The film is about the life of Tamara “Tammy” Faye LaValley who was just a girl fascinated by faith as she meets a young preacher in Jim Bakker (Andrew Garfield) whom she would marry as they would create the Praise the Lord Satellite Network only to fall into scandal over money they stole and Jim’s own extramarital affairs. It is a simple story that largely plays by convention in its narrative as well as taking some dramatic liberties into Tammy Faye’s life through Abe Sylvia’s screenplay. Yet, the film does manage to look into how Tammy Faye becomes fascinated by faith despite the fact that her mother Rachel (Cherry Jones) is only invited to the local congregation because she can play piano as she is seen as a pariah for being a divorced woman. Still, upon meeting Jim Bakker at the North Central Bible College in Minneapolis where she is charmed by his charisma that lead to both of them dropping out of school to become preachers. Tammy Faye’s own idea that includes creating a hand puppet and going on the road all across America to spread the word of God to children and families had made them popular.
While Bakker would often be the one running things and form the PTL network following some bitter disputes with Pat Robertson (Gabriel Olds) over who made The 700 Club successful. It is Tammy Faye whose idea of wanting to help many including the poor, disabled, and others without the need to make faith into a political issue that would put Bakker at odds with other televangelists including Jerry Falwell. Notably as she would later talk to pastor Steve Pieters (Randy Havens) who is gay and has AIDS on her show where she becomes a supporter of the LGBTQ community much to the dismay of both Falwell and Bakker. Still, Sylvia’s script also play into Tammy Faye’s own struggles as she strives to win her mother’s approval although Rachel is rightfully suspicious about Bakker’s own activities and raises concern about the money he and Tammy Faye are making. There is also this story about Tammy Faye’s own attraction towards her music producer Gary S. Paxton (Mark Wystrach) leading to a brief affair that would only bring more trouble and a dependency on prescription drugs.
Michael Showalter’s direction is largely straightforward in its overall presentation as it is told from the early 1950s to 1994. Shot largely on location in and around Charlotte, North Carolina, Showalter plays into this world of a woman who is raised in a small town as a lot of Showalter’s compositions are straightforward in the close-ups and medium shots to play into Tammy Faye’s interaction with faith and such. Even in scenes where she feels lost as she is often praying to God where there’s some wide shots to play into a room where Tammy Faye is all alone except in the idea that God is with her. There are some unique shots that Showalter creates as it play into the evolution of Jim and Tammy Faye’s television presentation as well as how they got into television when they saw that their car got stolen and then meet a man who saw their sermon and knows Pat Robertson with a light shining on him as if God answered their prayers. It’s among these moments of humor that occur in the film including some of the musical presentation on the Bakkers’ shows including some of the Christmas shows where Tammy Faye is wearing silly costumes and her look becomes almost cartoonish as the years progress.
The film’s tone definitely darkens by its second half and into the third act once Tammy Faye’s own addiction to prescription pills come into play as well as Jim’s own financial mishandling and extramarital affairs along with suggestions that he’s bisexual when he’s play-fighting with PTL associate Richard Fletcher (Louis Cancelmi) after Tammy Faye hears Jim making fun of her. The third act does play into the PTL scandal where it is clear that Jerry Falwell is someone that Tammy Faye doesn’t trust knowing he has a political and social agenda. Most notably in the scene where she interviews Pieters as the interview is recreated word-for-word but it is Falwell’s reaction that is chilling as his actions in what he does to the Bakkers following the scandal showcase a man who is truly evil. The film’s ending is a bit of a let-down since it doesn’t play more into Tammy Faye’s work with the LGBTQ community though it does play into Tammy Faye’s unique optimism and the persona of a woman who just wants to be inclusive to everyone. Overall, Showalter crafts a heartfelt and lively film about the wife of a preacher who defy the wishes of other religious figures to spread the word of God and love to everyone.
Cinematographer Mike Gioulakis does brilliant work with the film’s cinematography as it is straightforward but with some unique lighting for some of the daytime interior/exterior scenes in the day with some lush colors for a few bits along with unique lighting a few scenes at night including at the Bakkers’ home. Editors Mary Jo Markey and Andrew Weisblum do excellent work with the editing as it has elements of style in some montages as well as some straightforward cuts to play into the drama and humor. Production designer Laura Fox, with set decorator Barbee S. Livingston and art director Charles Varga, does amazing work with the look of the studio sets that the Bakkers use to host their shows as well as their home in all of its lavish glory. Costume designer Mitchell Travers does fantastic work with the costumes ranging from the casual period look of the 1950s to the early 1970s to the more lavish look that Tammy Faye would wear throughout the 80s as well as a more reserved style of clothing in the 1990s. Makeup designers Linda Dowds, Stephanie Ingram, and Justin Raleigh do incredible work with the makeup look of Tammy Faye in the way she evolves from being clean-cut to being more lavish including the way her eyelashes look as well as the layers of makeup that she wears that add to her legendary persona.
Special effects supervisor Larry Dean Bivins and visual effects supervisor Tim LeDoux do terrific work with the look of some of the television imagery including the way TV shows looked at the time as well as bits of set dressing for some scenes. Sound editors Wayne Lemmer and Derek Vanderhorst do superb work with the sound as it help play into the atmosphere of some of the locations including the film’s ending in its sparse moments as well as some of the way TV shows sounded from a TV back then. The film’s music by Theodore Shapiro is wonderful for its low-key orchestral score that also has elements of country and gospel to play into the world of Christian music while music supervisor John Houlihan cultivates a soundtrack that features a lot of the songs Tammy Faye did sing that are performed by Jessica Chastain as well as a song performed by Jim and Tammy Faye’s real-life daughter Tammy Sue Bakker-Chapman.
The casting by Avy Kaufman is incredible as it feature some notable small roles from Lila Jane Meadows as Jim and Tammy Faye’s daughter Tammy Sue, Grant Owens as Kentucky Fried Chicken founder Colonel Sanders, Jess Weixler in a voice cameo early in the film as a makeup artist, Coley Campany DeDe Robertson, Jay Huguley as Jimmy Swaggart, Fredric Lehne as Tammy Faye’s stepfather Fred Grover, Gabriel Olds as the televangelist Pat Robertson who would take credit for the success of The 700 Club from Jim Bakker, Louis Cancelmi as PTL producer Richard Fletcher who might be one of Jim’s lovers, Chandler Head as the young Tammy Faye, Sam Jaeger as the building contractor Roe Messner whom Tammy Faye would later marry in the 90s, Mark Wystrach as music producer Gary S. Paxton who would produce many of Tammy Faye’s recordings and later engage in a brief affair with her, and Randy Havens as the gay Christian pastor Steve Pieters whom Tammy Faye does an interview with where he talks about dealing with AIDS and being gay only to feel loved by Tammy Faye.
Vincent D’Onofrio is excellent as Jerry Falwell as this religious figure who wants to politicize faith and get the Bakkers involved as he would later rat them out to the authorities where D’Onofrio brings that air of sliminess to the role. Cherry Jones is brilliant as Tammy Faye’s mother Rachel Grover as a woman who is disliked by her community for being a divorcee as she is later baffled by her daughter’s success and other aspects relating to the business even though she is someone who does care for her daughter even though she doesn’t show it.
Andrew Garfield is phenomenal as Jim Bakker where he displays this sense of charisma as someone who really does care about the word of God yet ends up becoming consumed by greed and temptation as well as becoming distant and cruel towards Tammy Faye where Garfield brings a lot of nuances and complexity to a real-life person who is still an awful individual. Finally, there’s Jessica Chastain in a tremendous performance as Tammy Faye Bakker where Chastain brings that liveliness and optimism to the character whenever she’s on TV trying to spread the word of God but also this vulnerability of a woman who wonders if she’s doing the right thing but is also a radical for the fact that she wants to help everyone where she becomes a voice for the LGBTQ community as it is a career-defining performance for Chastain.
The Eyes of Tammy Faye is a marvelous film from Michael Showalter that features a spectacular leading performance from Jessica Chastain. Along with its supporting cast, dazzling visuals, and its study of a woman trying to devote herself to God but also wanting to help everyone. It is a film that does play the rules of a bio-pic but it also an interesting character study of this real-life figure who ended up doing some good in the world as well as bring some inclusivity to a world that isn’t inclusive. In the end, The Eyes of Tammy Faye is a remarkable film from Michael Showalter.
Michael Showalter Films: (The Baxter) – Hello, My Name is Doris - The Big Sick - (The Lovebirds (2020 film)) – (Spoiler Alert)
© thevoid99 2022
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
The film revolves around events in Derry, Maine where the group of seven kids, who confronted the clown Pennywise, known as the Losers have returned 27 years later following events involving mysterious murders in the town committed by Pennywise. It’s a film that has these adults not only fulfill an oath to return to Derry to defeat Pennywise once and for all but also to confront some demons. Gary Dauberman’s screenplay opens with the beating of a gay couple as one of them would be killed by Pennywise as it leads to Mike Hanlon (Chosen Jacobs as a teenager/Isaiah Mustafa as an adult) to call the rest of the Losers. Dauberman’s script does a lot to establish the stakes and what the Losers must do but some of the execution and plot-pointing unfortunately leads to a messy narrative. Notably in a few flashbacks where some of the losers deal with moments from their past but also blur the idea of whether it’s a memory or a fantasy recreated as their younger selves. It gets confusing while some of the back story about Pennywise’s origins are confusing as well with Hanlon being the one to research everything in how to kill him once and for all.
Muschietti’s direction does have some style in its compositions and approach to suspense while also play into the idea of memory and nightmares. Shot on location at the Manitoba province in Canada with some of it shot in Toronto as Maine and New York City. Muschietti also dwell into the events that these characters have to cope with as he uses wide shots to get a scope of the locations including some of the nightmares they all have to deal with. The medium shots and close-ups that Muschietti uses to play into the interaction with the characters such as their reunion scene at a Chinese restaurant where it starts off fun but then becomes scary. This approach to wanting to be funny, dramatic, and serious is where the film does have tonal issues where Muschietti wants the film to be a lot of things but it never gets a balanced tone while there are other things in the film that never gets fully explained. Notably the character of Henry Bowers (Nicholas Hamilton/Teach Grant) who is aided by the dead body of his friend Patrick (Owen Teague) as that is never fully explained.
Despite the messy elements in the film’s second act where it is bogged down by lots of exposition, Muschietti does manage to get things going for its third act with the climatic showdown between the Losers and Pennywise. It is a grand sequence that has a lot at stake but also forcing people to relieve their nightmares as well as confront their own guilt from the past as children. It is a sequence that has a lot going on while its aftermath does go a bit overlong at times though it’s quaint in comparison to some of the events in the second act. Overall, Muschietti crafts a riveting though flawed film about a group of adults who reunite to destroy a mysterious clown who terrorized them as kids 27 years ago.
Cinematographer Checco Varese does excellent work with the film’s cinematography with its usage of low-key lights for many of the interior/exterior scenes set at night to help maintain the eerie mood of the film. Editor Jason Ballantine does terrific work with the editing as it is largely straightforward with a few stylish cuts to play into the suspense and horror. Production designer Paul D. Austerberry, with set decorators Crystal North and Shane Vieau plus art director Nigel Churcher, does amazing work in not just the look of Derry but also the places the Losers go to as it play into their nightmares. Costume designer Luis Sequeira does fantastic work with the costumes as it is largely straightforward with the Losers wearing casual clothing.
Hair designer Stephanie Ingram, along with makeup designers Alec Gillis and Tom Woodruff, Jr., does brilliant work with the look of a few of the adult characters as well as the look of Pennywise. Special effects supervisor Kristy Hollidge and visual effect supervisor Nicholas Brooks do superb work with the visual effects from the look of Pennywise in his different incarnations to the design of some of the demons the Losers face. Sound designers Erick Ocampo, Randy Torres, and Bill R. Dean, with sound editor Nancy Nugent, do incredible work with the sound as it help play into the atmosphere of the locations as well as sound effects to create some suspense. The film’s music by Benjamin Wallfisch is wonderful for its eerie orchestral score that helps build up some of the film’s suspense and drama while its music soundtrack features pieces from Juice Newton, Cameo, and New Kids on the Block.
The casting by Rich Delia is marvelous as it feature notable small roles and appearances from Stephen King as a pawn shop owner, filmmaker Peter Bogdanovich as himself, Jess Weixler as Bill’s actress wife Audra, Juno Rinaldi and Megan Charpentier in respective roles as the older and younger version of Gretta, Will Beinbrick as Bev’s abusive husband Tom Rogan, Martha Girvin as Stan’s wife Patty, Xavier Dolan and Taylor Frey as a gay couple who are attacked by a gang early in the film with the former being a victim of Pennywise, Molly Atkinson in a dual role as Eddie’s mother and his wife, Luke Roesseler as a young boy Bill encountered in the second act, Ryan Keira Armstrong as a young girl with a strange birthmark on her face, Owen Teague as the dead corpse of Bowers’ friend Patrick, Jackson Robert Scott as Bill’s late younger brother George, and Teach Grant and Nicholas Hamilton in their respective roles as the older and younger version of the bully Henry Bowers with the former being a total psychopath hell bent on revenge towards the Losers. Bill Skarsgard is fantastic as Pennywise as the clown who terrorizes kids though he is hampered by the fact that he’s underused and not much information about who he really is emerges.
Andy Bean and Wyatt Oleff are terrific in their respective roles as the older and younger version of Stan Uris as the former appears briefly as the adult version who is the one person who doesn’t return mainly because he has a plan that would help the Losers with the former being the nerdy Jewish kid who starts to find his own path. James Ransone and Jack Dylan Grazer are superb in their respective versions of the adult and younger version of Eddie Kaspbrak as hypochondriac who still has issues but also comes to terms that he must face Pennywise while also finding a sense of humor. Jay Ryan and Jeremy Ray Taylor are excellent in their respective roles as the adult and younger version of Ben Hanscom as the latter is the fat yet resourceful kid with a crush on Bev while the former is a fit adult who still pines for Bev despite his success as an architect as he is eager to fight Pennywise. Isaiah Mustafa and Chosen Jacobs are brilliant in their respective role as Mike Hanlon as the one person who stayed in Derry to study on Pennywise and how to defeat as he would bring everyone together while figuring out how it could be done.
Bill Hader and Finn Wolfhard are amazing in their respective versions of Richie Tozier with Hader being the comedian who is reluctant to return as he copes with his own issues while he’s still a foul-mouthed and witty person like Wolfhard’s role as the young Tozier. James McAvoy and Jaeden Martell are incredible in their respective versions as the older and younger Bill Denbrough as the former is now a successful author who still has creative issues as he is eager to stop Pennywise while dealing with other issues that he still has as the latter. Finally, there’s Jessica Chastain and Sophia Lillis in a phenomenal performances as their respective versions of the adult and younger version of Bev Marsh with the latter being in a troubled marriage as well as admitting that she has some strange visions that she attained as the former.
It Chapter Two is a stellar film from Andy Muschietti. Despite its messy script, 169-minute running time, and inconsistent tone, the film is still a fascinating horror film thanks in parts to its ensemble cast and study of fear. In the end, It Chapter Two is a fine film from Andy Muschietti.
It Chapter One
© thevoid99 2020
Based on the memoir by Molly Bloom, Molly’s Game is the story about a mogul skier who decides to run an underground poker empire that makes her rich until she gets the attention of the FBI. Written for the screen and directed by Aaron Sorkin, the film is a dramatic telling of Molly Bloom’s life story as she is a woman struggling to re-define herself after her dreams of being an Olympic skier fell apart while hoping to retain the new life that she created for herself as Bloom is portrayed by Jessica Chastain. Also starring Idris Elba, Jeremy Strong, Michael Cera, Chris O’Dowd, Joe Keery, Bill Camp, Brian D’Arcy James, and Kevin Costner. Molly’s Game is an intoxicating and chilling film from Aaron Sorkin.
Following a failed attempt to qualify for the 2002 Winter Olympics as a mogul skier due to an unfortunate accident, Molly Bloom would reinvent herself in running an underground poker empire after working for an unsuccessful real estate dealer in planning his underground poker games and making something of herself until she gets the attention of the FBI. It’s a film with a simple premise as it play into a woman trying to create a new life for herself as she is driven to become successful on her own terms yet would put herself in dangerous when her gambling business include Russian mobsters that would attract unwanted attention as she turns to an attorney who tries to understand her as well as read her just-released memoir. Aaron Sorkin’s screenplay doesn’t exactly follow a traditional narrative as sort of moves back-and-forth into the life of Molly Bloom from when she’s running her poker enterprise as well as awaiting trial for the crimes she’s being accused of.
Notably as Bloom is someone who had wanted to become an Olympic skier as she was trained and motivated by her psychiatrist father Larry Bloom (Kevin Costner) whom she has a tense relationship with as she would rarely speak with him after her Olympic career ended. Though she was meant to go to law school, she instead moved to Los Angeles and took a year off where she was a bottle service waitress and then working for a real estate dealer who often had underground poker games that would feature various people including top poker players, major athletes, and a movie star in Player X (Michael Cera). Though she is successful in Los Angeles as she would forge her own career, things do get complicated where Sorkin’s script reveal what forced Bloom to move to New York City as well as exploring her own downfall as it relates to the people she would meet and their connection to the Russian mafia. Sorkin also reveal some of Bloom’s own motivations and her own growing sense of disdain towards men of power while turning to high-priced attorney Charlie Jaffey (Idris Elba) for counsel as he’s to defend her in court yet he is someone that would get to know her and wonder what she is all about.
Sorkin’s direction is largely straightforward in terms of the compositions as it is shot on various locations in New York City, Los Angeles, and parts of Canada including Toronto with the last of the three locations playing into Bloom’s early life and her time trying to become an Olympic skier. While Sorkin does create some unique wide shots to establish some of the locations, much of his direction is intimate in its usage of medium shots and close-ups to get an interaction into the characters as well as in the framing where the poker players are in the foreground playing while Bloom is in the background looking at her laptop and observing the game. Sorkin’s direction also play into the world of underground poker and how it’s a game of wit and control as Bloom is someone who likes to be in control of everything. Notably in the film’s first half that is set in Los Angeles where Bloom has gained control and lots of money until she sees a player completely lose it as well as learn about Player X’s activities when it comes to recruiting players.
The second half set in New York City that moves back-and-forth into Bloom’s meetings with Jaffey as well as her activities in the city as she had games in expensive hotel suites and a richer clientele but would also take some money from the games that would end up being illegal. Even as it involves a drunken Irish-American businessman in Douglas Downey (Chris O’Dowd) who would introduce Bloom to the Russians as Sorkin’s direction showcases this craziness that would occur. Notably in the third act as it relates to a client in Los Angeles who played at her games as well as many other things where Sorkin shows a woman who has been trying to do things her way in a man’s world yet finds herself going into this air of uncertainty about what to do next as she faces serious trouble despite Jaffey’s help. Overall, Sorkin crafts an evocative and compelling film about a woman running an underground poker empire that would eventually fall apart.
Cinematographer Charlotte Bruus Christensen does excellent work with the film’s cinematography as it is largely straightforward with some stylish lighting for the nighttime interiors to help set the mood of the poker games as well as some of the exterior scenes at night. Editors Alan Baumgarten, Josh Schaeffer, and Elliot Graham do fantastic work with the editing as it has some elements of style in its usage of montages, jump-cuts, and stylish fade-outs to play into the drama in the film. Production designer David Wasco, with set decorator Patricia Larman and art director Brandt Gordon, does brilliant work with the look of the hotel suites, bars, and such where some of the poker games occur as well as the New York apartment Bloom lived in and Jaffey’s office. Costume designer Susan Lyall does nice work with the costumes that include a lot of the stylish and cleavage-revealing dresses that Bloom wears when she’s at work as well as the casual clothes she would wear off-work.
Hair stylist Carol Hartwick and makeup artist Alastair Muir do amazing work with the look that Bloom would take in the years of making herself look presentable for her empire. Visual effects supervisor Aaron Weintraub does terrific work with the film’s minimal visual effects that include a few bits of set dressing including scenes during Bloom’s time as a skier. Sound editors Michael J. Benavente and David McCallum, along with sound designer Todd Toon, do superb work with the film’s sound in the atmosphere of intimate card games as well as some of the sounds that occur in poker houses and some of the quieter moments in Bloom’s home and Jaffey’s office. The film’s music by Daniel Pemberton is wonderful for its low-key electronic score that play into the drama as well as some of the darker moments in the film while music supervisors Carlton Kaller and Sean Mulligan provide a soundtrack of music that is diverse ranging from artists/bands such as Thenewno2, Temple of the Dogs, Thunderpussy, the Raveonettes, Sly and the Family Stone, Alexander McCabe, Sammy Davis Jr., and Tommy James.
The casting by Francine Maisler is incredible as it feature some notable small roles from Piper Howell and Samantha Isler in their respective roles as the adolescent and teenage Bloom, Jon Bass as famous guy who tries to sell a Bloom a famous painting as collateral for a game, Claire Rankin as Bloom’s mother, Natalie Krill, Stephanie Herfield, Madison McKinley as a trio of former Playboy Playmates who work for Bloom in recruiting the players in New York City, Joe Keery as a trust fund guy named Cole, Angela Gots as a poker dealer named B who would give Bloom the idea to take a percentage of large pots, Justin Kirk as a NYC player named Jay, Whitney Peak as Jaffey’s teenage daughter Stella that Bloom befriends, J.C. MacKenzie as a federal prosecutor in Harrison Wellman who deals with Jaffey over Bloom’s case, and Graham Greene in a small yet effective performance as the judge in Bloom’s trial.
Bill Camp is terrific as a card shark in Harlan Eustice who is a skilled player that collapses after losing a game while Brian d’Arcy James is superb as a hedge fund manager in Brad who is one of the game’s worst players. Chris O’Dowd is fantastic as Douglas Downey as an Irish-American businessman that introduces Bloom to the Russians while Jeremy Strong is excellent as Bloom’s real estate developer boss who would introduce her to the world of underground poker and have her plan it only to realize that she does a better job than he does. Michael Cera is brilliant as Player X as a famous movie star who would help Bloom recruit players while doing things that make Bloom uncomfortable in Los Angeles. Kevin Costner is amazing as Bloom’s father Larry who was also her coach and a psychiatrist who had become estranged with Bloom due to their tumultuous relationship as he would appear in the third act not just to make amends with her but also understand why she is in such trouble.
Idris Elba is sensational as Charlie Jaffey as an attorney who takes Bloom’s case as he would also read her memoir where he asks some questions while trying to figure out as it is one of Elba’s finest performances including a scene where he defends Bloom as he realizes that she is really a good person despite the crimes she committed. Finally, there’s Jessica Chastain in a phenomenal performance as Molly Bloom as a woman who is driven to succeed though her hopes to be an Olympic skier is dashed forcing her to find other means yet becomes cunning in her pursuit. Chastain has this ferocity in her performance as someone that doesn’t quit but it’s also a flaw when she doesn’t know when it’s time to quit as it’s a role that has Chastain be part of some bad things but try to find an understanding of why she is driven to run an underground gambling empire that is often dominated by men.
Molly’s Game is an incredible film from Aaron Sorkin that features a great leading performance from Jessica Chastain. Along with a superb ensemble cast led by an amazing supporting performance from Idris Elba as well as Sorkin’s inventive and intriguing script that is filled with unique aspects of character study. The film is definitely a fascinating drama that explore a woman trying to succeed on her own terms in the world of underground poker that is often dominated by men. In the end, Molly’s Game is a sensational film from Aaron Sorkin.
(The Trial of the Chicago 7)
© thevoid99 2020
Based on the play by William Shakespeare, Coriolanus is the story of a general who seeks a spot in the world of politics only to put himself in trouble as he seeks the aid of an enemy to seek revenge. Directed and starring Ralph Fiennes in the titular role of Caius Martius aka Coriolanus and screenplay by John Logan, the film is a modern take of Shakespeare’s tragic play as it set in a 21st Century re-imagining idea of Rome where a man’s ambitions get him into trouble prompting him to fight back. Also starring Jessica Chastain, Gerard Butler, Vanessa Redgrave, John Kani, James Nesbitt, Lubna Azabal, and Brian Cox. Coriolanus is a gripping and evocative film from Ralph Fiennes.
A powerful yet polarizing Roman general seeks to be in the world of politics yet a couple of political officials and local Romans successfully banish him from the city forcing the Caius Martius Coriolanus to seek the alliance of his sworn enemy in Tullus Aufidius (Gerard Butler) to seek revenge on Rome. It’s a film that play into the fallacy of ambition and vengeance as it follows a man whose arrogance and disdain for low-class citizens puts him at odds with those in the Roman Senate where a couple of tribunes try to discredit him as they would do things that are just as bad as what he’s done. John Logan’s screenplay opens with Coriolanus’ rise as a general who is cunning in his beliefs as well as maintaining some rule in Rome while is at war with a neighboring nation of Volsci that is led by Aufidius. Coriolanus’ victory against Aufidius would give him stature with Coriolanus’ mother Volumnia (Vanessa Redgrave) encouraging him to go into politics.
Logan’s script doesn’t just retain much of the dialogue written by William Shakespeare but also its approach to character study with characters scheming and such for their own gain such as the characters of the tribunes Brutus (Paul Jesson) and Sicinius (James Nesbitt) vehemently dislike Coriolanus as they even gain the alliance of citizens who hate Coriolanus to join them. The film’s second half play into the aftermath of a TV interview with Coriolanus that fell apart as he’s been exiled from Rome with his family angry over the government with longtime family friend in Senator Menenius (Brian Cox) trying to smooth over the conflicts. Coriolanus goes to Volsci to find Aufidius to allow him to settle their conflict yet Aufidius is moved by his journey allowing Coriolanus to join him as both men have issues with Rome and its government that would create this unlikely alliance.
Fiennes’ direction definitely bears elements of theatricality in some scenes yet some of the film also bear elements of modern-day political films as it is shot on location partially in Britain but also areas such as Serbia and Montenegro where the story is set in the early 21st Century as if the idea of Roman times is in the modern world. The usage of the locations add to this air of chaos that is happening where Rome is presented as this rich and organized world that is shot on Britain while Volsci and other locations shot in Serbia and Montenegro showcase a world that hasn’t prospered like Rome has. Fiennes’ compositions does have elements of style such as the battle scenes where he presents it with hand-held cameras for close-ups and medium shots including the scene of Coriolanus on a TV show where he goes after his critics including the tribunes who are scheming against him. While there are some wide shots to establish some of the locations as well as scenes involving crowds and in some eerie compositions to play into the position of power. Fiennes does maintain this air of theatricality in the direction with the actors and how would place them into a frame or to create this chaos in the riots.
Even the usage of TV news add to the dramatic elements of the film as it play into Coriolanus’ journey where the third act shows him going mad with vengeance with little chance of seeing reason and make peace. Fiennes’ direction showcases a man on the edge as he is intent on destroying Rome but there are those who love and care about him who want him to stop. The tragedy isn’t just about Coriolanus’ downfall and descent into madness but also the compromises he had to make where Fiennes showcases a man who had put himself into a world that he doesn’t know little about but only to make more enemies than he did when he was just a soldier. Overall, Fiennes craft a riveting and chilling film about a Roman general’s downfall and his revenge against those who ousted him from Rome.
Cinematographer Barry Ackroyd does brilliant work with the film’s grainy digital cinematography as its usage of close-ups add to the grimy detail of the visuals as well as maintaining a drab yet naturalistic look for the scenes set at Volsci. Editor Nicolas Gaster does excellent work with the editing with its usage of jump-cuts and montages while maintaining some unique rhythm to capture the energy of some of the monologues. Production designer Ricky Eyres, with set decorator Lee Gordon and art director Radoslav Mihajlovic, does amazing work with the look of the Roman government buildings and the home that Coriolanus and his family lives in as well as the drab home base of Aufidius. Costume designer Bojana Nikitovic does fantastic work with the look of the Roman military uniforms as well as the posh clothing of the Coriolanus family that is a sharp contrast to the more rugged look of the Volsci and its people.
Hair/makeup designer Laura Schiavo does terrific work with the look of the scars on Coriolanus’ face and body as well as the tattoos he would later gain. Special effects supervisor Jason Troughton and visual effects supervisor Angela Stanley do some nice work with the look of some of the TV footage along with a few set-dressing for scenes to play into the atmosphere of war. Sound editor Oliver Tarney does superb work with the sound as it play into the raucous atmosphere of the protests, riots, and sounds of war along with the disconcerting tone in some of the dialogue in certain rooms or sets. The film’s music by Ilan Eshkeri is wonderful for its low-key orchestral/ambient score that play into the dramatic suspense as well as some of the film’s war scenes while music supervisor Ian Neil provides a music soundtrack that features a traditional music piece performed by Goran Bregovic as well as a couple of contemporary pieces by Lisa Zane and Sheer K.
The casting by Jina Jay is incredible as it feature some notable small roles from Jon Snow as a TV anchorman, Harry Fenn as Coriolanus’ young son Martius, Dragan Micanovic as Coriolanus’ subordinate Titus, Slavko Stimac as a Volsci lieutenant who doesn’t trust Coriolanus, the duo of Lubna Azabal and Ashraf Barhom in their respective roles as leading protestors against Coriolanus in Tamora and Cassius, and John Kani in a terrific performance as Rome’s leader General Cominius who is trying to ensure peace and reason despite so much opposition and controversy. Paul Jesson and James Nesbitt are superb in their respective roles as tribunes Brutus and Sicinius as two political figures who hate Coriolanus as they scheme to discredit him only to put Rome in danger during its second half. Jessica Chastain is fantastic as Coriolanus’ wife Virgilia as a woman trying to be supportive but also raises concern for her husband’s well-being as she also copes with his exile.
Brian Cox is excellent as Menenius as a Roman senator who is close with Coriolanus’ family as he is eager to help Coriolanus anyway he can while having to deal with the opposition as he struggles to maintain order and later to try and reason with Coriolanus in his vengeance towards Rome. Vanessa Redgrave is brilliant as Volumnia as Coriolanus’ mother who is an influential figure in Rome as she encourages her son to go into politics while being very angry at the tribunes who successfully banished him prompting her to get her son back and see reason. Gerard Butler is amazing as Volsci military leader Tullus Aufidius as Coriolanus’ sworn enemy who is hoping to destroy Rome and Coriolanus where he is later moved by Coriolanus’ determination following his exile as he helps him seek revenge on Rome. Finally, there’s Ralph Fiennes in a phenomenal performance as the titular character as a general who is a polarizing figure for his disdain towards common folk while is eager to rise to power only to be kicked out of Rome prompting him to seek vengeance as there’s an intensity to his performance but also an eeriness of a man driven to the edge.
Coriolanus is a marvelous film from Ralph Fiennes that features a great ensemble cast, a modern take on William Shakespeare’s character study, gritty visuals, and themes of ambition and vengeance. It’s a film that explore a man’s descent into madness in his attempt to go into politics only to be banished by the people in his home country as he also endures humility and shame that prompts him to seek revenge but at the cost of his own spirit and soul. In the end, Coriolanus is a remarkable film from Ralph Fiennes.
Ralph Fiennes Film: The Invisible Woman (2013 film) - (The White Crow)
© thevoid99 2019
Based on the novel by Andy Weir, The Martian is the story of an astronaut who is accidentally left for dead on Mars during a manned mission where he struggles to survive in the planet while the people at NASA discover he’s alive as they try to figure out how to get him back home with the man’s crew dealing with guilt of leaving him behind. Directed by Ridley Scott and screenplay by Drew Goddard, the film explores the world of science where people on Earth find a way to try and bring this astronaut home as the man himself would try to find ways to survive on the planet using what he has in his head. Starring Matt Damon, Jessica Chastain, Chiwetel Ejiofor, Kristen Wiig, Benedict Wong, Michael Pena, Sebastian Stan, Kate Mara, Mackenzie Davis, Askel Hennie, Sean Bean, Donald Glover, Eddy Ko, Chen Shu, and Jeff Daniels. The Martian is an adventurous and engaging film from Ridley Scott.
During a manned mission to Mars where an attempt to leave during a strong dust wind where an astronaut is struck by debris and is unfortunately left for dead by his crew. The film revolves around this astronaut who finds himself stuck on Mars aware that it is likely that it will take four years for another spaceship to come in and rescue him with the little rations he has where he is forced to find ways to survive. Meanwhile back on Earth, NASA who for two months believed the man to be dead make a discovery that he is alive through satellite photos as they try to find a way to get him back home but a lot of things are happening where they don’t even tell his crew for months. It’s a film that isn’t just about survival but also the need to rescue a man stranded on Mars where he is forced to left to his own devices yet would unveil what he is able to do to try and survive for the next few years.
Drew Goddard’s screenplay has a very unique narrative that moves back and forth in not just what astronaut Mark Watney (Matt Damon) does to survive on Mars where he would grow potatoes and make water in the planet thanks to his skills as a botanist. It also showcases what is happening in NASA where they try to figure out how long he can survive as well as how to create a rescue mission. The Earth portion of the narrative also play into the world of politics as NASA’s director Teddy Sanders (Jeff Daniels) ponders the financial cost as well as the risks while he also has to tell the truth to the public that Watney is alive after declaring him dead during the botched mission months earlier. For NASA, the news of Watney being alive has become a public relations nightmare for the company where it also shows what is happening behind the scenes where they also need to get help from other sources including rival space exploration companies.
At the space vessel Hermes, there is a subplot that involves Watney’s crew led by Commander Melissa Lewis (Jessica Chastain) who, along with the crew, are consumed with guilt as they’re returning home to Earth where they play a key part in the film’s third act as it relates to the rescue. While they’re aware that the journey back to Mars will take another 18 months with a special booster created by this rival company. Commander Lewis and the crew prefer to take that risk knowing that if it goes wrong, they will all die. Especially as their mission director Mitch Henderson (Sean Bean) gave them the option as he is aware of the risks not just in space but also the financial risks where he finds himself sparring with Sanders since Henderson wanted to tell Lewis and the crew about Watney once the news broke. It all play into that world of politics and when Watney who would finally communicate with NASA’s Mars mission director Vincent Kapoor (Chiwetel Ejiofor) who revealed what has been going on. Not surprisingly as there’s frustration where Kapoor and several other scientists try to find solutions where it would be a young astrodynamicist in Rich Purnell (Donald Glover) who would create what the Commander Lewis and her crew have to do as does Watney.
Ridley Scott’s direction is definitely quite vast for the world he creates not just in Mars but also outer space while also maintain a sense of ground for the fact that the film is also set on Earth. With many of the exterior scenes on Mars shot at Wadi Rum in Jordan with several interiors shot in Hungary, the film plays into a world that is quite large where Scott used a lot of wide shots for these exteriors in Mars as it has this air of mystique. Even in the some of the interiors in the base where Watney would have to live in and grow crops as Scott would also use small video cameras such as the Go-pro cameras to document everything Watney is going through. It has this air of the documentary in the film where it plays into what happens if a man is stranded alone in Mars having to survive by what he knows.
The direction is also intimate not just for the scenes inside the Hermes vessel but also on Earth where there’s a lot of discussion and squabbling going on about what to do. Scott chooses to keep things simple throughout the film by not going for anything flashy though he would utilize bits of style in some tracking and dolly shots but keep it to a minimum. The scenes at the Hermes vessel are quite entrancing to play into the world of this space vessel but also to show everyone trying to move on despite carrying this weight of guilt. While Scott is aware that it’s a sci-fi adventure film with a lot of drama, he knows that it’s a film that shouldn’t take itself too seriously by displaying the fact that Watney is kind of goofy. Even as there’s a recurring gag to the fact that the only thing playing at the base on Mars is 70s disco music that Watney hates yet it was chosen by Commander Lewis. All of which plays into a film that is about doing what is right no matter how complicated it can be. Overall, Scott crafts a riveting yet sprawling film about a man accidentally stuck on Mars and trying to survive as he awaits rescue.
Cinematographer Dariusz Wolski does brilliant work with the film‘s cinematography in creating some filters for the exterior scenes set on Mars as well as providing distinctive looks for the scenes at the Hermes space vessel and on Earth. Editor Pietro Scalia does excellent work with the editing as it‘s mostly straightforward with a few stylistic cuts for the big action sequences as well as a stylish montage sequence about the rescue planning. Production designer Arthur Max, with supervising art director Marc Homes and set decorators Celia Bobak and Zoltan Horvath, does amazing work with the look of the moon base and many of the interiors in that base as well as the space vessel interiors and rooms at NASA. Costume designer Janty Yates does nice work with the costumes in the way the astronaut suits look as well as the clothes of the people on Earth. Hair/makeup designer Tina Earnshaw and hair/makeup supervisor Csilla Blake-Horvath does terrific work with the look of Watney late in the film as he struggles to survive with the limited resources he had.
The visual effects work of Chris Lawrence, Anders Langlands, Richard Stammers, and Steve Warner is fantastic for the look of outer space as well as the Hermes space vessel along with some set dressing for the Mars exteriors. Sound designers Michael Fentum and Oliver Tarney do superb work with the sound in the way the dust winds sound in and out of the base as well as some of the computers and such along with the sparse and more natural sounds for the scenes in Earth. The film’s music by Harry Gregson-Williams is wonderful for its orchestral-based score that has some bombast in some of its intense moments while being low-key in its somber moments. The film’s soundtrack is definitely a joy to listen to not just in the fact that it consists a lot of classic 70s pop and disco music from the likes of ABBA, the Hues Corporation, Donna Summers, Thelma Houston, the O’Jays, Gloria Gaynor, and Vickie Robinson as well as inspired usage of David Bowie’s Starman.
The casting by Carmen Cuba and Nina Gold is incredible as it features some notable small roles from Eddy Ko and Chen Su as key officials from the Chinese Space program, Donald Glover as the astrodynamicisist Rich Purnell who comes up with an idea for the Hermes to travel back to Mars, Benedict Wong as a Jet Propulsion Laboratory director who tries to come up with ideas in saving Watney, and Mackenzie Davis as the NASA satellite planner Mindy Park who would be the one to discover that Watney is alive through satellite photos. Other notable small roles as members of the Ares III team includes Askel Hennie as the team’s navigator/chemist Dr. Alex Vogel, Sebastian Stan as flight surgeon Dr. Chris Beck, Kate Mara as the system operator Beth Johanssen, and Michael Pena as the team’s pilot Rick Martinez who is Watney’s closest friend.
Chiwetel Ejiofor is superb as the Mars mission director Vincent Kapoor who would be the first to communicate with Watney as he realizes with the severity of what is happening as he tries to figure out what to do to save him. Sean Bean is fantastic as the Ares III mission director Mitch Henderson who wanted to tell his crew that Watney is alive as he spars with Sanders about what to do. Kristen Wiig is terrific as NASA’s media relations director Annie Montrose who tries to smooth over all of the bad publicity NASA is facing as well as figure out how to save face for NASA. Jeff Daniels is excellent as NASA’s director Teddy Sanders who is trying to see anyway NASA can save money but also wanting to do what is right with caution. Jessica Chastain is amazing as Commander Melissa Lewis as the Ares III leader who deals with guilt of leaving Watney behind as she would later try to figure out every scenario into getting him back as a way to do what is right. Finally, there’s Matt Damon in a phenomenal performance as Mark Watney as the astronaut who is accidentally stranded on Mars following a freak accident where he manages to find a way to survive with his expertise on botany and wit while also providing some charm, humor, and humility to his role as it’s one of Damon’s finest performances.
The Martian is a spectacular film from Ridley Scott that features an incredible performance from Matt Damon. Along with a strong ensemble supporting cast, dazzling visuals, compelling themes on science, and a fun music soundtrack. The film isn’t just a sci-fi adventure film that doesn’t play dumb as well as reveal what might happen on a manned mission to Mars. It also showcases how someone is willing to survive with a positive attitude despite his hatred for disco. In the end, The Martian is a magnificent film from Ridley Scott.
Ridley Scott Films: (The Duellists) - Alien - Blade Runner - (Legend) - (Someone to Watch Over Me) - (Black Rain) - (Thelma & Louise) - (1492: Conquest of Paradise) - (White Squall) - (G.I. Jane) - (Gladiator) - (Hannibal) - (Black Hawk Down) - (Matchstick Men) - (Kingdom of Heaven) - (A Good Year) - (American Gangster) - (Body of Lies) - (Robin Hood) - Prometheus - (The Counselor) - (Exodus) - (Alien: Covenant) -All the Money in the World
© thevoid99 2016
Directed by Guillermo del Toro and written by del Toro and Matthew Robbins, Crimson Peak is the story of a young woman who marries an aristocrat as she moves into her husband’s mansion as it is filled with ghosts and other things. The film plays into a woman with an interest in the supernatural as she gets more than she bargains for in her new life. Starring Mia Wasikowska, Tom Hiddleston, Jessica Chastain, Charlie Hunnam, and Jim Beaver. Crimson Peak is an entrancing yet eerie film from Guillermo del Toro.
Set in the early 20th Century, the film revolves around a young author who meets a British aristocrat as she falls for him where they later marry where she would live into his decayed mansion with his sister as the home is filled with ghosts and other mysterious things. It’s a film that plays into a young woman who has been fascinated with ghosts since she was a child as she wants to write stories with ghosts. Upon meeting this aristocrat, Edith Cushing (Mia Wasikowska) is intrigued by this man though appearance in clothing and other eccentricities raises the suspicions of her father (Jim Beaver) and family friend Dr. Alan McMichael (Charlie Hunnam). Once she marries Thomas Sharpe (Tom Hiddleston) and moves into their home, many mysterious occurs as well as the treatment she is receiving from his sister Lucille (Jessica Chastain).
The film’s screenplay by Guillermo del Toro and Matthew Robbins doesn’t just play into Edith’s fascination with ghosts but also with those that don’t play by conventional behavior or play by certain rules. It’s among the reasons why she would be attracted to someone like Thomas as he wears clothes that are out of style while having ideas that seem to be very radical. While Edith’s father is aware of what Thomas wants, he is suspicious about him and his sister as he asks for some investigation into who the Sharpes are. Upon realizing what they’re up to, things don’t go as they’re planned once Edith marries Thomas where she does question the things that go on in the house as well as other odd things. Thomas and Lucille Sharpe are strange not just for the Gothic clothes they wear but also in the house they live which is decaying and in need of work.
While the two do share ideas of what they want to, Thomas is the kinder of the two where it seems like he is falling for Edith for her money but he becomes more fascinated with her as the story progresses. Lucille however, is a very troubling woman as someone who has a very dark demeanor as she doesn’t seem to like having Edith around where she always gives her tea and pretend to be very kind towards her. Yet, even she knows that Edith knows what they’re probably up to which adds a much darker edge to her character. Once more revelations towards the Sharpe are unveiled, the story definitely becomes more engaging in terms of the drama and the stakes that occur. Though it does deviate from many of the conventions that is expected in horror, del Toro and Robbins do make it more about the setting and the relationship of the characters rather than going for the big scares.
Guillermo del Toro’s direction definitely owes a lot to not just Gothic imagery and set pieces but also mythological elements that explores the idea of ghosts and what they want. While it doesn’t play towards many of the conventions of horror in terms of big scares, del Toro is more concerned with the story as it relates to Edith’s own fascination with ghosts and her need to find more in her somewhat sheltered existence as a writer. Shot largely in Toronto as both Buffalo, New York and as England, the film maintains this look that is quite unique from the sepia-drenched look of Buffalo where everything feels modern and progressing as opposed to the world of the Sharpes which represents the old world that is decaying and trying to catch up with the modern world. The usage of the wide and medium shots gives del Toro the chance to breathe life into these landscapes with some unique tracking shots for many of those exteriors.
For the scenes set in England, del Toro definitely plays up the Gothic tone of the film where he knows how to create suspense as it relates to the ghosts that Edith encounters. It’s mixture of terror and mystery definitely play into the home of the Sharpes where it is a home is surrounded by red mud that is covered in snow and a basement filled with more red mud. The direction would have del Toro create some unique images but also a sense of dread which doesn’t just relate to the Sharpes and their past but also what is happening to Edith. Once the mysteries relating to the Sharpes are unveiled, the film does take on a darker yet more dramatic tone where lots of conflicts would occur as it’s not just about love but also death. Overall, del Toro crafts a mesmerizing yet thrilling film about a young woman’s marriage to an aristocrat and her encounter with dark spirits in the new home she moves into.
Cinematographer Dan Laustsen does phenomenal work with the film‘s ravishing cinematography from its usage of candles to maintain an atmosphere in some of the interior scenes as well as the usage of sepia-drenched colors for many of the scenes set in Buffalo along with the usage of blue at the Sharpes‘ mansion. Editor Bernat Vilaplana does brilliant work with the editing with its stylish usage of transition wipes as well as jump-cuts and other stylish cuts to play into its suspense and drama. Production designer Thomas E. Sanders, with art director Brandt Gordon and set decorators Jeffrey A. Melvin and Shane Vieau, does amazing work with the set design from the home of Edith lived in Buffalo to the many rooms and exterior setting at the Sharpes‘ family home. Costume designer Kate Hawley does excellent work with the clothes from the clothes that the men wear to the gowns that the women wear including the very colorful yet eerie dresses that Lucille wears.
Special effects makeup artists Jason Detheridge, Nacho Diaz, and Neil Morrill do fantastic work with the look of the makeup of some of the gore that occurs in a few characters including the hairstyles that Edith and Lucille sport. Visual effects supervisor Dennis Berardi do excellent work with the visual effects from the design of the ghosts as it has this very eerie yet evocative look to them that is scary but also entrancing. Sound editor Dennis Leonard and sound designer Randy Thom do superb work with the sound in creating some unique sound effects for the ghosts as well as creating some mixing for some of the atmospheric textures for its suspenseful moments. The film’s music by Fernando Velazquez does remarkable work with the music as it is this lush orchestral music that plays into the drama and suspense which features a mixture of string arrangements and piano pieces while music supervisors Peter Afterman and Margaret Yen provide some classical music that Lucille would often play.
The casting by Robin D. Cook does wonderful work with the casting as it features some notable small roles from Leslie Hope as Dr. McMichael’s mother, Emily Coutts as Dr. McMichael’s sister, Burn Gorman as an inspector named Holly that Edith’s father hired to find out about the Sharpes, Sofia Wells as the young Edith, and as ghosts, Doug Jones and Javier Botet who both provide their physical selves for movements of the ghosts. Jim Beaver is excellent as Edith’s father Carter Cushing as a self-made man who is suspicious about the Sharpes’ as he is more concerned for Edith’s safety and happiness as it’s a very engaging performance from the veteran actor. Charlie Hunnam is fantastic as Dr. Alan McMichael as a childhood friend of Edith who knows a lot about bodies and such where he is also suspicious of the Sharpes’ where his investigation about them would have him come to England.
Jessica Chastain is incredible as Lucille Sharpe as this woman who is reluctant about having Edith in her family as it becomes clear that she doesn’t really like her as it’s a performance that is very dark and also quite scary at times where Chastain goes all out towards the film’s third act as it is definitely one of Chastain’s finest performances. Tom Hiddleston is brilliant as Thomas Sharpe as a baronet who falls for Edith as he brings her to England while hoping some of her financial connections could help him with his mining machine as it’s an ambiguous performance which has Hiddleston showing some conflict in his devotion towards Lucille and love for Edith. Finally, there’s Mia Wasikowska in an amazing performance as Edith Cushing as an aspiring writer who falls for the mysterious Thomas Sharpe where she moves into his home and encounter ghosts which only furthers her fascination with them while dealing with the darker aspects of her home as it’s one of Wasikowska’s finest performances.
Crimson Peak is a phenomenal film from Guillermo del Toro. Featuring a great cast, dazzling visuals, a sumptuous score, and an entrancing story. The film is a very unusual yet enthralling one from del Toro that doesn’t play into the conventions of horror while bending all sorts of genres to create something that is very different. In the end, Crimson Peak is a sensational film from Guillermo del Toro.
Guillermo del Toro Films: Cronos - Mimic/Mimic (Director's Cut) - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - The Shape of Water - Nightmare Alley (2021 film) - Pinocchio (2022 film) - The Auteurs #10: Guillermo del Toro
© thevoid99 2015
Directed by Christopher Nolan and written by Christopher and Jonathan Nolan, Interstellar is the story of an engineer who takes part into an interstellar mission to find a habitable planet through wormholes in the hopes he can save humanity including the children he’s leaving behind. The film is an exploration into the world of outer space and the world beyond where a man joins a space crew to find salvation just as Earth is in ruins. Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, Wes Bentley, and Michael Caine. Interstellar is a grand yet exhilarating film from Christopher Nolan.
Set in a world where planet Earth is being destroyed by dustbowls and are forced to live on whatever agricultural resources they have, the film is about an engineer who is asked to go to outer space to find a habitable planets through a wormhole as he is forced to leave his children behind. Through this mission, Cooper (Matthew McConaughey) tries to find a world in the hopes to save humanity but things become complicated as time becomes sparse due to time dilation. Back on Earth, Cooper’s daughter Murph (Jessica Chastain) tries to finish a theory left behind by Professor Brand (Michael Caine) in the hope that her father comes back. It’s a film that plays into ideas of theory of relativity as well as a man trying to do whatever to save humanity and return home to his family.
The film’s screenplay by Christopher and Jonathan Nolan doesn’t just explore the concept of interstellar travel where time becomes very complex where an hour spent in a planet can actually take years on Earth or any part of the galaxy. It adds to the dramatic aspect of the story and Cooper’s desire to hoping to come home and make a difference as his absence made it hard for his daughter to deal with. Even as Murph as she gets older becomes resentful while wondering if there was any kind of hope to the mission at hand. There’s also a sense of desperation that occurs between Cooper and Brand’s daughter Amelia (Anne Hathaway) who is part of the mission as she is trying all she can to make sure they succeed but complications ensue where their encounters with a planet to retrieve data from previous missions begin to fall apart.
While the script does have a traditional structure where its first act is set on Earth as Cooper tries to uncover a series of mysterious messages he found with a younger Murph (Mackenzie Foy) that lead him to be contacted by Professor Brand. Yet, what Cooper is asked to do by Brand would be a hard decision to make as it would hurt him to leave Murph and his son Tom (Timothee Chalamet) as the film’s second act is about Cooper’s mission in space with Amelia and two other astronauts in Romilly (David Gyasi) and Doyle (Wes Bentley) where it takes them two years to travel from Earth to the wormhole near Saturn. Then comes this third act where it crisscross the narratives of both Cooper and the adult Murph where the latter tries to finish Brand’s theory as well as figure out the codes that she encountered as a child. Especially as they both have to deal with forces that would prevent a reunion between father and daughter from happening.
Christopher Nolan’s direction is definitely astonishing in terms of the visual scope that he presents. Shot in this 2:35:1 aspect ratio in 35mm film, which is also blown up for 70mm, as it has this grand look in terms of scale for the scenes not just set in outer space but also in some of the planets the characters are in. Some of it is shot in Iceland while scenes set on Earth are shot in Alberta, Canada as it plays into something that feels like a Midwest film that are shot very naturally while the scenes on these mysterious planets have something that feels very alien-like. The usage of wide shots with some crane cameras and other shooting styles add to the massive scope of the film that includes this sequence in these strange mountain-like locations where it adds to a sense of mystique about what might be out there.
Still, it is a film about a father and a daughter trying to reunite as the former is trying to find some kind of hope where it feels like a few years for him but it’s much longer than that on Earth. The complexity of the film’s narrative and sense of time is very prevalent which does add to some of the exposition that occurs on film though it does get overwhelming at times. Even in its third act where there is a sense of conventional drama that occurs as it does take away some of the unconventional aspects of the film that was working though there is a payoff that is satisfying which plays to the emotional crux of the film. Overall, Nolan creates a very rapturous yet evocative film about a man going to outer space to save his daughter and humanity in the hopes to find a new world.
Cinematographer Hoyte van Hoytema does brilliant work with the film‘s cinematography from the naturalistic look of the farmland locations in Canada to the array of lights and shading for much of the film‘s interior setting including the shots set in outer space. Editor Lee Smith does amazing work in creating some very straightforward cuts for the drama while going for unique rhythms in the space travels including the wormhole sequence along with some intense moments in the film. Production designer Nathan Crowley, with set decorator Gary Fettis and supervising art director Dean Wolcott, does excellent work with the design of the space ships Cooper and his team travel in as well as the robots they‘re accompanied with along with the NASA base that Professor Brand would work at.
Costume designer Mary Zophres does nice work with the costumes from the casual look of the characters on Earth to the design of the astronaut suits. Visual effects supervisor Paul Franklin does fantastic work with the visual effects for some of the scenes set in outer space to the movement of the robots plus some set-dressing for some of the planets. Sound editor Richard King does superb work with the sound to convey the sense of silence of exterior scenes in space as well as the sounds of rockets and some of the locations in its surroundings. The film’s music by Hans Zimmer is incredible for its mixture of soaring orchestral textures mixed in with minimalist electronic music to play into the sense of mystique that is prevalent in the film.
The casting by John Papisdera is phenomenal as it features some notable small roles from David Oyelowo as Murph’s school principal, William Devane as a NASA official, Matt Damon as a scientist who been part of an earlier mission, Topher Grace as a doctor friend of Murph, Leah Cairns as Tom’s wife, Liam Dickinson as Tom’s son Coop, Timothee Chalamet as the young Tom, and John Lithgow in a terrific role as Cooper’s father-in-law Donald who says some of the film’s funniest lines. Voice performances from Josh Stewart as CASE and Bill Irwin as TARS are excellent as they bring some soul to the machine as these robots that help the team in space with the latter being the most humorous. Casey Affleck is superb as Murph’s older brother Casey who also misses his father as he tries to cope with loss and saving the family farm.
Wes Bentley is wonderful as the geographer Doyle who tries to understand the wormholes and planets while David Gyasi is fantastic as the physicist Romilly who tries to understand the idea of space and time itself. Michael Caine is great as Professor Brand as a scientist who tries to prove a theory about how to save Earth as he copes with trying to do what is right as well as deal with the implications. In the roles of Murph, there’s Mackenzie Foy in a great performance as the young Murph who tries to cope with her father’s departure while Jessica Chastain is amazing as the older Murph as a woman filled with resentment as she tries to finish Professor Brand’s theory. In the brief role of the eldest Murph, Ellen Burstyn is brilliant in telling the story of what it was like in the dustbowl to explain the severity of the mission.
Anne Hathaway is incredible as Amelia Brand as a fellow astronaut who tries to keep things going while dealing with her own emotional baggage as tries to make sense of the stakes of the mission. Finally, there’s Matthew McConaughey in a magnificent performance as Cooper as this former pilot turned engineer who takes on a mission to space in the hopes that his family can survive beyond the dustbowl as he struggles with his own emotional baggage as well as the mission at hand.
Interstellar is a sensational film from Christopher Nolan. Armed with a great ensemble cast led by Matthew McConaughey as well as intriguing concepts about space, interstellar travel, and theories of relativity and time. It’s a film that is sci-fi at its most complex with some astonishing visuals that is backed up with a powerful story of a man trying to bring a future of hope for his children. In the end, Interstellar is a remarkable film from Christopher Nolan.
Christopher Nolan Films: Following - Memento - Insomnia - Batman Begins - The Prestige - The Dark Knight - Inception - The Dark Knight Rises - Dunkirk - Tenet - Oppenheimer - The Auteurs #13: Christopher Nolan
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