airport early in the film, Bohdi Elfman and Debi Mazar as a couple that Max picks up, the trio of Angelo Tiffe, Thomas Rosales Jr., and Inmo Yuon as Vincent’s targets, Richard T. Jones and Jamie McBride as a couple of traffic cops, Steven Kozlowski as a mugger trying to mug Max, Klea Scott as a FBI official, Emilio Rivera as a bodyguard of Felix, and Javier Bardem in a terrific one-scene appearance as the Mexican drug lord Felix Reyes-Torrena. Barry Shabka Henley is superb as the jazz musician Daniel Baker whom Vincent and Max sees as he’s performing at a club as he talks to them about Miles Davis while Irma P. Hall is fantastic as Max’s mother Ida who is ailing at the hospital as she is concerned about Max’s future while finding herself in an odd conversation with Vincent.
Bruce McGill is excellent as the FBI agent Frank Pedrosa who is spying on Felix as he believes he is involved with these killings while Peter Berg is wonderful as Fanning’s partner Richard Weidner who follows the trail of bodies though he isn’t sure it’s all connected to Felix. Mark Ruffalo is brilliant as detective Ray Fanning as someone who learns that one of his witnesses had been killed as he is aware of what is going on as he also believes that there is a lot more to meet the eye prompting him to find Max and protect him. Jada Pinkett Smith is amazing as Annie Farrell as a prosecutor Max meets early in the film in his cab as they converse about a few things including Farrell’s job as she would also take part in the film’s climatic third act as it relates to the case she’s involved in.
Jamie Foxx is phenomenal as Max Durocher as a cab driver who would have the worst night of his life as he is forced to accompany a hitman to various destinations where Foxx maintains a restraint as well as being this uneasy observer who is troubled by what he sees as he and Cruise do have great rapport to play into the tension and drama. Finally, there’s Tom Cruise in a tremendous performance as Vincent as a mysterious hitman who is ruthless in his pursuit of targets but is also a professional that is good at his job and is intent on finishing as it’s a dark yet riveting performance from Cruise.
Collateral is a spectacular film from Michael Mann that features great performances from Tom Cruise and Jamie Foxx. Along with its ensemble supporting cast, eerie visuals, a gripping music soundtrack, top-tier editing, and a broad sound design. The film is definitely a suspense-thriller that takes a simple premise and amp it up in its exploration of a hitman forcing a cab driver to take him to destinations in Los Angeles so that he can kill some people. In the end, Collateral is a sensational film from Michael Mann.
Michael Mann Films: The Jericho Mile – Thief (1981 film) - The Keep – Manhunter - L.A. Takedown – The Last of the Mohicans - Heat – The Insider – Ali - Miami Vice – Public Enemies (2009 film) - Blackhat - Blackhat - Ferrari - (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2
© thevoid99 2019
Directed and co-scored by John Carpenter and written by Carpenter and Larry Sulkin, Ghosts of Mars is the story of an intergalactic police officer and her team traveling to Mars for a prison transport where things go wrong in the planet. Set in the 22nd century, the film is a sci-fi horror thriller where space cops and a criminal team up to battle monsters on Mars. Starring Natasha Henstridge, Ice Cube, Jason Statham, Clea Duvall, Pam Grier, and Joanna Cassidy. Ghosts of Mars is a stylish but messy film from John Carpenter.
It’s the 22nd Century where Mars has been colonized and the planet is now breathable to humanity yet towns are ravaged where the intergalactic police make an unsettling discovery just as they were to transport a prisoner. That is pretty much what the film is about where cops is forced to work with a convicted murderer to fight these monsters as they were once human who are now possessed by ghosts from Mars. Yet, it is told in a reflective manner by Lt. Melanie Ballard (Natasha Henstridge) who reports what happened during a simple prison transfer job to her superiors as it reveals a much larger story. The film’s screenplay is quite simple yet it has a lot of expositions and perspective from other characters in what they saw including Dr. Arlene Whitlock (Joanna Cassidy) who revealed how these ghosts emerge. The multiple perspectives and expositions do create a script that is very messy as well as be over-explained and not allow the audience to create their interpretations into what happened.
John Carpenter’s direction is definitely stylish as it plays into a futuristic setting as much of the film is set at night. Shot on location at a gypsum mine in New Mexico, the film plays into this world that is emerging in its colonization state but is becoming undone by these monsters. While Carpenter would use some wide shots to establish some of the locations, he maintains an intimacy with the medium shots and close-ups as it plays to the severity of what Lt. Ballard and her fellow officers are facing. There are some moments that are exciting in the action but the suspense is kind of lacking as well as uninspired due to the fact that it feels derivative from other kind of films that Carpenter has made. Even as some of the moments involving the visual effects seem to be lacking as it’s probably due to the limitations in the budget. Despite these shortcomings, the film is still entertaining while not taking itself seriously as it does have some humor. Overall, Carpenter creates a thrilling though flawed film about space cops and criminals fighting evil ghosts on Mars.
Cinematographer Gary B. Kibbe does excellent work with the cinematography from the usage of lights and distorted images for some of the scenes involving the ghosts to the interiors as it‘s mostly straightforward. Editor Paul C. Warschilka does some fine work in the editing though it‘s over stylized with its transition wipes and dissolves as it goes a little overboard. Production designer William A. Elliot, with set decorator Ronald R. Reiss and art directors William Hiney and Mark W. Mansbridge, does fantastic work with the look of places on Mars as well as the interior for the prisons and such. Costume designer Robin Michel Bush does nice work with the costumes as it‘s mostly low-key while it‘s more creative for the look of the creatures the cops and criminals have to deal with.
The special effects makeup work of Howard Berger, Robert Kurtzman, and Greg Nicotero is brilliant for the look of the possessed humans who have become enraged Martians as they all have something unique in their look. Visual effects supervisor Lance Wilhoite does some OK work with the visual effects for some of the scenes involving the trains though the effects in the battle scenes look unfinished and awkward. Sound editor Joe Dorn and sound designer David Bartlett do terrific work with the sound as it play into the way the Martians sound as well as some of the gunfire and such. The film’s music by John Carpenter is superb for its electronic-based score filled with synthesizers as the music also feature contributions from the thrash metal band Anthrax as well as some contributions from Elliot Easton of the Cars, Robin Finck of Nine Inch Nails/Guns N’ Roses, Steve Vai, and Buckethead.
The casting by Reuben Cannon is wonderful as it feature some notable small roles from Robert Carradine as a train engineer, Wanda de Jesus as a criminal who fights the Martians, the trio of Duane Davis, Lobo Sebastian, and Rodney A. Grant as a trio of thugs trying to break out Desolation Williams, Liam Waite as the space cop Descanso, and Richard Cetrone as the Martians leader. Joanna Cassidy is terrific as Dr. Arlene Whitlock as a scientist who saw the chaos that unleashed the ghost Martians while Pam Grier is alright in her small role as the police leader Commander Braddock. Clea Duvall is superb as the rookie cop Bashira Kincaid as a young woman new to the field as she is in shock in what she’s seeing as she would eventually grow to kick some ass.
Jason Statham is fantastic as Sgt. Jericho Butler as the comic relief of the film who is a smooth talker and says the funniest lines while being this full-on badass as only someone like Statham could play that role to the fullest. Ice Cube is excellent as James “Desolation” Williams as a wanted murderer who is supposed to be transferred to a prison as he is a cunning and skilled fighter that is aware of what is going as well as reveal some truths into the murders he’s been accused of. Finally, there’s Natasha Henstridge in a brilliant performance as Lt. Melanie Ballard as this no-nonsense cop with a weakness for hallucinogenic drugs that is eager to do her job while knowing what is out there as she tries to help her fellow cops and such fight off against the Martians.
Despite some clunky visual effects and an overwritten yet messy script, Ghosts of Mars is still a worthwhile film from John Carpenter. Thanks in part to a nice soundtrack and fun performances from Natasha Henstridge, Ice Cube, and Jason Statham. It’s a film that has some style as well as moments where it doesn’t take itself so seriously. In the end, Ghosts of Mars is a good film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - The Ward
The Auteurs #60: John Carpenter Part 1 - Part 2
© thevoid99 2016
Directed by James Wan and screenplay by Chris Morgan from characters created by Gary Scott Thompson, Furious 7 is the story of Dominic Torretto, Brian O’Conner, and the rest of their family being hunted down by an assassin wanting vengeance while the team tries to recover a computer chip with the aid of the chip‘s designer. The film is a revenge film of sorts where it’s the good guys that are being hunted where they have to go after the hunter before he kills them all. Starring Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez, Dwayne Johnson, Chris “Ludacris” Bridges, Tyrese Gibson, Elsa Pataky, Djimon Hounsou, Kurt Russell, Nathalie Emmanuel, Ronda Rousey, Tony Jaa, Lucas Black, and Jason Statham as Deckard Shaw. Furious 7 is a wild and exhilarating film from James Han.
Picking up where the last film leaves off, it revolves around a group of drivers who consider themselves family where the events in the last mission have them being hunted by a former assassin in Deckard Shaw whose brother Owen (Luke Evans) was crippled and left in a coma by Dominic Torretto (Vin Diesel) and his team. For Torretto, the recent death of one of his friends and the attempt on the life of him and his family forces him to find Shaw and stop him as he is aided by a covert ops agent named Mr. Nobody (Kurt Russell) to stop Shaw and retrieve a computer software chip that has surveillance on everyone known as God’s Eye. With Brian O’Conner (Paul Walker), Letty Ortiz (Michelle Rodriguez), Roman Pierce (Tyrese Gibson), and Tej Parker (Chris “Ludacris” Bridges) on the team while Mia Torretto (Jordana Brewster) is at a safe house in the Dominican Republic and DSS agent Luke Hobbs (Dwayne Johnson) recuperating from an attack from Shaw that nearly killed him. Torretto is forced to deal with someone that is dangerous.
While the script is very simple, there is a lot that is happening as it relates to the characters as Letty struggles to regain bits of her lost memories while O’Conner is also coping with being a father as he is unaware that Mia is pregnant again. It adds a lot to what is at stake where it’s not just Torretto needing to make sure that his family stays together following the loss of key members as well as those like O’Conner who has another life that is far more important. Adding to these elements of what is stake where the team has to retrieve the designer of this software named Ramsey (Nathalie Emmanuel) who has been captured by friends of Shaw that wants God’s Eye so they can use it for themselves. The chip is a MacGuffin but it does play into a lot of what needs to be done where it is a good plot device while screenwriter Chris Morgan also provides some laughs and dramatic moments that do give the film some depth but also not take itself so seriously.
James Wan’s direction is definitely stylish as he doesn’t really do anything new in terms of what is expected in compositions and action sequences. Yet, he does manage to do a lot more in the latter where it borders the line of ridiculous and insanity but all in a very fun way. Shot in various locations such as Los Angeles, Abu Dhabi, Tokyo, and some shots in Atlanta and mountains in Colorado, the film has a global feel that is massive where Wan does take advantage of the locations while maintaining something that plays into a world where everything is in danger. The usage of wide and medium shots are prevalent throughout while Wan also maintains an intimacy for the non-action scenes where he knows where to give the audience a break on the action and establish what is going on and what needs to be done. The action sequences are intense as it adds to a lot of what is at stake while it also play into moments that are just unbelievable. Yet, it is so fun where has this energy that is just potent where it’s not just about car chases and violence but also the thrill of it. While the film’s ending is poignant as it relates to a key character in the franchise, it at least gives that character a fitting send-off. Overall, Wan creates a fun and exciting film about a bunch of street racers fighting against some crazed assassin.
Cinematographers Stephen F. Windon and Marc Spicer do excellent work with the cinematography in not just giving the many different locations a distinct look in its lighting but also employ elements of heightened lighting for scenes in Abu Dhabi as well as the scenes at night for Los Angeles. Editors Christian Wagner, Dylan Highsmith, Kirk Morri, and Leigh Folsom Boyd do amazing work in the editing where it does rely on fast-cutting techniques but it doesn’t go overboard while managing to establish what is going on while knowing when to slow things down. Production designer Bill Brzeski, with set decorator Danielle Berman and supervising art director Desma Murphy, does fantastic work with the look of the house that Dominic has lived most of his life as well as the workshop that Mr. Nobody plans everything while the rooms inside the Abu Dhabi Etihad Towers has this air of richness. Costume designer Sanja Milkovic Hays does nice work with the costumes as it’s mostly casual with the exception of the scenes in Abu Dhabi where everyone looked sharp including the ladies.
Special effects supervisor Daniel Sudick and visual effects supervisors Mark Curtis, Martin Hill, Kelvin McIlwain, Karen Murphy, and Mike Wassel do brilliant work with some of the special effects in the action sequences as well as some unique visual effects for the O’Conner character thanks in part from the work of stand-ins in Walker’s brothers Caleb and Cody. Sound designers Peter Brown, Stephen P. Robinson, and Ann Scibelli, along with sound editor Joe Dzuban, do superb work with the sound in creating the power of the engines as well as the sounds of gunfire and planes. The film’s music by Brian Tyler is wonderful for its mixture of orchestral music, electronic, and hip-hop as it plays into the frenetic world of street racing as well as the parties the characters go to as it is bombastic but also has its somber moments.
The casting by Anne McCarthy and Kellie Roy is terrific as it features some notable small roles from Ali Fazal as a friend of Ramsey in Abu Dhabi, John Brotherton as Mr. Nobody’s aide, Luke Evans as the comatose Owen Shaw, Noel Gugliemi as the street-race organizer Hector, Lucas Black as Fast & Furious 3 protagonist Sean Boswell who gives Torreto some belongings of the character Han, Tony Jaa as a henchman friend of Shaw, Miller and Charlie Kimsey as Brian and Mia’s son Jack, and Eden Estrella as Hobbs’ young daughter who provides some funny moments. Other notable small roles include Elsa Pataky in a wonderful role as associate and Hobbs’ new partner Elena Neves who watches over the injured Hobbs while Ronda Rousey is superb as security head for a billionaire in Abu Dhabi who fets into a brawl with Letty. Nathalie Emmanuel is excellent as Ramsey as a computer software designer who is rescued by Torretto and his team as she helps them retrieve the program she designed. Djimon Hounsou is fantastic as Shaw’s friend in mercenary Mose Jakande as a man that wants the God’s Eye software.
Kurt Russell is great as Mr. Nobody as a government agent who fills in for the injured Hobbs as helps Torretto and the gang to try and capture Shaw while Dwayne Johnson is brilliant as Luke Hobbs as a DSS agent who is confronted by Shaw and is nearly killed only to get angry when he returns for its climax. Jordana Brewster is amazing as Mia Torretto as Dom’s sister and Brian’s partner who stays home from the action as she has news for Brian that would force him to make a big decision. Chris “Ludacris” Bridges and Tyrese Gibson are hilarious in their respective roles as Tej and Roman as the two comic reliefs with Tej as the tech guy and Roman as the man with the big mouth. Michelle Rodriguez is phenomenal as Letty as Dom’s lover who is trying to recover her memory from the past while helping out the team where she gets herself into a brawl with a mean security head.
Jason Statham is incredible as Deckard Shaw as this former assassin who is a total loose cannon that is extremely pissed off and is not afraid in whoever he meets as he is a true antagonist and possibly the one person that can match everyone toe-to-toe. In one of his final performance, Paul Walker is marvelous as Brian O’Conner as a former cop/agent who is trying to adjust to family life while doing what he can to help Dom while coming to terms that his life of adventure might be coming to an end as it’s a fitting send-off to the actor with the aid of his brothers Caleb and Cody as stand-ins. Finally, there’s Vin Diesel in a remarkable role as Dominic Torretto as a street racer trying to protect his family from Shaw as he deals with the loss of a few friends and trying to get Letty back on her feet.
Furious 7 is a sensational film from James Wan. Armed with a great cast, thrilling action sequences, and an engaging story. The film isn’t just another high watermark for the franchise but it’s also a film that gives the late Paul Walker a fitting send-off for himself and the Brian O’Conner character. In the end, Furious 7 is a phenomenal film from James Wan.
Fast & Furious Films: (The Fast & the Furious) - (2 Fast 2 Furious) - (The Fast & the Furious: Tokyo Drift) - (Fast & Furious) - (Fast Five) - Fast & Furious 6 - (Fast & Furious 8)
© thevoid99 2016
Written and directed by Paul Feig, Spy is the story of a CIA office worker who becomes a field agent for an assignment once the identity of many of its field agents have been compromised as this woman has to stop a crime boss’ daughter from revealing the location of a nuclear bomb. The film is sort of a spoof on spy films where the person that is to save the world is an unlikely person as she doesn’t have the physical requirements to be one but has the heart and determination to get the job done. Starring Melissa McCarthy, Jude Law, Rose Byrne, Jason Statham, Miranda Hart, Bobby Cannavale, Peter Serafinowicz, and Allison Janney. Spy is a witty and adventurous film from Paul Feig.
When the identities of top field agents for the CIA trying to find the location of a nuclear bomb have been revealed to the daughter of a recently deceased crime boss. An analyst who wants to seek vengeance for the death of a spy she cared for is tasked to take part in the assignment where she is initially excited about doing the job but things don’t exactly go her way. The film is essentially a spoof of sorts on spy films where it plays into the idea of a woman, who might not have the typical yet superficial image of spies, as she is given the chance to save the world. Yet, she would endure some humiliating moments in trying to catch her targets while having to deal with a rogue field agent who is trying to do her work in ways that makes him look even stupider than he already is.
It is all part of a world where the villains are dealing with this woman who might be a whole lot easier to kill considering that she doesn’t fit the mold of other spies but it’s also an advantage for the character of Susan Cooper (Melissa McCarthy) who manages to do more than everyone expects from her. Paul Feig’s screenplay does follow conventional elements that is expected in spy films but also creates characters that are very engaging. While Cooper is just a nice analyst who is very good at helping field agents find their way out of a situation where she becomes close with the spy Bradley Fine (Jude Law). When Fine is killed in a mission by the target’s daughter Rayna Boyanov (Rose Byrne), Cooper wants to take the mission to avenge Fine though she is forced to wear a series of humiliating disguises and identities while having her best friend and fellow analyst Nancy (Miranda Hart) to guide her through an earpiece.
The script would also allow moments that are funny such as the antics involving former CIA agent Rick Ford (Jason Statham) who is upset that Cooper gets the assignment which prompts him to go rogue and do stupid things. His character is sort of a play on spies for not just how tough they are and how much bullshit they tend to talk but it is presented in a funny way as Ford is a man who is all brawn but no brains. While Rayna is an antagonist, she is not a traditional one since she is essentially a woman who is a pawn of a bigger scheme while feeling she’s not getting any kind of respect where she and Cooper seem to have a rapport despite the fact that they’re enemies. Even smaller characters like Nancy, CIA boss Elaine Crocker (Allison Janney), and an Italian agent named Aldo (Peter Serafinowicz) manage to do a lot more which add to the story and its comedic tone.
Feig’s direction definitely pays an ode to spy films while managing to be something that is of its own. Notably as it isn’t afraid to not take itself so seriously where some of the comedy is played very loosely and natural. Though much of it is shot largely on location in Budapest with a few second-unit shots of Rome, Paris, and Washington D.C., the film does have a look that is very worldly and lively which is expected in spy films but also manages to have something where it does have this woman be a fish out of water in these places. Most notably where Cooper would think she would have the time of her life traveling to Rome, Paris, Sofia, and Budapest but would often stay in the worst hotels and in the most horrific disguises as a mother of four or a woman with 9 cats. While many of Feig’s compositions are simple, he does manage to create something that is visually exciting while matching it with a naturalist approach to comedy.
Feig is also able to find a sense of energy in the action scenes while knowing where to put in some funny moments that do feel natural and realistic with elements of disbelief for laughs. Feig would also include some very crude humor that involves Cooper having her first kill and her reaction to it is very funny while it is followed by a scene where the CIA analysts are looking into the dead man’s phone and photos where they find some very personal things. The film’s climax which involves this Italian playboy named Sergio de Luca (Bobby Cannavale) and the deal of this nuclear weapon not only continues to find the balance between humor and action but it would also have a payoff that isn’t just funny but also satisfying. Overall, Feig has created a very thrilling and hilarious film about a woman who becomes a spy.
Cinematographer Robert Yeomen does excellent work with the cinematography as it‘s very straightforward and colorful to play into the vibrancy of the locations as well as some inspired usage of lights some of the interiors and for scenes at night. Editors Don Zimmerman and Dean Zimmerman do amazing work with the editing where it allows itself to play into conventional action-style cutting but also with a sense of timing and rhythm to play into the comedy and find ways to mesh both styles. Production designer Jefferson Sage, with art directors Tom Brown and Bence Erdelyi and set decorator Kelly Berry, does brilliant work with the set designs from some of the hotels Cooper goes to as well as the lavish homes and hotels she would meet Rayna and other targets. Costume designer Christine Bieselin Clark does nice work with the costumes from the tuxedos that Fine and Ford would wear to some of the humiliating clothes Cooper would wear in disguise along with some stylish clothes that she and Rayna would wear.
Makeup artist Kati Jatkos and hair stylist Peter Gyongyosi do terrific work with the disguises that Cooper would wear including the different hairstyles along with one notable disguise for Ford. Visual effects supervisor William Mesa does wonderful work with some of the film‘s minimal visual effects that often involve some of the action scenes. Sound editors Beau Borders and Becky Sullivan do superb work with the sound from the way some of the fighting occurs as well as some of the social events and action scenes that the characters encounter. The film’s music by Theodore Shapiro does fantastic work with the film‘s music score as it is quite bombastic for its action scenes while going for something low-key for its comedic moments while music supervisor Erica Weis brings in a fun soundtrack filled with music that ranges from electronic, hip-hop, rock, and pop to bring in an air of excitement.
The casting by Zsolt Csutak does great work with the cast as it features notable small roles from Carlos Ponce and Will Yun Lee as a couple of CIA spies, Jessica Chaffin and Katie Dippold as a couple of CIA analysts who deal with rats and bats in their offices, Zach Woods as a guy putting something mysterious in Rayna’s cocktail, Mitch as a pilot named Colin (no it’s Frederick), Raad Rawi as Rayna’s dad, Michael McDonald as a CIA gadgets man who gives Cooper some unimpressive gadgets, Morena Baccarin as a beautiful CIA spy that Nancy mocks, Nargis Fakhri as an assassin that tries to kill Ford and Cooper, and Bjorn Gustafsson as a bodyguard of Rayna that Cooper would insult. Peter Serafinowicz is fantastic as the Italian spy Aldo who likes to sexually harass Cooper as he thinks she is the most beautiful woman in the world. Allison Janney is superb as CIA head Elaine Crocker where Janney plays it straight while being very cool and calling Cooper out early about her pink eye.
Bobby Cannavale is excellent as the playboy/dealer Sergio de Luca who brings a suave charm to his role as someone who just wants to cash in and sell weapons to the highest bidder. Jude Law is brilliant as Bradley Fine as a CIA agent that has a great working relationship with Cooper as he trusts her while being very good to her. Miranda Hart is amazing as Cooper’s friend Nancy as a CIA analyst who also wants to be a spy as she later joins Cooper in a mission where she gets to do some of the funniest things in the film. Rose Byrne is remarkable as Rayna Boyanov as a crime boss’ daughter who decides to create chaos while trying not to reveal the location of a nuclear weapon where she also has some funny moments with Cooper to show how alike they’re sort of are.
Jason Statham is phenomenal as Rick Ford as it’s a performance where Statham makes fun of the action film persona he’s known for and bring a lot of laughs. Most notably as he’s a guy that talks tough, acts tough, and is very tough but is also an idiot as he has no idea what he is doing half the time while being a risk to everything as it’s just one of the funniest performances ever. Finally, there’s Melissa McCarthy in an incredible performance as Susan Cooper where it’s not jut McCarthy being very funny in enduring all sorts of humility and intense physicality. It’s also in the way she brings a sense of heart into the character that makes her very endearing while not being afraid to show some guts as it is one of her finest performances.
Spy is a marvelous film from Paul Feig that features a winning performance from Melissa McCarthy. Armed with some very exciting and funny moments along with a strong supporting cast that includes scene-stealing performances from Rose Byrne, Miranda Hart, Jude Law, and a hilarious Jason Statham. It’s a film that isn’t just a smart spoof of the spy films but also one that manages to be very funny and extremely entertaining. In the end, Spy is a sensational film from Paul Feig.
Paul Feig Films: (I Am David) - (Unaccompanied Minors) - (Bridesmaids) - (The Heat) - Ghostbusters (2016 film)
© thevoid99 2015
