Manhunter

Based on the novel Red Dragon by Thomas Harris, Manhunter is the story of a FBI profiler who comes out of retirement to find a serial killer and capture him while dealing with his own past and demons relating to another serial killer he had captured years ago. Written for the screen and directed by Michael Mann, the film is a suspense-thriller that has a man trying to find a killer and his approach to murder as he also has to get help from the man who had been haunting him for much of his life. Starring William Petersen, Kim Greist, Joan Allen, Dennis Farina, Stephen Lang, Tom Noonan, and Brian Cox as Dr. Hannibal Lecktor. Manhunter is a riveting and eerie film from Michael Mann.

The film revolves around a FBI profiler who is coaxed out of retirement to find a serial killer as he tries to understand what the killer is doing while still reeling from past demons relating to capturing another serial killer in Dr. Hannibal Lecktor. It’s a film that is more about a man trying to understand what this killer is doing after he had killed a couple of families in Birmingham, Alabama and Atlanta while is aware that the killer is trying to play mind games on him. Michael Mann’s screenplay is a character study of sorts as it relates to the FBI profiler Will Graham (William Petersen) who had retired a few years ago after capturing Dr. Lecktor where he later had a mental breakdown that lead to his retirement. It was friend and fellow FBI agent Jack Crawford (Dennis Farina) who asked Graham to come out of retirement due to a series of murders as Graham reluctantly agree as a promise to his wife Molly (Kim Greist) to not be involved in any action other than examine.

Graham’s method in trying to see what a killer is thinking and how he would approach things added to his mental breakdown as he would turn to Dr. Lecktor for advice which would only make things worse as Graham is trying to maintain his sanity. The killer known as the Tooth Fairy (Tom Noonan) because of the bite marks he would leave on his victims wouldn’t be seen until the film’s second half as he is revealed to be an admirer of Dr. Lecktor’s work as a reporter in Freddy Lounds (Stephen Lang) would complicate things for Graham who would use Lounds to lure the Tooth Fairy with Graham choosing to be bait. Yet, the Tooth Fairy is a man that is entranced by certain details and has a hard time coping with reality leading to an eventual showdown between him and Graham.

Mann’s direction is definitely stylish for some of the visual presentation he creates in a film that is more about a man trying to understand a killer rather than go after him in a frantic manhunt. Shot on various locations in Atlanta, Miami, Chicago, St. Louis, Washington D.C., and parts of Alabama, the film does play into an investigation that is filled with intrigue but also uncertainty into what is happening as two of the murders happened in Atlanta and Birmingham where Mann uses the locations to help play into the atmosphere along with these family home movies of the victims. While Mann uses wide shots to establish some of the locations as well as the attention to detail in the home of the Tooth Fairy. Much of his direction emphasizes on close-ups and medium shots to get some of the details into what Graham is trying to look for. Notably in the camera movements where Graham would go into the homes of the victims to see how the Tooth Fairy might’ve done his murders as well as the surroundings outside of the house for clues.

The scenes with Dr. Lecktor are very low-key and intimate where even though the character only appears in three scenes in the film. He does make a chilling impression as someone that feels vindicated that he’s managed to make Graham uneasy but is willing to help him to see who is trying to copy him which adds to the dark nature of the film. There aren’t many moments in the film that are violent other than the killing of a few characters and its climax involving the Tooth Fairy, a blind woman named Reba McClaine (Joan Allen), and Graham. Still, Mann maintains that need to understand what the Tooth Fairy is doing and where he might be just as the man seems to be finding a sense of normalcy only to deal with the realities of the world and what he must do. Overall, Mann creates a gripping and evocative film about a FBI profiler trying to catch a killer and understand his methods without trying to lose his sanity.

Cinematographer Dante Spinotti does incredible work with the film’s cinematography as it is infused with style with some bluish filters for a few scenes at night involving Graham and his wife along with the usage of green lights to play into the world of the Tooth Fairy as well as exterior scenes at night including its climax with stylish approach to lighting. Editor Dov Hoenig does excellent work with the editing with its usage of jump-cuts, slow-motion freeze-frame shots, and other stylish cuts that play into the suspense. Production designer Mel Bourne and art director Jack Blackman do amazing work with the look of the Tooth Fairy’s home as well as the offices and home that Graham and his family live in. Costume designer Colleen Atwood does nice work with the costumes as it is mainly straightforward that include some of the clothes that the Tooth Fairy wears including his disguise which has an element of dark humor.

Special makeup designers John Caglione Jr. and Doug Drexler do terrific work with the look of the Tooth Fairy as it has this creepiness to who he really is. Special effects supervisor Joe Digaetano does wonderful work with some of the film’s minimal visual effects that play into a dream sequence of Graham seeing one of the victims. Sound editor Robert R. Rutledge does superb work with the sound in creating an atmosphere as well as capturing sound for tape recorders and other effects that help add to the suspense. The film’s music by Michel Rubini and the Reds is brilliant for its electronic-based score with some ambient textures and eerie synthesizer arrangements that add to the drama and suspense with a few songs from the Prime Movers, Red 7, and Shriekback to add to some of the drama as well as a chilling usage of Iron Butterfly’s In-A-Gadda-Da-Vida for its climax.

The casting by Bonnie Timmerman is great as it feature some notable small roles and appearances from Paul Perri as Dr. Sidney Bloom who is concerned about Graham’s mental condition, David Seaman as Will and Molly’s son Kevin Graham who would ask his father about what happened to him and Dr. Lecktor, Frankie Faison as a St. Louis police lieutenant, Chris Elliott as a FBI official, and Benjamin Hendrickson as Dr. Frederick Chilton who is the warden at the prison that is holding Dr. Lecktor. Stephen Lang is superb as the reporter Freddy Lounds whom Graham doesn’t like as he would stir trouble forcing Graham and Crawford to use him as a way to get the Tooth Fairy’s attention for an ad that eventually leads to trouble. Kim Greist is terrific as Graham’s wife Molly as a woman who is worried for her husband as she knows what he has to do as she would have a moment to deal with the possible presence of the Tooth Fairy.

Joan Allen is fantastic as Reba McClaine as a blind co-worker of the Tooth Fairy that would fall for him unaware of who he really is as she would also unknowingly spark jealousy for him. Dennis Farina is excellent as Jack Crawford as Graham’s partner who coaxes Graham out of retirement while helping him with the investigation while also keeping an eye on him for Graham’s wife to ensure that Graham doesn’t lose it. Tom Noonan is amazing as Francis Dollarhyde/the Tooth Fairy as a mysterious serial killer who is a fan of Dr. Lecktor’s works prompting him to do his own killings as a way to deal with ills of the world as well as his fascination for certain individuals and the world they live as it’s a restrained yet chilling performance from Noonan.

Brian Cox is incredible as Dr. Hannibal Lecktor in a role that is small yet impactful in terms of the discomfort he brings into the film. It’s a performance that also requires restraint where Cox doesn’t do anything creepy other than just talk and showcase some dark humor as it is his most iconic performance of his career. Finally, there’s William Petersen in a phenomenal performance as Will Graham as a FBI profiler who is coaxed out of retirement to investigate a series of murders where he tries to understand what Dollarhyde is doing while coping with his own demons following his capture of Dr. Lecktor forcing him to take action to find the Tooth Fairy.

Manhunter is a spectacular film from Michael Mann that features tremendous performances from William Petersen, Tom Noonan, and Brian Cox. Along with its ensemble cast, study on forensics and investigation, chilling tone, Dante Spinotti’s entrancing photography, and a haunting music soundtrack. The film is definitely a tier-top suspense drama that is more about character and ideas rather than action that adds to the sense of intrigue not often common with suspense films. In the end, Manhunter is a sensational film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief (1981 film) - The Keep – L.A. Takedown – The Last of the Mohicans (1992 film) - Heat – The Insider – Ali – Collateral – Miami Vice – Public Enemies (2009 film) – Blackhat - Blackhat - Ferrari - (Heat 2)

Related: (Silence of the Lambs) – (Hannibal) – (Red Dragon) – (Hannibal Rising) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2019

Room (2015 film)

Directed by Lenny Abrahamson and written by Emma Donoghue that is based on her novel, Room is the story of a young woman and her son who had been captives of a man where they lived in a single room for years until their years of captivity ends where they struggle to return to society. The film explores the bond between a mother and child as they endure life in captivity where they use their imagination to not think about the severity of their situation. Starring Brie Larson, Jacob Tremblay, Sean Bridgers, Joan Allen, and William H. Macy. Room is an enchanting and heartfelt film from Lenny Abrahamson.

For seven years, a young woman had been held captive inside a garden shed by a man who kidnapped her as she is raising her five-year old son where they plot to find a way to escape. It’s a film that plays into a mother and child dealing with a world that only the child knows inside this little garden shed he calls room but also wondering what is out there forcing his mother to tell him fantasies to shield him from what is really happening. Yet, the severity of their situation which includes their captor’s lack of funds and carelessness would force them to do something but the bigger challenge would come after they escape from their sheltered environment.

Emma Donoghue’s screenplay does have a unique structure where much of its first act revolves around life in this little garden shed where Joy (Brie Larson) and her son Jack (Jacob Tremblay) live in this world where they would eat whatever they have and live in a place where not everything is working. For Jack, it’s all he knows while Joy copes with the fact that she could only get things to her if she allows her captor to have sex with her with Jack only hearing the activity in the wardrobe. With the situation becoming dire due to the captor‘s money troubles, Joy realizes that something must be done where Jacob would have to make an escape for the both of them. Once the film moves into its second act and third act where Joy and Jack are back in the real world, the real struggle occurs as Joy is forced to deal with a world that has changed.

Even as she becomes concerned for Jack’s well-being and how he would interact with the new world as well as with people he doesn’t know like his grandparents (Joan Allen and William H. Macy). The script also delves into the aftermath of not just Jack dealing with his new surroundings but Joy succumbing into the trauma of what she had experienced under captivity. Especially with the realities of what happened to her family as her mother lives with a new boyfriend named Leo (Tom McCamus) where the two would provide a helpful platform for Jack to have a normal childhood. The film’s third act doesn’t just play more into Joy’s struggle and Jack’s slow progression into the real world but also the bond between mother and child.

Lenny Abrahamson’s direction is entrancing not just for the intimacy that he creates but also in the way he uses space and the lack of it inside this tiny shed. Abrahamson’s usage of close-ups and medium shots help play into the intimacy of the room which is a character itself with its decayed toilet, old bed, stained wardrobe, an old bathtub, and a toaster oven that doesn’t work all the time. The way Abrahamson uses close-ups for the characters don’t just play into this bond between mother and son but also in what they must endure. Even as the sound would play into the presence of their captor who is heard before he’s even seen. Once the film moves into its second act in the aftermath of the Joy and Jack’s freedom, the usage of the wide shots become prominent but there are still elements of close-ups and medium shots to play into their new surroundings. The shots of the cities and suburbs help with the sudden sense of shock the two have where it feels very otherworldly. Since the shed they live only has a window on its roof, it does come as a sense of shock once the characters be part of the world of the city and suburbia.

While Jack obviously has no idea what he’s encountering, Abrahamson does take great care into making his interaction with the new world be handled slowly. Even in a scene where he wakes up one morning where he meets with Leo who decides to playful about eating breakfast that becomes a key moment for Jack to interact with someone other than his mother. It’s among the moments that is quite touching while there is some heavy drama that relates to Joy’s own struggles to reacquaint herself with the world forcing the bond between mother and son to be more important than ever. Overall, Abrahamson creates a powerful and evocative film about a mother son and dealing with being sheltered from the world from an evil captor.

Cinematographer Danny Cohen does brilliant work with the film‘s cinematography to play up the low-key lighting and intimacy for the scenes set inside the room while displaying brighter lighting schemes and textures for the interior/exterior scenes in the second and third act. Editor Nathan Nugent does amazing work with the editing with its stylish usage of jump-cuts, slow-motion, and montage-style cuts to play into the dramatic elements of the film. Production designer Ethan Tobman, with set decorator Mary Kirkland and art director Michelle Lannon, does fantastic work with the design of the room with great attention to detail from the look of the appliances and the rug which is sharp contrast to the more spacious world where Joy used to live.

Costume designer Lea Carlson does nice work with the costumes as it‘s mostly casual from the decayed and sort of de-colored clothes that Joy and Jack wear early in the film to the newer and cleaner clothes they would wear following their escape. Visual effects supervisor Ed Bruce does terrific work with some of the minimal visual effects as it relate to a few of the exterior settings in the film including bits of the city the characters live at. Sound editor Niall Bradley and sound designer Steve Fanagan do excellent work with the sound to help create a sense of dread in scenes where Joy‘s captor starts to come in along with a few things inside the room as it plays into the tense atmosphere of where they live. The film’s music by Stephen Rennicks does wonderful work with the film’s music as it’s mostly plaintive piano pieces with elements of folk and low-key orchestral pieces that play into the drama while its music soundtrack features most ambient and post-rock pieces.

The casting by Robin D. Cook and Fiona Weir is incredible as it features some notable small roles Amanda Brugel and Joe Pingue as a couple of police officers who would find Jack in his escape, Wendy Crewson as a TV talk show host who interviews Joy in the film’s second half, and Cas Anvar as the psychologist Dr. Mittal who watches over Jack’s progress into society. William H. Macy is superb as Joy’s father Robert as a man who tries to handle all of the legal things relating to the case but has trouble dealing with the presence of his grandson. Tom McCamus is fantastic as Joy’s mother’s boyfriend Leo who slowly bonds with Jack as he finds a way to connect with him while being the male figure the boy can turn to. Sean Bridgers is excellent as the captor known as Old Nick as a man who is very creepy and determined to keep Joy and Jack in captivity where he has the code to get in and get out of the shed while being quite abusive at times towards Joy.

Joan Allen is brilliant as Joy’s mother Nancy who becomes concerned for her daughter’s well-being and behavior in the aftermath of her return while slowly connecting with Jack in unexpected ways. Jacob Tremblay is phenomenal as Jack as a young boy who has been sheltered for much of his life as he is someone with an absolute sense of imagination and an innocence that is just engaging as it’s really an unforgettable performance. Finally, there’s Brie Larson in a magnificent performance as Joy Newsome as a young woman who was kidnapped by a man when she was 17 as she copes with not just being in captivity but also raising her son where she later has trouble adjusting to returning to society and the changes in the world as it’s Larson in one of her best performances to date.

Room is an outstanding film from Lenny Abrahamson that features great performances from Brie Larson and Jacob Tremblay. Along with a strong supporting cast and a gripping story of a mother’s bond with her son in captivity. It’s a film that manages to be a lot of things and more where it isn’t afraid to have a bit of fantasy while being grounded in the harsh world of reality. In the end, Room is a spectacular film from Lenny Abrahamson.

Lenny Abrahamson Films: (Adam & Paul) - (Garage (2007 film)) - (What Richard Did) - Frank

© thevoid99 2015

The Ice Storm

Originally Written and Posted at Epinions.com on 12/21/04 w/ Additional Edits.

One of the more recent prolific directors in cinema, Taiwan-born Ang Lee has made films in his homeland whether it was the dramas Eat Drink Man Woman and The Wedding Banquet or the martial-arts masterpiece Crouching Tiger, Hidden Dragon. Yet, he's also ventured into the world of Hollywood with the Civil War drama Ride with the Devil, the Jane Austen adaptation of Sense & Sensibility, and more recently, a big-budget action flick with Hulk. In 1997, Lee goes to the early 1970s in America where the age of cynicism begins as the ideals of American family life begins to disintegrate based on a novel by Rick Moody entitled The Ice Storm.

Adapted into a script by producer James Schamus, The Ice Storm is a family drama about a man and wife whose perfectly good marriage disintegrates as the man has an affair with his neighbor while his wife is trying to find fulfillment in her boring role as a housewife. Meanwhile, their children begin to explore sexuality and angst while looking at the world through their own sense of cynicism around Thanksgiving in 1973. With its central characters trying to find something, they realize that what they seek isn't, as it seems when tragedy collides through one night on an icy storm. Starring Kevin Kline, Joan Allen, Sigourney Weaver, Jamey Sheridan, Henry Czerny, Allison Janney, Tobey Maguire, Katie Holmes, Christina Ricci, Elijah Wood, and Adam Hann-Byrd. The Ice Storm is a brilliant, provocative drama from Ang Lee and company.

16-year old Paul Hood (Tobey Maguire) is at a NYC prep school where he's become attracted to his classmate Libbets Casey (Katie Holmes).  Paul yearns to win her affections before his lothario roommate Francis (David Krumholtz) can.  Paul's family lives a small town in Connecticut as his parents Ben (Kevin Kline) and Elena (Joan Allen) are preparing for Thanksgiving with Paul set to return.  Paul's 14-year old sister Wendy (Christina Ricci) becomes intrigued by the Watergate scandal which prompts her to gain a cynical view on the world.  Ben and Elena eat dinner with Jim (Jamey Sheridan) and Janey Carver (Sigourney Weaver) where Elena begins to suspect something isn't right in her marriage in the way Ben eyes Janey.  Even as she begins to reminisce her own childhood when she saw Wendy ride a bike during a book sale where the local minister (Michael Cumpsty) attends.

Ben spends part of his time at work with rival George Clair (Henry Czerny) while his off-time sleeping with Janey while Wendy spends time with Janey's eldest son Mikey (Elijah Wood).  Mikey's younger brother Sandy (Adam Hann-Byrd) is reaching adolescents as he blows up toys and discovering sex when Wendy tries to expose herself.  Wendy's time with Mikey eventually leads to trouble as Mikey becomes more aloof towards the world.  When Paul returns home for Thanksgiving, things become chaotic when Wendy spouts remarks towards the U.S. government during grace.  Elena learns that their friend Dot Halford (Allison Janney) is throwing a party the next day as she and Ben reluctantly attend.  Paul goes to New York City to attend a party Francis is holding as Libbets is there where things don't go well as Paul hopes for.

At the Halford party, Ben and Elena learn it's a key party as the Carvers also attend where Elena decides to get into the party where things unravel.  Wendy decides to go see Sandy while Mikey roams outside during the cold November night where a night of party and intrigue becomes tragic.

What makes The Ice Storm such a compelling film is Ang Lee's approach to storytelling. Taking Schamus' wonderfully structured screenplay, the film builds up to a certain momentum where by the second half when the Hoods go to the party is where everything begins it sense of deconstruction. While the film has a lot of sexuality, there isn't any nudity shown but it doesn't matter with this film since Lee is playing an outsider in trying to discover what drives these people into behaving the way they act. Is it the cynicism that is surrounded by the American government or the idea that the American dream and ideal is over? The film plays well with its morals and strange parallels in the scenes where Tobey McGuire's Paul characters is reading The Fantastic Four while comparing it to his own family life. Lee's breathtaking directing style works very well in each frame, notably the scene where Elijah Wood's Mikey is running around on the icy grass in slow motion. It's clearly one of the most masterful and evocative presentation in film.

Helping Lee in that breathtaking vision is cinematographer Frederick Elmes in capturing the evocative world of the 1970s with scenes of bike riding and notably the night scene of the ice storm itself with its idiosyncratic approach to lighting. Editor Tim Squyres also brings that same idiosyncratic style in the film's structure with its editing sequences where the film not only has a nice pacing but the way the scenes of its characters are moved back and forth. Production designer Mark Friedberg and art director Bob Shaw also help in the film with a grand, very detailed look of the 1970s with its furniture and appliances along with the waterbed. Costume designers Carol Oditz and Elizabeth Shelton also help out with the film's look with a great detail on the costumes and clothing in the film that really gives that 1970s authenticity.

Atom Egoyan's longtime composer Mychael Danna also shines with his eerie, melancholic film score with his use of morose piano sequences and eerie, evocative flute playing while music director Alex Steyermark shines with his soundtrack of the film that includes Elton John, Jim Croce, and many more including a haunting ballad from David Bowie redoing his song I Can't Read from his work with Tin Machine.

The film has a great cast overall with fine, small performances from Allison Janney, David Krumholtz and a sleazy one from Henry Czerny as Kline's rival. Michael Cumpsty also stands out as a minister where in the party scene, we see for what he really is which proves that no one in the film is safe. Katie Holmes shines in one of her early performances as Libbets with cute sexiness and the ability to play stoned. Jamey Sheridan is the film's most quiet performance as Sigourney Weaver's husband who is often gone in his life and yet, he gains sympathy during the party scene. Sheridan shines in his clueless role of husband and father while he and Joan Allen have great scenes together.

Adam Hann-Byrd also stands out as the more innocent but angst-ridden Sandy with his curious approach to his performance that is really amazing to watch. Elijah Wood is wonderful in a performance that marks a transition from child actor to a more determined young thespian as the more offbeat and quirky Mikey. Wood's stoned out performance represents as a young man who is trying to find more in life away from sex and family while presenting a distance from reality in a performance that is awe-struck. Christina Ricci also brings in a transitional performance by being a sexy cynic who tries to figure out sex and ways to anger her own parents in a performance that is intimidating yet enchanting. Tobey Maguire is excellent in his role as narrator along with the clueless family patriarch who doesn't know what goes on in his town in favor of his own desires. It's a great and mature performance from the young Maguire while proving himself as a gentlemen and dreamer.

Sigourney Weaver is wonderfully cold in an amazing performance as Janey Carver with her vivacious sexiness and an awful selfishness that is very complex. Weaver's character may have been the most unlikable but it's also the most intriguing as we see a woman who is trying to fulfill her own needs by having affairs while she begins to slip away from what is really important. This is truly one of Weaver's most enduring performances. Kevin Kline is also amazing as the bored, commanding father and husband who seeks to have this affair with Janey as if it's the greatest thing for his own sexual needs that isn't at home. Yet, his character begins to disintegrate in the party scene where Kline really shines in his dramatic stature.

The film's best performance goes to Joan Allen as Kline's anguished wife who is trying to find her own niche into the cynicism of the 70s. Allen brings a subtlety and calmness early in the film but by the second act, she makes her character sympathetic but not a martyr as she tries to explore her own sexual needs while trying to deal with what's going on with her children and the world around her. It's a great performance from the always, underrated veteran actress.

The Ice Storm is a compelling film from Ang Lee thanks to Lee's eerie direction, James Schamus' Cannes Film Festival award-winning script, a dedicated crew, and a superb cast. In many ways, The Ice Storm wasn't just a film of the 1970s but also what was going on in the late 1990s where the dysfunctions of families become more evident and later in 1999; Sam Mendes' American Beauty will fulfill the boredom of suburbia. The credit really goes to Lee, Schamus, and novelist Rick Moody for capturing the world of American culture in its decline through cynicism and angst in the 1970s when everything begins to go wrong. The Ice Storm is one film not to be missed.

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

(C) thevoid99 2011