The Green Knight

 

Based on an anonymous poem entitled Sir Gawain and the Green Knight, The Green Knight is the story of King Arthur’s nephew in Sir Gawain who goes on a quest to confront a mysterious creature whom he had faced off the year before. Written for the screen, edited, and directed by David Lowery, the film is an interpretation of the King Arthur legend about his nephew and his journey into acceptance as Sir Gawain is portrayed by Dev Patel and the titular character portrayed by Ralph Ineson. Also starring Alicia Vikander, Joel Edgerton, Sarita Choudhury, Kate Dickie, Barry Keoghan, Erin Kellyman, and Sean Harris as King Arthur. The Green Knight is an audacious and surreal film from David Lowery.

The film revolves a young knight who confronts a mysterious figure known as the Green Knight as the young knight would go on a quest one year later as he would take part in an arduous journey filled with challenges and surrealistic moments. It is a film that explores a young man who is the nephew of King Arthur as he accept the challenge of the Green Knight during a Christmas banquet as Sir Gawain becomes a knight yet knows he has a duty to fulfill. David Lowery’s screenplay is largely straightforward narratively yet it takes on an episodic approach as it play into Gawain’s own journey and his desire to win the acceptance of his uncle though the creation of the Green Knight came from his own mother (Sarita Choudhury) who hopes that her son will pass this challenge and become king one day.

Much of the film’s first act is about Gawain confronting the Green Knight, dealing with his fame in the course of a year, and the duty he has to fulfill while he is also devoted to a commoner in Essel (Alicia Vikander) who gives Gawain a token for his journey as does his mother in a girdle that would protect him. The second act is about the journey north where Gawain doesn’t just contend with the land around him but also various people such as a scavenger (Barry Keoghan), a mysterious young lady (Erin Kellyman), and others including a lord (Joel Edgerton) and his wife (Alicia Vikander). Gawain is also accompanied by a fox in that journey where it does play into his development as a young man seeking to prove himself but also contend the idea if he’s worthy or not to be his uncle’s right-hand man.

Lowery’s direction is definitely stylish as it doesn’t play into the rules expected in a fantasy film set in medieval times but rather something more grounded and grimy in its presentation. Shot largely on location in landscapes in Ireland, the film does use the locations as a character as this physical challenge that also has these elements of surrealism that Gawain would encounter. Lowery’s usage of the wide and medium shots play up into the scope of these locations including some of the scenes in the castle as it is set largely in dreary conditions with very few set in places that are beautiful. Lowery’s usage of tracking shots also play into some of the sense of adventure Gawain occurs but also in scenes that showcases his youthfulness early in the film but also in moments that are also quite striking at times. Notably in scenes at the castle as there is a sense of beauty to the way the exterior settings lights up the interior including the scene of the Green Knight’s arrival. Lowery’s usage of close-ups play into some of the sense of terror and emotions that Gawain and some of the people he meets as it adds to this journey he would encounter as some relate to death while others relate to desires.

Lowery’s approach to surrealism isn’t just in the form of the fox and this young woman that Gawain encounters in the second act but also in scenes that include a horde of giants and other events that play into Gawain’s own journey. Even as Lowery serves as his own editor where he uses a bit of jump-cuts and other stylish cuts to add to the film’s suspense and drama. There are also scenes where Lowery would circle a certain location as it play into Gawain’s fate along with these moments in the film’s third act where he would finally meet the Green Knight. It is a climax that is about bravery but also everything Gawain learned in his journey to face this mysterious being who is actually more human than Gawain realizes. It is followed by a sequence that is surreal as it play into Gawain’s own decisions and attachments toward ordinary things but also its outcome. Overall, Lowery crafts a rapturous and evocative film about a young knight going on a quest to confront a mysterious figure one year after their first confrontation.

Cinematographer Andrew Droz Palermo does brilliant work with the film’s cinematography with its usage of filters to add a mood to a few bits of the film including its third act as well as its emphasis on natural lighting to play up the dreary landscapes that Gawain would encounter. Production designer Jade Healy, with set decorator Jenny Oman plus art directors Christine McDonagh and David Pink, does amazing work with the look of the interiors at the castle as well as the home of the lord and lady and some of the design of the places that Gawain goes to including the Green Knight’s chapel. Costume designer Malgosia Turzanska does excellent work with the ragged clothes that Gawain wears as well as the design of the crowns the king and queen wear and the gorgeous blue dress the lady wears. Hair designer Eileen Buggy and makeup/prosthetics designer Audrey Doyle do fantastic work with not just the hairstyle of the lady as well as Essel but also the look of the Green Knight.

Special effects supervisor Paul Byrne and visual effects supervisors Kev Cahill do incredible work with some of the effects of the Green Knight but also in the design of the fox that follows Gawain and other aspects of the film that add to its surreal tone. Sound designer Johnny Marshall and co sound-editors Christopher Barnett do superb work with the sound as it is a highlight of the film as it help play into the atmosphere of the location as well as the way nature sounds and other elements that add to the suspense including sparse sounds of objects in the film. The film’s music by Daniel Hart is phenomenal as its usage of dissonant folk and vocal choirs add to the film’s surrealistic presentation as well as some of its suspense as well as its usage of strings and woodwinds as the music soundtrack include these traditional folk pieces that add to the journey that Gawain embarks on.

The casting by Louise Kiely is wonderful as it feature some notable small roles from the trio of Nita Mishra, Tara McDonagh, and Atheena Frizzell as Gawain’s sisters who assist their mother in forms of witchcraft, Emmet O’Brien as the magician Merlin, Helena Browne as a blind woman that lives at the home of the lord and lady, and Megan Tiernan as a woman that Gawain would meet late in the film. Barry Keoghan is terrific in his small role as a scavenger that would harass Gawain on his quest while Erin Kellyman is superb in her small role as a mysterious young woman Gawain meets at an abandoned house. Kate Dickie and Sean Harris are fantastic in their small roles as Queen Guinevere and King Arthur with the former being a figure that is uneasy about the task Gawain is to endure while is forced to read the Green Knight’s letter in a scene while Harris’ role as the latter is a different take on King Arthur as a man giving Gawain advice on what he is going to face but also remind him that the quest is really a test.

Sarita Choudhury is excellent as Gawain’s mother as a variation of Morgana Le Fay as a woman who hopes for great promises for her son while is also is hoping her son would be able to pass the test against the man she created. Joel Edgerton is brilliant as the Lord as a man who offers Gawain shelter and rest while is aware of what Gawain is to face as he wants something of Gawain in return as it’s a low-key yet charming performance from Edgerton. Ralph Ineson is amazing as the titular character as this mysterious figure who is eager to be challenged in a game of honor as he’s also someone that may be intimidating but also understanding of what is at stake.

Alicia Vikander is incredible in a dual role as Essel and the lady as she is seen in a pixie-cut and an ordinary look for the former as someone that grounds Gawain and offers him hope while Vikander’s role in the latter is one of an enchanting seductress that is this embodiment of temptation who tests Gawain’s sense of morals and values. Finally, there’s Dev Patel in a phenomenal performance as Sir Gawain as a young knight who is eager to prove to himself that he is worthy to be his uncle’s right-hand man as he endures many challenges where Patel maintains that air of determination and hardened revelations as someone that is trying to understand his quest but also what he has to do as it is a career-defining performance for Patel.

The Green Knight is a sensational film from David Lowery that features a phenomenal leading performance from Dev Patel. Along with its ensemble cast, surrealistic presentation, ravishing visuals, eerie sound design, and a chilling music score from Daniel Hart. It is a fantasy film that breaks away from convention to focus on a man’s test of will as well as dealing with himself and revelations about whether he’s up to the task or not to face this mysterious and imposing figure. In the end, The Green Knight is a tremendous film from David Lowery.

David Lowery Films: Ain't Them Bodies Saints - (Pete’s Dragon (2016 film)) – (A Ghost Story) – (The Old Man & the Gun) – (The Year of Everlasting Storm) – (Peter Pan & Wendy)

© thevoid99 2021

Boy Erased

 

Based on the memoir by Garrad Conley, Boy Erased is the story of a teenage boy who is sent to a gay conversion therapy center by his Baptist parents as he struggles with his sexuality while his parents cope with the decision they made. Written for the screen and directed by Joel Edgerton who also co-stars in the film, the film is an exploration of a young man who learns that he’s gay as he has trouble trying to not be who he is while befriending those struggling with their own sexual identity. Starring Lucas Hedges, Nicole Kidman, Russell Crowe, Joe Alwyn, Xavier Dolan, Troye Sivan, Cherry Jones, Madelyn Cline, and Michael “Flea” Balzary. Boy Erased is a compelling and somber film from Joel Edgerton.

Set in the early to late 2000s, the film revolves around an 18-year old boy whose father is a Baptist preacher as he is sent to a gay conversion therapy center where he struggles with its teachings. It’s a film that explores a young man dealing with his own sexual identity as he is sent to this gay conversion therapy center where he would spend much of the day in classes and then stay at a nearby hotel with his mother at night. Joel Edgerton’s screenplay has a narrative that follows the trials and tribulation of Jared Eamons (Lucas Hedges) as the narrative moves back and forth on his time at the conversion therapy center as well as events that questioned about his homosexuality where Eamons tries to understand what got him into this place. Notably an incident in college where he was raped by a student named Henry (Joe Alwyn) who immediately regretted his actions yet would out Eamons to his parents.

For Eamons, the time at the center under the supervision of Victor Sykes (Joel Edgerton) proves to be challenging as a couple of the attendees give Eamons advice on what to do and what not to do to get through this. Though he is ordered to not share anything about what he has to do at the center, Eamons’ mother Nancy (Nicole Kidman) does become concerned as she gets a look into the program’s handbook. While Eamons’ father in Marshall (Russell Crowe) is someone with good intentions and does want to help his son. He is someone that is from another world and doesn’t understand how to really help him as it does create a discord in his relationship with his son while being unaware of what really goes on at the center.

Edgerton’s direction is straightforward in terms of the compositions he creates as he is concerned with the world that Eamons is in which is the American South in Arkansas as it also showcases this world of gay conversion therapy centers that really try to suppress homosexuality. Shot largely on location in Atlanta with additional shots in New York City for a scene late in the third act, Edgerton does maintain a lot of simplicity into his compositions while he uses the wide and medium shots not just to get a scope of a certain location or a room but also into some of the therapy sessions that Victor tries to instill upon his attendees. There are also some close-ups to play into some of the intimate moments as well as medium shots where Edgerton would play into Eamons’ relationship with his parents as they are concerned with his mother being the one trying to understand what is happening. There are also a few tracking shots in scenes at Marshall’s car dealership as well as areas in the therapy center where Edgerton does infuse a bit of style. Still, Edgerton maintains that sense of unease in the drama such as a confessions scene where an attendee has to do a speech about his or her feelings and why that person is at the center.

Edgerton also play into the sense of growing discomfort that also include some of Eamons’ flashbacks about his arrival in college where he met Henry as well as a time where he went to an art show and met an artist. These two flashbacks along with a scene in high school with his then-girlfriend Chloe (Madelyn Cline) do emphasize his growing sexual confusion while there is also a scene in the third act where Eamons watches uncomfortably when an attendee in Cameron (Britton Sear) is accosted for failing an exercise and is then humiliated in front of family, attendees, and others in a scene that is just terrifying. It is a key moment in the film that raises questions into these methods that Sykes and his group are doing with an even more troubling aftermath that would affect Eamons and his relationship with his father though its conclusion is more about the chance of understanding and reconciliation. Overall, Edgerton crafts a riveting yet heart-wrenching film about a young man’s experience at a gay conversion therapy center.

Cinematographer Eduard Grau does excellent work with the film’s cinematography as it has elements of style with its emphasis on low-key lights for some of the scenes at night as well as some interior scenes in the day. Editor Jay Rabinowitz does brilliant work with the editing as it features stylish usage of jump-cuts as well as a slow-motion sequence while. Production designer Chad Keith, with set decorators Mallorie Coleman and Adam Willis plus art director Jonathan Guggenheim, does amazing work with the look of the center including its main hall as well as the home where Eamons and his family live in. Costume designer Trish Summerville does fantastic work with the costumes that is mostly casual with the exception of the clothes that Nancy wears.

Makeup artist Kyra Panchenko does nice work with the look of Nancy from her hairstyle as it play into that world of the American South. Visual effects supervisors Eran Dinur and Chris LeDoux do terrific work with the film’s minimal visual effects as it is largely set dressing in some parts of the film’s location. Sound editor Glenfield Payne does superb work with the sound in capturing the sparse atmosphere of the center in its main hall as well as the way music is presented on the radio or at a concert. The film’s music by Danny Bensi and Saunder Jurrians is wonderful for orchestral score that help plays into the drama while music supervisor Linda Cohen assembles a soundtrack that features some Christian music and Christian rock but also music from MGMT, Fleet Foxes, Jonsi, Underworld, Tracy Lawrence, Seether, and Troye Sivan.

The casting by Carmen Cuba is incredible as it feature some notable small roles from Madelyn Cline as Eamons’ girlfriend early in the film Chloe, Jesse LaTourette as a female attendee at the center in Sarah, Theodore Pellerin as an artist Eamons met in Xavier, Britton Sear as a young center attendee in Cameron who is struggling with the methods of the program, Troye Sivan as an attendee in Gary who tells Eamons to stick with the program and not be noticed, and Cherry Jones as a doctor in a flashback who is concerned with Eamons’ decision to go to the center as she suggests that it’s best to not go. Xavier Dolan is superb as an attendee in Jon who is hell-bent on being fixed as he refuses to be touched while Michael “Flea” Balzary is fantastic as a tough-minded counselor in Brandon who emphasizes on masculinity to help out with the therapy through some extreme physical challenges. Joe Alwyn is excellent as Henry as a young college student Eamons meets where things don’t exactly go well as he would end up making things worse.

Joel Edgerton is brilliant as Victor Sykes as the director of the conversion therapy center who believes he is trying to help these young people as he is someone with good intentions but his methods end up being questionable and at times overwhelming to the point of abuse. Russell Crowe is amazing as Eamons’ father Marshall as a Baptist pastor who also runs an auto dealership who is concerned for his son yet is uncertain in what to do as Crowe does bring in this complexity into a man that does love his son but is also a man of God as he’s someone that is conflicted where Crowe plays him with great restraint as well as be someone that is full of fear though his heart is in the right place.

Nicole Kidman is radiant as Eamons’ mother Nancy as this air of warmth and understanding as a woman who does love her faith but she also loves her son as she accompanies him to the center while trying to figure out what they’re doing as Kidman just has this air of grace while knowing when to be the mama bear. Finally, there’s Lucas Hedges in a phenomenal performance as Jared Eamons as an 18-year old kid who is struggling with his sexual identity as well as his own experiences with homosexuality where he’s unsure if he’s done anything wrong while also dealing with the intense therapy sessions that has gotten him more confused as it is a career-defining performance from Hedges.

Boy Erased is an incredible film from Joel Edgerton that features great performances from Lucas Hedges, Russell Crowe, and Nicole Kidman. Along with its supporting cast, amazing visuals, and its themes about sexual identity and its conflicts with faith, the film is a unique character study of a young man trying to understand himself but also in the world that he’s raised in and their reluctance to accept who he is. In the end, Boy Erased is a phenomenal film from Joel Edgerton.

© thevoid99 2021

Loving (2016 film)

Based on the 2011 documentary film The Loving Story by Nancy Buirski, Loving is the true story of a white man who falls for and marries a black woman in the 1950s that would cause a lot of controversy and eventually a case in the Supreme Court. Written for the screen and directed by Jeff Nichols, the film is an exploration of two people who fall in love but would get in trouble over the fact that they’re people of who different color when interracial marriage was considered forbidden in 1950s America as the couple of Richard and Mildred Loving are respectively played by Joel Edgerton and Ruth Negga. Also starring Michael Shannon, Nick Kroll, and Marton Csokas. Loving is a somber yet evocative film from Jeff Nichols.

The film follows the true story of Richard and Mildred Loving who in 1958 drove to Washington D.C. from their home in a small town in Virginia to get married and thus would cause trouble in their home state leading to a nine-year battle for the right to stay married and stay in their home state. The film is a simple story of a couple where Richard is white and Mildred is black yet the two are in love and decide to get married when the latter becomes pregnant with their first child. Jeff Nichols’ screenplay doesn’t begin with how Richard and Mildred met but rather the moment they decide to marry as the former spends much of his time socializing with other African-Americans who see him as just another person to socialize with as his mother live in the same neighborhood that they live in. Though they hope by marrying in Washington D.C., nothing would go wrong as Richard and Mildred are just quiet and reserved people that don’t want to cause any trouble. Yet, the government in Virginia and many others see their action as something immoral as they would be forced to move to Washington D.C. with their growing family until they get the help from ACLU lawyer Bernard S. Cohen (Nick Kroll).

Nichols’ direction is understated in its approach to the story since it doesn’t try to go for any kind of lavish or grand visual statement. Instead, Nichols goes for something more intimate and dream-like in his direction as much of the film is shot on location on various locations in the state of Virginia where it does play into this period that is vibrant but also stuck between two different ideas with the emergence of the Civil Rights Movement of the 1960s. There are some wide shots to play into the locations as well as the world that the Loving are in that would include shots of fields and vast farmland. Yet, Nichols would emphasize more on close-ups and medium shots to get a look into the family life of Richard and Mildred whether it’s in the streets of Washington D.C. or at the farms of Virginia. Notably as the dramatic elements are told in a very low-key presentation in order to avoid the many conventions of melodrama.

The historical context of the film is prevalent but only in the background where the Loving family would hear about the growing Civil Rights Movement but they feel at first that it doesn’t concern them nor do they want to be involved because of their reserved personalities. Even as the lead-up towards the third act where Richard and Mildred cope with the unexpected media attention as the former is extremely uncomfortable while the latter is willing to speak but is also reluctant to divulge too much. Nichols would show how overwhelming the attention is as well as some of the prejudice that the couple would face as Richard would get a bigger understanding of what African-Americans deal. All of which forces him and Mildred to challenge the idea of marriage in America but do it very quietly as an act of defiance from a loud resistance. Overall, Nichols crafts a tender yet intoxicating film about a white man and a black woman wanting to stay married amidst the racial strife of the late 1950s/early 1960s in America.

Cinematographer Adam Stone does excellent work with the film’s cinematography with its naturalistic and dream-like feel for some of the farmland locations in the daytime as well as some low-key lighting for some of the scenes at night. Editor Julie Monroe does terrific work with the editing as it is largely straightforward in terms of the drama with bits of jump-cuts in some parts of the film. Production designer Chad Keith, with set decorator Adam Willis and art director Jonathan Guggenheim, does brilliant work with the look of the homes that the characters live in as well as the look of the courtrooms and places of what they looked like in those times.

Costume designer Erin Benach does nice work with the costumes as it is largely straightforward for what many of the clothes looked like in the early 1960s. Sound editor Will Files does superb work with the sound as it play into the atmosphere of the locations as well as some of the scenes in a few drag races that Richard goes to. The film’s music by David Wingo is incredible for its low-key score that has elements of ambient music and soft string pieces that doesn’t play into any kind of bombast while music supervisor Lauren Mikus provides a fun soundtrack that features a mix of rock n’ roll, blues, and R&B of the times from acts like Ritchie Valens, William Bell, Jerry Butler, Earl King, the Empires, Sonny Terry and Brownie McGhee, Magic Sam, and Clarence Reid.

The casting by Francine Maisler is marvelous as it feature some notable small roles from Sharon Blackwood as Richard’s mother who is also a midwife, Terri Abney as Mildred’s sister Garnet, Alano Miller as family friend Raymond Green, David Jensen as a judge that orders Richard and Mildred to leave Virginia, Bill Camp as Richard and Mildred’s attorney Frank Beazley in their early court cases, Christopher Mann and Winter Lee-Holland as Mildred’s parents, Jon Bass as Civil Rights attorney Phil Hirschkop, and Michael Shannon in a small yet terrific performance as LIFE magazine photojournalist Grey Villet who would be invited Richard and Mildred’s home as he gets to see what their life is like without exploiting them too much. Marton Csokas is superb as Sheriff Brooks as a local sheriff who doesn’t like what Richard and Mildred are doing as he’s intent on getting rid of them yet doesn’t do it in an aggressive manner but still be calm yet threatening. Nick Kroll is fantastic as Bernard Cohen as ACLU attorney who takes on Richard and Mildred’s case hoping it would mark a change as well as see that they’re a couple that isn’t doing anything wrong.

Finally, there’s the duo of Joel Edgerton and Ruth Negga in sensational performances in their respective roles as Richard and Mildred Loving. Edgerton provides a gruff yet low-key performance as a man that just minding his own business as well as be a good person to his wife and kids. Negga is just as reserved as Edgerton while being very soft-spoken in giving out interviews as well as be graceful in the way she carries herself. Edgerton and Negga together are a joy to watch in just how they display that sense of warmth and love for each that just feels right.

Loving is a tremendous film from Jeff Nichols that features incredible performances from Joel Edgerton and Ruth Negga. Along with its supporting cast, gorgeous visuals, and a compelling story that play into the real-life events of this couple. It’s a film that showcases the idea of love and what it can do in having two people fight in the most subtle way to showcase their commitment to one another. In the end, Loving is a spectacular film from Jeff Nichols.

Jeff Nichols Films: Shotgun Stories - Take Shelter - Mud - Midnight Special - The Auteurs #58: Jeff Nichols

© thevoid99 2018

Midnight Special

Written and directed by Jeff Nichols, Midnight Special is the story of a man and his son who escape a religious cult when it’s revealed the boy has special powers where the cult as well as federal authorities try to go after the two. The film is a sci-fi adventure of sorts set in the American South as a father and his friend try to go to a mystery destination for this boy where they would later receive help from the boy’s mother. Starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Adam Driver, Paul Sparks, Jaeden Lieberher, and Sam Shepard. Midnight Special is a thrilling yet touching film from Jeff Nichols.

Set in the American South, the film revolves a man who had kidnapped his son from a religious cult as he gets the help from an old friend in taking them to a secret destination where they’re chased by federal authorities and members of the cult. It’s a film that is about a father trying to help his son while wrestling with the fact that his son does have these special powers that can’t be described as the boy is also somewhat immune to sunlight. They’re later joined by the boy’s mother who was excommunicated from the church as she tries to cope with her son’s weakened state while helping her estranged husband and his friend in evading the authorities. At the same time, a FBI analyst tries to uncover the mysteries as he would make some major discoveries of his own.

Jeff Nichols’ script doesn’t exactly try to create something that is just a film that blends sci-fi, adventure, family drama, and as a road movie. It’s also a film that has a lot into what is at stake as the boy Alton (Jaeden Lieberher) has to wear goggles and is immune to daylight where he, his father Roy (Michael Shannon), and Roy’s childhood friend Lucas (Joel Edgerton) have to travel at night and stop before dawn where they would cover motel windows via cardboard and duct tape. Lucas, a state trooper, would use a radio to hear police reports and find ways to evade them as he wonders what is going on where he too realizes what is at stake where the three cope with the fact that there is very few they could trust including Alton’s mother Sarah (Kirsten Dunst) who hadn’t seen her son in years. The FBI believe that Alton is a weapon as they want to catch him and see what he is about but there are also members of this cult who see Alton as a savior and had used his words and such as gospel.

The script also plays into the mysterious elements of Alton’s powers as his eyes would light up mysteriously for unknown reasons as Alton himself has very little idea on what he is. Even as Alton and his entourage are baffled by what they encounter and what Alton has done where Roy is trying everything he can to protect him where the two would later make a discover on where Alton needed to go and what he is. Adding to the suspense are the FBI where they bring in an analyst named Paul Sevier (Adam Driver) who is asked to work for the authorities but is really someone that is just an observer who would make a discovery of where Alton and his entourage is going. All of which would play into not just elements of mythology but also in humanity itself where a group of people are trying to do what is right in a world that is very complicated.

Nichols’ direction is quite entrancing for the way it presents a film that bends all sorts of genres but is grounded into a modern world without the need of being futuristic or anything. Shot largely in New Orleans as part of the American South where it would take place from East Texas to Florida, the film does have something that is homegrown of a world that Nichols is very familiar with where he doesn’t go too far into the world of fantasy and mythology. With its usage of wide and medium shots for the locations, Nichols also maintains an intimacy with the latter and in in the close-ups as it relates to not just the journey at hand but also the relationship between Roy and Alton which is the heart of the film. Even as there’s scenes in the second act where Roy and Alton cope with the danger of being chased as well as the latter being ill as he has a revelation of what he has to do to survive.

The direction is also quite ambitious in not just creating the air of suspense as it relates to the authorities that are involved from the FBI and military who try to stop Roy, Alton, Lucas, and Sarah but also in the fact that they know they’re being chased with news coverage being shown on televisions. Some of the scenes that involve Alton’s mysterious powers are have an air of realism including moments that are big yet Nichols keeps it grounded so that it wouldn’t overwhelm the story. The film’s climax is quite ambitious as it relates to something mythological but it also play into what is at stake about the bond between father and son as well as what a few people would do to make things right. Overall, Nichols crafts an exhilarating yet gripping film about a few people trying to get a boy to an unknown destination away from people who want him for their own reasons.

Cinematographer Adam Stone does amazing work with the film‘s cinematography with its usage of natural lights for many of the exterior scenes in day and night along with bright lights for moments where Alton‘s eyes light up and some of the interiors in the way they‘re lit inside the motel rooms. Editor Julie Monroe does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense and action. Production designer Chad Keith, with art director Austin Gorg, set decorator Adam Willis, and set landscaper Austin T. LeValley, does fantastic work with the look of the authority bases and rooms as well as the look of the cult ranch which Roy was a part of.

Costume designer Erin Benach does nice work with the costumes as it is mostly casual with the exception of some of the dresses many of the women in the cult would wear. The visual effects work of Cody Brunty is terrific for a few sequences that are driven by effects as it plays into the gifts that Alton carries. Sound designer Jeremy Bowker and sound editor Will Files do superb work with some of the sound effects that occur in the film along with the mixing of naturalistic sound to play up the atmosphere of whatever location the characters are at including the truck stops. The film’s music by David Wingo is incredible as it is largely an electronic score with some ambient textures and bass-driven synthesizer pieces that do play into the sci-fi elements in the film while the soundtrack also features music ranging from country to ranchero.

The casting by Francine Maisler is great as it features notable small roles from Bill Camp as the cult leader’s second, Scott Haze as a cult member helping out in finding Alton, Sharon Garrison as Sarah’s mother, David Jensen as a former cult member who brings shelter to Roy, Lucas, and Alton, and James Moses Black as a military officer working with the FBI in trying to find Alton. Sam Shepard is superb as the cult leader Calvin Meyer who is also Roy’s father as he is eager to get his grandson back for his own selfish reasons. Paul Sparks is excellent as FBI agent Miller as a man that is trying to find Alton while wondering if Alton is a threat to national security. Adam Driver is fantastic as FBI analyst Sevier as this man that interviews cult members and try to decode things where he makes a discovery which would be crucial for everything that is going to happen as it’s a very restrained performance with dabbles of humor.

Kirsten Dunst is amazing as Sarah as Alton’s estranged mother who hadn’t seen in him years as she helps out in the escape and going to their secret destination as well as coping with the years she had been away from her son and the things she knows about Alton’s condition. Joel Edgerton is brilliant as Lucas as a childhood friend of Roy who helps out in the journey as he tries to understand what is going on while being someone that can be helpful and do what is right. Jaeden Lieberher is phenomenal as Alton as a young boy with a special gift that deals with his situation as he tries to understand what is going on while being aware of what he can do where it’s a performance that manages to be a lot of things and a whole lot more. Finally, there’s Michael Shannon in a remarkable performance as Alton’s father Roy as this man that was once part of a cult as he tries to save his son from being something he’s not while providing a realism that is compelling such as the fact that he enjoys worrying about his son as it’s a very soulful and moving performance from Nichols.

Midnight Special is a sensational film from Jeff Nichols. Featuring great performances from Michael Shannon, Jaeden Lieberher, Joel Edgerton, Kirsten Dunst, and Adam Driver as well as some dazzling visuals and David Wingo’s hypnotic score. The film is a fascinating genre-bender that does a whole lot more with its premise while creating something that appeals to a wide audience as it relates to the concept of family. In the end, Midnight Special is a riveting and enchanting film from Jeff Nichols.

Jeff Nichols Films: Shotgun Stories - Take Shelter - Mud - (Loving (2016 film)) - The Auteurs #58: Jeff Nichols

© thevoid99 2016

The Great Gatsby (2013 film)

Based on the novel by F. Scott Fitzgerald, The Great Gatsby is the story of a millionaire in the Roaring 20s as he lives an extravagant life as his new neighbor tries to get to know him and the mysteries about this millionaire. Directed by Baz Luhrmann and Luhrmann and Craig Pearce, the film is a stylized take on the famed novel with lots of lavish set pieces with a soundtrack that is mixture of 20s jazz with contemporary pop music. Starring Leonardo diCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Elizabeth Debicki, Jason Clarke, and Amitabh Bachchan as Meyer Wolfsheim. The Great Gatsby is a lavish yet mesmerizing film from Baz Luhrmann.

The film is the story a mysterious millionaire who throws these lavish parties in the hopes that an old flame would return to him to rekindle the love they once had. Yet, it is told largely from the perspective that millionaire’s neighbor Nick Carraway (Tobey Maguire) who is given personal access to the life and mind of this mysterious man known as Jay Gatsby (Leonardo diCaprio) as he recalls his time with the millionaire to a doctor (Jack Thompson). While Carraway tells this story, he delves into the mystery of Gatsby and his love for Carraway’s cousin Daisy (Carey Mulligan) who is married to a former polo player in Tom Buchanan (Joel Edgerton). Yet, secrets are unveiled as Carraway tries to guard everything about Gatsby who is eager to revive an old past that can’t be replicated.

The screenplay that Baz Luhrmann and Craig Pearce creates moves back-and-forth as it is told from a weary Carraway at a hospital many years after the events of the story. While it’s a narrative device that Luhrmann had used before, it does help to play into the many mysteries that are slowly revealed. Notably the character of Gatsby himself as he throws these very lavish parties but few people see him with the exception of Carraway and a famed golf pro in Jordan Baker (Elizabeth Debicki) as the latter sort of knows Gatsby. There is still a traditional three-act structure in the film where the first act is about Carraway’s arrival in 1920s New York City where he lives next door to Gatsby as he later meets him. The second act is Carraway reintroducing Gatsby to Daisy as the two try to replicate what they once had. The third is Gatsby’s attempt to win Daisy all over again for good in an attempt to repeat the past only to be exposed by the jealous Buchanan.

Carraway is the film’s observer as he would also take part in some of the decadence that occurs but he’s also the great protector where he would guard secrets but sometimes it would be the detriment to those involved. The character of Daisy is sort of this aloof young woman who has married this former polo champion who is also a philandering man with a mistress in Myrtle Wilson (Isla Fisher). By coming back to Gatsby, she is eager to find happiness again but she becomes conflicted in her devotion to Buchanan who is suspicious about Gatsby as he becomes a very conniving individual eager to expose Gatsby to the world. He would also be the person that would play into Gatsby’s fall in the third act as it leads to some tragic consequences that Carraway would never recover from.

Luhrmann’s direction is definitely outrageous as he goes for something that is very decadent as well as extravagant to play up the energy of the 1920s. Still, it emphasizes into what Luhrmann wanted to reveal into a world that is sort of out of touch with reality where Gatsby is this shadowy party host who has more ambiguous intentions for these parties. For the Carraway character, Luhrmann displays him as a man who is in the action but also out of the action as a man lost in a very crazy world. Luhrmann definitely creates a lot of compositions and set pieces that play up to that sense of excitement where these parties are out of control. Yet, he also does slow things a bit when it comes to the romance between Gatsby and Daisy as if it’s all about trying to repeat the past.

Since it is told from Carraway’s perspective as it uses a lot of voice-over narration, it does play into something where it is about a young man trying to find himself in the wake of this very chaotic period of time. Though there’s some flaws in the narration since it does give away a lot, it does help to flesh out some of the characters. While there are moments in the film where the decadent moments can be a bit overwhelming, it is balanced by some very lush scenes that unveil a sense of longing as well as the tragedy that comes into play in the third act. The direction is very stylized in where Luhrmann places the camera as well as the setting he creates where there is some tension but also drama. Overall, Luhrmann creates a very exciting and poignant film about love and secrets in a period of decadence.

Cinematographer Simon Duggan does excellent work with the film‘s very colorful cinematography with its exotic colors of the daytime and nighttime exteriors including some lighting schemes in the interiors plus some lush coloring for some of its flashback scenes. Editors Matt Villa, Jason Ballantine, and Jonathan Redmond do some nice work with the editing though it sometimes go a bit fast to play out that sense of chaos while it does slow down a bit as the film goes on to get a sense of what is happening in the drama. Production/costume designer Catherine Martin, with set decorator Beverley Dunn and supervising art director Ian Gracie, does amazing work with the lavish set pieces such as the Gatsby home and the look of 1920s New York City while the costumes are very colorful and full of style as it plays to the period of the times.

Hair designer Kerry Warn and makeup designer Maurizio Silvi do brilliant work with the look of the characters from the hair and some of the makeup to play that sense of sensationalism. Visual effects supervisor Tony Cole does terrific work with the visual effects for some of the exteriors of New York City to some backdrops for the surroundings the characters inhabit. Sound designer Wayne Pashley does superb work with the sound from the way the parties play out with its sense of energy to some of the intimate moments in the film. The film’s music by Craig Armstrong is wonderful for its lush orchestral music to play out the sense of romance between Gatsby and Daisy as well as some more heavy pieces to play out it‘s melancholia. Music supervisor Anton Monsted creates a very fine soundtrack of music that features an array of 20s jazz music mixed in with contemporary pop music from Jay-Z, the xx, Lana del Rey, Emile Sande, Fergie, and many others.

The casting by Nikki Barrett and Ronna Kress is fantastic for the ensemble that is created as it features some appearances from Barry Otto as a partygoer, Conor Forgarty as Gatsby’s butler, Adelaide Clemons as Myrtle’s cousin Catherine, Callan McAullife as the young Gatsby, and Jack Thompson as Carraway’s doctor Walter Perkins. Amitabh Bachchan is excellent as the gangster Meyer Wolfsheim as a man who is full of charisma as he treats Gatsby like an old friend while Jason Clarke is terrific as the oblivious George Wilson. Isla Fisher is wonderful as the very needy mistress Myrtle Wilson who feels slighted by Buchanan while Elizabeth Debicki is amazing as the very fun yet knowing Jordan Baker who guides Carraway into the world of the rich.

Joel Edgerton is great as the very devious Tom Buchanan as a man who does love Daisy but is suspicious about Gatsby though he admits to his own flaws as a man. Carey Mulligan is superb as Daisy Buchanan as a young woman who becomes conflicted in her devotion to Tom and her love for Gatsby as she’s also sort of flighty. Tobey Maguire is brilliant as Nick Carraway as an outsider who becomes part of the world while becoming the one person bearing the responsibility to carry the secrets he has learned from the people he meets. Finally, there’s Leonardo diCaprio in a remarkable role as Jay Gatsby as he’s a man that exudes charm and with while being totally cool where diCaprio also shows some humor in his performance as well as humility in the third as it is one of his finest performances.

The Great Gatsby is a marvelous film from Baz Luhrmann that features a phenomenal performance from Leonardo diCaprio. Along with a great supporting cast and some amazing technical work, the film is definitely a very sensational and excessive film that isn’t afraid to be style over substance. While it does have some flaws, it is still a film that is engaging for exploring that world of 1920s decadence as well as a man’s desire to reclaim the past. In the end, The Great Gatsby is a sprawling yet exciting film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - William Shakespeare's Romeo + Juliet - Moulin Rouge! - Australia - The Auteurs #23: Baz Luhrmann

© thevoid99 2013

Zero Dark Thirty

Directed by Kathryn Bigelow and written by Mark Boal, Zero Dark Thirty is the story about a CIA officer who goes on a long search for Osama Bin Laden as it takes many years until he is finally captured. The film is an exploration into one of the great manhunts in American history and what it took to finally bring down the man who orchestrated the 9/11 attacks. Starring Jessica Chastain, Jason Clarke, Joel Edgerton, Edgar Ramirez, Jennifer Ehle, Mark Strong, Kyle Chandler, and James Gandolfini. Zero Dark Thirty is a haunting yet gripping film from Kathryn Bigelow.

The film is essentially the story about one of the greatest manhunts in American history concerning Osama Bin Laden as it the story spans eight years into the search for the man who orchestrated the attacks on 9/11. Leading the pack is a CIA officer named Maya (Jessica Chastain) as she arrives to Pakistan in 2003 where she witness interrogation tortures and all sorts of things while being part of a team trying to find out where Bin Laden is. Through some trials and tribulations where she sees people come and go. Maya becomes intent on finding Bin Laden after a prisoner she interrogates reveals information about a courier. It is through this courier known as Abu Ahmed where Maya believes that he is the link to finding Bin Laden where it would take some guess work and determination to finally find and kill Bin Laden.

Mark Boal’s screenplay doesn’t play to a lot of conventions in terms of what is expected in a thriller with some action as a lot of the story takes place inside embassies, interrogation rooms, and military bases. While the story does take place largely from 2003 to the night Bin Laden was finally killed in May of 2011, the narrative does jump from one year to another to establish the long work it took for Maya and many to find Bin Laden. Even as the narrative plays to key moments in history such as the London bombing in 2005, the Islamabad Marriot Hotel bombing in 2008 that Maya and her friend Jessica (Jennifer Ehle) survived, and the 2009 Camp Chapman attack.

These events as well as the departure of friends and colleagues would eventually drive the very timid and naïve Maya into a determined woman who is willing to do whatever it takes to find Bin Laden and have him killed. While she does become a target where she survives a shooting in Pakistan, she doesn’t give up easily as she becomes obsessed with finding the courier. While her determination does have those questioning whether they’ll find something or just feel like they’re wasting their time. After the first two acts approached the narrative slowly where it does like they’re not going anywhere due to false information and such. It’s the film’s third act that becomes the payoff as it’s momentum is heightened as it leads to the film’s climatic moment where a group of Navy SEALs raid Bin Laden’s compound.

Kathryn Bigelow’s direction is truly mesmerizing in the way she explores a world where it is about what is happening behind the scenes where a group of American officials are trying to find out where Bin Laden is. Notably as she maintains an air of intimacy in many of the scenes that take place in the board room while it’s also tense at times due to the fact that information is unveiled or something bad is happening. While part of the film does take place in embassies and buildings where Bigelow always have a camera moving around whenever characters are walking. She always stop to create some fantastic images that includes a scene where the American embassy in Pakistan is surrounded by protestors as officials watch from the inside.

With a few second unit shots around parts of the Middle East including Kuwait, many of the film’s exteriors were shot in India including its deserts in order to not gain issues from shooting on actual locations. Yet, it does manage to present a world that doesn’t seem to enjoy the idea of Americans prying into their world. There’s some intense action scenes involving a few bombings where Bigelow knows how to stage something that is intense while the torture scenes reveal how graphic things are without going over the top. One part of the film that is really interesting is the way Bigelow opens the film where it’s just a blank screen where audio recordings of the 9/11 attacks are happening to establish why people were intent on this manhunt for Bin Laden.

For the film’s climatic raid that would unveil the death of Bin Laden, the action is definitely gripping from the use of night vision footage and hand-held cameras without being overly shaky. There’s definitely an element of suspense and terror over the fact that anything could go wrong as the soldiers themselves act very cautiously. Notably as they don’t want to kill innocent people while a few outside of the compound are aware that neighbors are looking at them. It is truly a moment in film that is just entrancing due to what will happen and its result. Overall, Bigelow creates a provocative yet captivating film about the greatest manhunt in American history.

Cinematographer Greig Fraser does brilliant work with the film‘s photography from the sunny look of some of the film‘s exteriors and interior settings to the more stylish array of lights for scenes at night including a key moment at Area 51. Editors William Goldenberg and Dylan Tichenor do incredible work with the editing by employing lots of methodical cuts for some of the film‘s suspense along with a few montages to display moments of news and such in some of the more chilling moments. Production designer Jeremy Hindle, along with supervising art director Rod McLean and set decorators Lisa Chugg and Onkar Khot, does amazing work with the design of the embassies and its offices to the look of the military camps.

Costume designer George L. Little does nice work with the costumes as a lot of it is casual though the officials wear suits as well as veils for the women. Visual effects supervisors Chris Harvey and Mike Uguccioni do terrific work with some of the film‘s minimal visual effects that includes the film‘s climatic raid involving the helicopters riding over the mountains. Sound designer Paul N.J. Ottosson does excellent work with the sound from the film‘s opening moments through the layers of mixing of phone taps and other intimate moments as well as the action scenes. The film’s music by Alexandre Desplat is superb for its low-key yet ominous orchestral score to play up the suspense and drama that occurs throughout the film while incorporating Middle Eastern music to help establish the world the characters are living in.

The casting by Mark Bennett, Richard Hicks, and Gail Stevens is fantastic for the ensemble that is created specifically for this film. In small but memorable roles, there’s Joel Edgerton, Chris Pratt, Frank Grillo, and Taylor Kinney as the Navy SEALs who hunt down Bin Laden, Reda Kateb as a man interrogated and tortured early in the film, Fares Fares as an Arabian CIA specialist who helps track down the courier, Edgar Ramirez as a CIA specialist operator who goes on the look out for the courier in Pakistan, Harold Perrineau as a CIA official Maya works with, and James Gandolfini in a small but amazing performance as then-CIA director Leon Panetta. Kyle Chandler is excellent as Islamabad CIA chief Joseph Bradley while Mark Strong is great as CIA official George who is furious over the lack of progress.

Jennifer Ehle is amazing as Maya’s colleague Jessica who helps Maya with finding out the mysteries while being her friend as they go out together. Jason Clarke is superb as the CIA officer Dan who specializes in tortures while helping Maya out in her search as he would do unconventional things to get information. Finally, there’s Jessica Chastain in an outstanding performance as CIA officer Maya. Chastain’s performance is truly eerie to watch as a woman who starts out as this CIA officer who is new to her job as she later becomes determined and obsessed with capturing Bin Laden where she is willing to display her confidence in the belief that he is there somewhere as it’s definitely one of the year’s best performances.

Zero Dark Thirty is a magnificent yet chilling film from Kathryn Bigelow that features an incredible performance from Jessica Chastain. Armed with Mark Boal’s eerie script and a strong supporting cast that includes Jason Clarke, Jennifer Ehle, Joel Edgerton, Mark Strong, Kyle Chandler, and James Gandolfini. The film is definitely an intriguing dramatization into what it took to find Osama Bin Laden. While it’s not an easy film to watch at times due to its unconventional structure and slow build-up. It is still a film that is compelling for the way it reveals how one person was willing to find one of the most wanted men around the world. In the end, Zero Dark Thirty is a tremendous film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Point Break - Strange Days - The Weight of Water - K-19: The Widowmaker - The Hurt Locker - The Auteurs #29: Kathryn Bigelow

© thevoid99 2013

Warrior (2011 film)

Directed by Gavin O’Connor and screenplay by O’Connor, Cliff Dorfman, and Anthony Tambakis from a story by O’Connor and Dorfman, Warrior is the story about two estranged brothers who enter a mixed-martial arts tournament for very different reasons as they also deal with their estranged father who would train one of them. The film is an exploration into the world of mixed-marital arts as well as the troubled bond between two brothers. Starring Tom Hardy, Joel Edgerton, Jennifer Morrison, Frank Grillo, and Nick Nolte. Warrior is a gripping yet exciting film from Gavin O’Connor.

The film is essentially the story of two estranged brothers who each decide to enter a MMA tournament for different reasons as they deal with their troubled relationship as well as their relationship with their father whom they had been abused by as kids. For the eldest Brendan (Joel Edgerton), it’s to make sure he doesn’t lose his house after having to mortgage it to give one of his daughters heart surgery. For the youngest Tommy (Tom Hardy), it’s a chance to help a widow of a friend he lost in the war. Then there’s their father Paddy (Nick Nolte) who is a man simply wanting to redeem himself for his actions as he wants to reconcile with both sons as he would train Tommy during the preparation for the tournament while cheering for Brendan once the tournament commences. Yet, complication ensues between the two brothers as they would eventually face each other in this tournament.

While the screenplay’s schematics is quite predictable in its second half, what makes up for it is the fact that it’s about these two brothers fighting their way to get the $5 million prize money. Both men would display very different styles of fighting in the course of the film but the obstacles they face aren’t inside a cage but outside. Brendan is worried about getting hurt as does his wife Tess (Jennifer Morrison) who knows about Brendan’s past as a UFC fighter. Brendan is also reluctant about reconciling with his father as he isn’t sure about having him near his daughters. Tommy meanwhile, is also reluctant about reconciling with his father though he only wants him as a trainer. Yet, Paddy is wondering about Tommy’s time as a Marine which would eventually lead to trouble as well as create many complications in Tommy’s troubled relationship with Paddy.

Gavin O’Connor’s direction is very engaging for the way he creates a film with two pretty different halves as the first half is essentially a family drama that concerns the two very different lives of two men. O’Connor’s direction is quite straightforward as he does employ a lot of hand-held cameras to capture the action as it would also feature montages to showcase the two different training styles of the two men. In its second half, it does become more of a typical fight movie yet O’Connor does insert some dramatic scenes to establish what these men are fighting for. Notably the first confrontation between Tommy and Brendan at a beach where O’Connor creates an amazing wide shot of the Atlantic City location. The fight scenes are quite stylish though O’Connor wisely doesn’t dwell too much into fast-cutting editing by taking his time to let the fights unfold. Notably as the climatic fight between the brothers is invested with lots of emotion and action. Overall, O’Connor creates a very dazzling yet tender film about two brothers trying to do whatever it takes to fight for something good.

Cinematographer Masanobu Takayanagi does excellent work with the film‘s vibrant cinematography that carries a bit of grain in its look where it features a stylized look of some of the nighttime exterior scenes as well as very different colored schemes for the contrasting lives of Brendan and Tommy. Editors Sean Albertson, Matt Cheese, John Gilroy, and Aaron Marshall do great work with the editing by maintaining a straightforward approach to the dramatic scenes while utilizing montages for the training scenes as well as rhythmic cuts for the fights. Production designer Dan Leigh, along with set decorator Ron von Blomberg and art director James Donahue, does terrific work with the set pieces such as the gym that Tommy goes to as well as the school that Brendan works at.

Costume designer Abigail Murray does good work with costumes as it‘s mostly casual for many of the characters in the film. Sound mixer Peter J. Devlin does superb work with the sound to capture the atmosphere of the fights in the arena as well as the more intimate moments in some of the film‘s location settings. The film’s music by Mark Isham is wonderful for its low-key yet bombastic orchestral score that underscores the drama and action that occurs while not utilizing any swelling arrangements to intensify the drama. Some of the film’s music consists of pieces by Ludwig van Beethoven as Brendan’s entrance music along with a very crucial song from the National in one of the film’s emotional moments.

The casting by Randi Hiller is brilliant for the ensemble that is created as it features some notable small performances from director Gavin O’Connor as the tournament organizer, Noah Emmerich as Brendan’s financial advisor, Kevin Dunn as Brendan’s principal, Vanessa Martinez as a widow Tommy tries to help out, Capri Thomas and Lexi Cowan as Brendan and Tess’ daughters, and Frank Grillo in a terrific performance as Brendan’s trainer Frank Campana. Other noteworthy small roles as the fighters include performances from Anthony Johnson, Nathan Marquardt, Roan Carneiro, Erik Apple, and Kurt Angle as the Russian fighter Koba. Jennifer Morrison is excellent as Brendan’s wife Tess who is worried about Brendan’s return to fighting as becomes aware of what is at stake.

Nick Nolte is incredible as Brendan and Tommy’s father Paddy who trains Tommy while wanting to re-establish contact with Brendan as he deals with his own troubled past as he’s yearning for redemption. Joel Edgerton is superb as Brendan who is determined to save his house as he goes back to fighting as he also seeks to try to make amends with his brother. Finally, there’s Tom Hardy in a marvelous performance as Tommy where Hardy displays a very quiet persona to a man who likes to keep things to himself and remain very guarded that often has him pushing people away from him.

Warrior is a remarkable film from Gavin O’Connor that features top-notch performances from Tom Hardy, Joel Edgerton, and Nick Nolte. The film is definitely a unique take on the fight movies as well as creating a captivating drama that allows the audience to root for these two men. It’s also a touching film that explores the relationship between brothers and fathers in all of its dysfunctions and more. In the end, Warrior is an amazing film from Gavin O’Connor.

Gavin O’Connor Films: (Comfortably Numb) - (Tumbleweeds) - (Miracle (2004 film)) - (Pride and Glory)

© thevoid99 2012

Animal Kingdom

Written and directed by David Michod, Animal Kingdom tells the story of a young man who is forced to live with his estranged grandmother following the drug overdose death of his mother. During his stay, he learns that his grandmother and uncles are part of a crime family that gets involved in all sorts of things as they’re evading the police. Based on real life Pettingill crime family from Melbourne in the late 1980s, it is a study of a young man’s discovery of the dark underworld. Starring Ben Mendelsohn, Joel Edgerton, James Frecheville, Sullivan Stapleton, Luke Ford, Jacki Weaver, and Guy Pearce. Animal Kingdom is a haunting yet compelling crime drama from David Michod.

After his mother dies of a heroin overdose, Joshua “J” Cody (James Frecheville) is picked up by his estranged grandmother Janine “Smurf” Cody (Jacki Weaver) to live with her and his uncles. The eldest Andrew “Pope” Cody (Ben Mendelsohn) is missing while Craig (Sullivan Stapleton) and the youngest Darren (Luke Ford) are living with their mother as they do crime with their friend Barry “Baz” Brown (Joel Edgerton). J knew what they were doing as he got a glimpse of what his family does. When Pope finally makes an appearance one night to meet with Baz, Baz reveals that he’s been watched by two detectives at his house asking for Pope’s whereabouts.

A further private meeting between Pope and Baz about what is next leads to disaster when the family is unsure what to do. J turns to his girlfriend Nicky (Laura Wheelwright) for help as Pope and his brothers decide to launch an attack on the two detectives who are looking for Pope. J decides to be involved as well by stealing a car for his uncles so they can launch the attack. The next day, J and his uncles were arrested as J is interrogated by a detective named Nathan Leckie (Guy Pearce). J goes to Nicky and her family to stay the night as he’s later picked up by Darren and Pope to talk with their lawyer (Dan Wyllie) who gives J some instructions in case he’s questioned again.

J would have another interrogation with Leckie following another incident as Pope is aware that J is becoming a liability who will say anything to Leckie. Pope decides to get rid of some loose ends while J realizes how much trouble he is as he turns to Leckie. With Darren and Pope in trouble, it’s up to Smurf to settle things with help from corrupt officials as J is now a target. Yet, J has plans of his own to settle everything else that is going on.

The film is essentially a noir-like crime drama about a young man entering into this dark underworld where he has an idea of what his uncles do. Yet, he has no idea how eerie it is as he’s surrounded by uncles who are more troubled than he is. Even as his girlfriend is getting a chance to see what this underworld is while he’s being watched by a non-corrupt, good-hearted detective. Amidst all of this is his grandmother, a woman who is a maternal figure for all the people involved as she is just as corrupt and organized as her sons are. Though she isn’t a dangerous person, she is someone who can slime her way into getting what she wanted.

Writer/director David Michod definitely creates a soothing yet chilling mood with his script as it weaves it way into creating tension and chaos whenever something goes wrong. Even as it’s told early on from the perspective of J that includes some voice-over narration just to give an idea of what the family does and who they are. Michod’s direction is very stylish in terms of its mood and how he can create scenes that involve three or four actors. Notably an intimate moment between Detective Leckie and J where Leckie gives this great monologue about what J should do.

The direction also succeeds in how violence is portrayed. It’s not done in an overly-gore approach with a lot of films though it is intense and at times, bloody. Yet, it’s a bit more restrained due to what the characters are doing as they either go for revenge or just to take someone out of the picture. Michod creates something that is intriguing while allowing the audience to follow this young man as he becomes a liability for a world his late mother never wanted him to see. Overall, Michod creates an eerie yet captivating crime film that is really nothing like anything else.

Cinematographer Adam Arkapaw does an excellent job with the film‘s photography that is a bit de-saturated for its look. Yet, it works to maintain a noir-like style for the film including some eerie nighttime scenes around Melbourne. One of the best shots of the film is a scene near a desert during a confrontation between Craig and the police that is beautiful to watch. Editor Luke Doolan does a fantastic job with the film’s stylized yet hypnotic editing from some straightforward cutting montages and transitions. Even in some slow-motion yet enchanting montages to create the dark mood for the film as Doolan’s work is a real technical highlight.

Production designer Josephine Ford and art director Janie Parker do some really good work with the look of the homes and places that the characters live in. Notably the home of Smurf with its middle-class look with some really nice things. Even the museum where J and Smurf meet with a couple of lawyers in a great scene has something that is truly wonderful to see. Costume designer Cappi Ireland does an amazing job on the costumes from the casual-like clothing the men wear to the dresses that Smurf wears to complement her motherly personality.

Sound designer Sam Petty does a phenomenal job with the sound work in the film from the violent scenes to some location setting including the places in Melbourne. Even in scenes with cars and what goes on at home as Petty’s work is truly another of the film’s technical highlights. Music composer Antony Partos does a great job with the film’s brooding yet mesmerizing score. Notably with a plaintive piano and ambient textures to create a noir-like feel for the film as it is definitely a score that is really captivating to listen to. Even as the soundtrack includes a mixture of rock, dance music, and pop as it features a video of Air Supply’s All Out of Love.

The casting by Kirsty McGregor is superb with its array of memorable performances from its cast to its leading actors to smaller roles. Notable appearances in fantastic performances include Anna Lise Phillips as J’s barrister, Justin Rosniak as a corrupt cop that Smurf knows, Anthony Hayes as Leckie’s associate, Susan Prior as Nicky’s mother, Clayton Jacobson as Nicky’s father, and Mirrah Foulkes as Baz’s wife. Dan Wyllie is great as the family lawyer who is just as slimy as the Cody family with his ideas of what J should do. Laura Wheelwright is good as Nicky, J’s girlfriend who finds herself going deep into the dark world of his family unaware of how dark it is.

Joel Edgerton is superb as Baz, the family friend and organizer who is being watched as he suggests about what the family should do. Though it’s a small role, Edgerton really stands out as the least corruptible member of the crime team. Sullivan Stapleton is phenomenal as Craig, the most outgoing Cody family member who runs a drug thing on his own as he is also the most vulnerable in what is a fantastic performance. Luke Ford is very good as Darren, the youngest Cody brother who is also the least experienced as he tries to get J away from what is happening though is often in shock of what is going on.

Guy Pearce is amazing as Leckie, a good-natured detective who tries to get J to talk while reminding him of the dangers he is in as Pearce really plays the man just trying to what is right for everyone. James Frecheville is wonderful as J, the soft-spoken young man whose innocence is shattered once he enters into a dark underworld. Frecheville’s understated yet entrancing performance is really powerful as he plays a boy who just doesn’t want to be into this dark world. Ben Mendelsohn is great as Pope, the eldest Cody brother who is very quiet but also the most ruthless in how he does things. Even as Mendelsohn is someone who acts like a fraternal figure but his methods are very discomforting as it’s definitely a mesmerizing performance.

Finally, there’s Jacki Weaver in what is definitely an outstanding performance as Smurf. Weaver has this maternal soul in her in the way she loves her boys and the way she kisses them. Even when they’re in trouble, she charms her way into making sure they get out as if she’s the unsung leader of the group though she doesn’t do anything. It’s a superb performance from a woman known as a star in Australia as Weaver really brings a sense of warmth to a woman that is corrupt and dark.

Animal Kingdom is a magnificent and chilling crime film from David Michod featuring a phenomenal ensemble cast led by Jacki Weaver, Ben Mendelsohn, James Frecheville, and Guy Pearce. Audiences who enjoy gripping yet exciting crime films will definitely see this as something different but entrancing to watch. Even in the way Michod presents his characters and their setting in a noir-like fashion. In the end, Animal Kingdom is one of 2010’s finest films as help remind audiences why Australian cinema can still brings surprises to an unsuspecting audience.

David Michod Films: The Rover (2014 film) - (War Machine) - (The King (2019 film))

© thevoid99 2011