John Wick: Chapter 2

Directed by Chad Stahelski and written by Derek Kolstad, John Wick: Chapter 2 is the sequel to the 2014 film in which the titular former-hitman being forced to take part in assassination only to get into serious trouble just as he refused to return to the world of crime. It’s a film in which a man who had once gained peace in his life only to be driven back to the dark world of crime is suddenly trying to fight to retain this sense of peace that he has been craving for as Keanu Reeves reprises the role of the titular character. Also starring Common, John Leguizamo, Riccardo Scamarcio, Ruby Rose, Ian McShane, and Laurence Fishburne. John Wick: Chapter 2 is a gritty and evocative film from Chad Stahelski.

The film follows the titular character who has just gotten revenge from the people who had lured him back into the world of crime as he hopes not to return until a crime boss asks him to do an impossible assignment as part of a blood oath Wick made many years ago. Wick initially refuses until his house was destroyed as he is forced to do the assignment as it relates to a person being coroneted to a high seat of crime lords in the hope he can’t do anything else ever again. Yet, the assignment proves to be tricky and challenging where it’s the aftermath that is more troubling as it play into the rules of what Wick has to live by. Derek Kolstad’s screenplay showcases Wick’s reluctance to return to the underworld as all he wants to do is live peacefully as he would make that deal with another crime lord earlier in the film who is related to the people that wronged him in the previous film.

Yet, that peace would be brief all because of the crime boss Santino D’Antonio (Riccardo Scamarcio) who gives Wick a marker that reminds him of the blood oath Wick makes. One of the two rules that Wick has to live by is to never turn down a marker and the other is no killing at any hotels known as the Continental as it’s forbidden in the criminal underworld. Wick has already violated one rule in private as he is forced to do the assassination for D’Antonio as it relates to a seat in this high council of criminal bosses. For everything that Wick has to do in this assignment in Rome, he also has to deal with other hitmen wanting to kill him including a boss’ loyal bodyguard in Cassian (Common) whom Wick has a mutual sense of respect for. When he returns to New York City to seek the help of another crime lord in the Bowery King (Laurence Fishburne) who is an outsider but also lives by the same code of the underworld.

Chad Stahelski’s direction is definitely stylish in its approach to the violence and action while it has a fluidity that harkens to martial arts and samurai films of the past. Shot on location in New York City and Rome, Italy with additional locations in Montreal, Stahelski opens the film with a car chase in New York City as it establishes what Wick is doing and what he wants where it sort of picks up where the previous film left off. While there are some wide shots of the different locations in the film including some unique compositions in some of the meetings and violent moments in some elaborate sequences. Stahelski knows when to slow things down as it relates to the story and what is going on through simple compositions in the close-ups and medium shots as well as the fact that Wick is still coping with the loss of his wife Helen (Bridget Moynahan) some years ago. Stahelski’s approach to set-pieces and how to create moments of suspense are key to the action as he prefers to take its time rather than just go all-in and heighten the action even more following an action sequence.

Most notably a scene in which Wick faces off with Cassian in a New York City subway train where they both look at each other and they’re stuck in a crowd of people but rather than try to kill each other. They bide their time so that people can leave as neither man is interested in killing innocent people which showcases this rare sense of humanity that these two men have which is often lacking in action films. The stakes are also bigger for the film’s third act as it relates to Wick being this target and what D’Antonio is trying to do. Its climax is definitely inventive and stylish in its compositions and choreography with an aftermath that is about this air of uncertainty for Wick. Overall, Stahelski crafts a thrilling and intense film about a hitman being lured back into the criminal underworld.

Cinematographer Dan Laustsen does brilliant work with the film’s stylish cinematography with its usage of stylish lights and colors for some of the scenes including the Roman caverns and lights at night in Rome as well as some of the locations in New York City. Editor Evan Schiff does excellent work with the editing as it is very stylish with its fast-cuts to play into the action but knows when to slow things down and not deviate into chaotic fast-cutting styles. Production designer Kevin Kavanaugh, with set decorators Letizia Santucci and David Schlesinger plus supervising art directors Isabelle Guay and Cristina Onori, does fantastic work with the look of the sets in Italy as well as the sets of the Continental hotel lobbies in Rome and New York City as well as the museum for the film’s climax. Costume designer Luca Mosca does amazing work with the costumes from the design of the suits that Wick wears as well as some of the clothes of the other characters.

Visual effects supervisor Paul Linden does nice work with the visual effects as it is largely low-key as set-dressing for some of the locations as well as for some of the film’s action sequences. Sound editor Mark P. Stoeckinger does superb work with the sound as it play into the atmosphere of the locations as well as how gunfire and knives sound. The film’s music by Tyler Bates and Joel J. Richard is wonderful for its mixture of electronic, rock, and orchestral music that play into the suspense and action while music supervisor John Houlihan create a soundtrack that is a mixture of rock and electronic music that includes a cut from Jerry Cantrell of Alice in Chains.

The casting by Jessica Kelly and Suzanne Smith is great as it feature some notable small roles and appearances from Bridget Monyahan as Wick’s wife Helen via flashbacks, Peter Stormare as a mob boss whom Wick confronts early in the film, Tobias Segal as a homeless hitman, Peter Serafinowicz as a tailor for the Continental, John Leguizamo as Wick’s friend Aurelio who owns a chop shop, Thomas Sadoski as a policeman friend of Wick in Jimmy, Lance Reddick as the concierge for the New York City Continental hotel in Charon, Franco Nero as the manager of the Continental hotel in Rome, and Claudia Gerini as Santino’s sister Gianna who has a seat in the high council of crime lords. Ian McShane is excellent as the New York City Continental hotel manager Winston who is a longtime friend of Wick that warns him about some of the consequences of what Wick would do. Ruby Rose is fantastic in a silent role as Santino’s mute bodyguard Ares as a woman that communicates through sign language as she is this ambiguous figure who is very deadly in the way she is willing to protect Santino.

Common is brilliant as Cassius as a bodyguard for a high council official who also knows Wick as he shares an equal amount of respect for him in the way they do business as well as trying to kill him but with a sense of honor. Laurence Fishburne is amazing as the Bowery King as a crime boss who is part of an underground crime syndicate as he helps Wick in dealing with Santino as well as knowing about what is happening to Wick. Riccardo Scamarcio is superb as Santino D’Antonio as a crime lord that wants Wick to do an assignment by using a sacred code in the hopes he can get a seat at a high council and rule New York City for his own reasons. Finally, there’s Keanu Reeves in a phenomenal performance as the titular character as a man trying to move away from the world of crime only to be lured back because of a blood oath that he can’t refuse where he deals with the task he’s given as well as cope with the loss of his wife and home where Reeves display that restraint in his anguish while knowing that Wick is headed for uncertainty.

John Wick: Chapter 2 is a sensational film from Chad Stahelski that features another incredible performance from Keanu Reeves. Along with its supporting cast, dazzling visuals, and a gripping music score, it’s an action film that manages to do more than expected with its story of vengeance as well as what a man is forced to do when he’s lured back into the world of crime. In the end, John Wick: Chapter 2 is a riveting film from Chad Stahelski.

Related: John Wick - John Wick: Chapter 3-Parabellum - John Wick: Chapter 4 - (Ballerina (2024 film))

© thevoid99 2017

John Wick

Directed by Chad Stahelski and David Leitch and written by Derek Kolstad, John Wick is the story of a former hitman who goes on a journey of vengeance following an attack of his home which led to the death of his puppy given to him by his late wife. The film is a simple tale of vengeance that plays into a man who was just trying to get his life back on track only to go all-out on those that made him mad as Keanu Reeves play the titular role. Also starring Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, John Leguizamo, Ian McShane, Dean Winters, and Willem Dafoe. John Wick is a thrilling and mesmerizing film from Chad Stahelski and David Leitch.

What happens when a former hitman consumed with grief over the loss of wife and then has his dog killed by a mob boss’ son who would also steal his 1969 Ford Mustang? Well, if that man is John Wick. It will take an army to stop a monster that just woke up and is in the kind of pain that no one wants to endure. While it is a simple revenge film of sorts, it’s really about a man that is coping with loss as he had spent years trying to clean up his life and not kill for anyone in the world of crime. The loss of his wife would have a major impact on him as the final gift she gave him was a puppy as it was that glimpse of hope that he wouldn’t have to grieve alone. Instead, the son of a mob boss he used to work for would fuck things up not just for himself but his father who realizes that he’s absolutely fucked.

Derek Kolstad’s script doesn’t just explore a man’s grief as he goes into a quest for vengeance but also a look into a past he had tried to walk away from as it’s one that is cold and violent but has changed into something that is more civil but with those who lack ethics. Wick is a man of the old school as his old boss Viggo Tarasov (Michael Nyqvist) describes him as someone that kills the Boogeyman. In some ways, Wick is a monster that had been tamed into a human being through his wife where he didn’t have to think about killing or be part of a crime world. Due to the actions of Viggo’s son Iosev (Alfie Allen), Wick is forced to go back into the world he wanted to leave where he is aware that there’s a bounty on his head but he is carrying a lot of pain in him as it makes him unstoppable. Wounding him just slows him down as he’s focused on vengeance as Kolstad’s script is aware of the rules but also into the fact that some just don’t grief is something not easily curable.

The film’s direction by Chad Stahelski and David Leitch is quite stylish in a lot of respects where much of the visuals and compositions definitely owe a lot to film noir. Shot largely on location in New York City and New Jersey, the film does take its time to flesh things out where it does open with a wounded Wick crashing a SUV as he struggles to get help while he looks into his phone that contains a video of his late wife. It establishes what kind of man he is as well as the fact that for all of his actions as a hitman and doing all sorts of things. There is good in him and losing the one person that humanized him is hurtful where the direction knows where to place the camera and not go for anything conventional in terms of the compositions such as how the camera is lined-up against the actor in a frame. The usage of wide and medium shots don’t just help capture the atmosphere of some of the locations including a few clubs and places that Viggo runs but also in the usage of close-ups where some of the dramatic tension occurs that include a meeting between Wick and Viggo. The film’s climax is quite elaborate as it isn’t just a thirst of vengeance but also a showdown in the old ways where the usage of wide shots and close-ups really come into play. Overall, Stahelski and Letich creates an exhilarating and gripping film about a former hitman on a quest for vengeance.

Cinematographer Jonathan Sela does excellent work with the film‘s stylish cinematography with its usage of lights for many of the interior settings at night including the clubs as well as some of the warehouses in the way it uses filters to set a mood. Editor Elisabet Ronalds does nice work with the editing with its usage of montages but also in creating a sense of tension in the way the suspense is built along with dazzling fast-cuts to play into the intensity of the action. Production designer Dan Leigh, with set decorator Susan Bode and art director C.J. Simpson, does fantastic work with the look of the nightclub that Viggo owns as well as the other places as well along with the look of Wick‘s home. Costume designer Luca Mosca does wonderful work with the costumes from the suits the men wear to the look of a female assassin Wick doesn’t like.

Visual effects supervisor Jake Braver does terrific work with some of the visual effects where it has elements of set-dressing as well as moments for the film‘s intense and elaborate action scenes. Sound designer Alan Rankin and sound editor Mark Stoeckinger do amazing work with the sound in capturing the atmosphere of the locations and the impact of the violence that adds to the intensity of the film. The film’s music by Tyler Bates and Joel J. Richards, with additional work from Scott Tixler, is superb for its mixture of eerie electronics with elements of hip-hop rhythms that play into the world of crime while music supervisor John Houlihan brings in a soundtrack that features a mixture of music from hip-hop and rock from T-Bo, the Candy Shop Boys, and Marilyn Manson.

The casting by Jessica Kelly and Suzanne Smith is incredible as it features some small yet notable appearances from David Patrick Kelly as an old cleaner friend of Wick, Randall Duk Kim as a hotel doctor, Lance Reddick as a hotel concierge, Bridget Regan as a bar mistress in Addy whom Wick knows, Kevin Nash as a club bouncer who also knows Wick, Clarke Peters as a hotel neighbor that Wick knows, and Bridget Moynahan as Wick’s late wife Helen who largely appears in flashbacks yet has this unique presence that adds to Wick’s humanity. Other noteworthy small roles include Ian McShane in a superb performance as the hotel owner Winston whom Wick knows where he would give him some keen advice while John Leguizamo is excellent in his brief role as the chop-shop owner Aurelio who realizes what Iosef had done as he would later give Wick his car back knowing that the world is about to get fucked. Dean Winters is brilliant as Viggo’s right-hand man Avi who essentially handles all of the business as he becomes worried about what Wick will undo.

Adrianne Palicki is fantastic as the assassin Perkins as a woman that has a history with Wick as she has no qualms in killing him unaware that she is way in over her head as far as Wick is concerned. Alfie Allen is amazing as Iosev Tarasov as the son of a mob boss who thinks he’s tough when he’s really just a punk-ass spoiled little shit who has no idea of who Wick is. Willem Dafoe is phenomenal as Marcus as an old-school assassin who takes the contract offered by Viggo yet is sort of this guardian angel figure for Wick as he is also the man that helped him out of the world of crime. Michael Nyqvist is remarkable as Viggo Tarasov as a mob boss who realizes what his son has done where he tries to protect him while trying to protect his empire and deal with Wick personally. Finally, there’s Keanu Reeves in a spectacular performance as the titular character as a man who is consumed by grief and rage following the loss of his wife and dog as it’s a role where Reeves doesn’t need to say much as he allows his actions and quiet demeanor do a lot of the talking as it is one of career-defining performances.

John Wick is a sensational film from Chad Stahelski and David Leitch that features an incredible leading performance from Keanu Reeves. Armed with a fascinating premise, an amazing ensemble cast, and thrilling yet violent action sequences. It’s a film that manages to be more than just a neo-noir revenge thriller but also a study of grief and loss in the eyes of a man who was just regaining his humanity. In the end, John Wick is a rapturous and exhilarating film from Chad Stahelski and David Leitch.

Related: John Wick: Chapter 2 - John Wick: Chapter 3-Parabellum - John Wick: Chapter 4 - (Ballerina (2024 film))

David Leitch Films: Atomic Blonde - Deadpool 2 - (Fast & Furious Presents: Hobbs & Shaw) - (Bullet Train)

© thevoid99 2016

Carlito's Way

Based on the novels by Edwin Torres that includes After Hours, Carlito’s Way is the story of a former gangster who tries to go straight following a stint in prison as he finds himself being dragged into the world of crime thanks to his deceitful lawyer. Directed by Brian de Palma and screenplay by David Koepp, the film is a character study of sorts of a man trying to start all over and do right for himself and the woman he loves as Al Pacino plays the role of Carlito Brigante. Also starring Sean Penn, Penelope Ann Miller, Luis Guzman, John Leguizamo, Viggo Mortensen, and James Rebhorn. Carlito’s Way is a dazzling and riveting film from Brian de Palma.

Set in 1975 New York City, the film revolves around the life of former gangster Carlito Brigante who has just been released from prison in the hopes to start a new life without trouble but aspects of his criminal past come back to haunt him while he is torn in his love for a dancer and his loyalty to his deceitful lawyer. It’s a film that is essentially a character study of sorts where Brigante is eager do something new but he needs the money to get a head-start in going to the Bahamas where he hopes to live a quiet life and run a rental car service for tourists without any trouble. Yet, for all of Brigante’s dreams to come true where he would run a club and make the money that he needs. There are elements of his past that comes to haunt him as there are those that see him as this legendary figure who they want to learn from as well as those that want to see if he’s still in the game of dealing drugs and such. It adds to this conflict in the story where he wants to get out but he’s being pulled back into the dark world as some of it is actually his fault.

David Koepp’s screenplay doesn’t just create a unique structure to the story as well as the fact that it begins and ends with a wounded Brigante on a stretcher in Grand Central Station. He also brings in this noir-style narrative that is largely told from Brigante’s perspective with some voice-over narration that plays into a man struggling with his conscience as well as his attempts to go straight. The dialogue is quite stylish where it does have elements of the film noir language but updated for a more contemporary setting in the 1970s where the Brigante character would find himself in awful situations but tries to restrain himself from not going too far as he knows he might go back to prison. Even as he tries to disassociate himself with old friends in the world of crime as well as new gangsters trying to make a name for themselves like Benny Blanco from the Bronx (John Leguizamo) who is really a younger version of Brigante.

Koepp’s script also play into how seriously flawed Brigante is where his intentions go straight are valid but he is someone that unfortunately trusts the wrong people like Kleinfeld who has put himself into a dangerous world of crime. Kleinfeld’s increasing usage of cocaine and paranoid behavior would trouble Brigante but also has him wanting to help as if he feels like he owes him for getting him out of prison. To Brigante’s former flame Gail (Penelope Ann Miller), she is the first person to see Kleinfeld for who he really is as she is aware of the flaws in Brigante while questioning if everything he is saying about going straight is true as she had seen a lot which adds to her own struggle between cynicism and optimism. Even as there are smaller characters in the film that tell Brigante about the people he’s surrounding himself by as it adds to those flaws which do come to ahead in a key sequence where Brigante finally sees what Kleinfeld is up to all along. Notably as it involves Brigante being used as bait for the justice system which would lead to this thrilling climax over Brigante dealing with Kleinfeld’s actions.

Brian de Palma’s direction is quite stylish for the way he creates these intricate yet mesmerizing tracking shots but also use them to create a sense of atmosphere into the many locations and settings he is in. Shot on location in New York City and some of its landmarks including Grand Central Station for its climax, the film does play into a period where it was very vibrant and exciting but also a world that Brigante has a hard time understanding as well as the fact that the rules are very different as something like ethics are considered dead. The usage of wide and medium shots do help play into aspects of the location including an eerie moment early in the film where Brigante stops at a pool hall for a cousin of his which goes horribly wrong as it is this unsettling moment of the new world that Brigante had unfortunately created. It’s among these moments where de Palma maintains that air of suspense and the unknown where it adds to what Brigante is trying to run away from. The compositions that de Palma creates in the way he would frame his actors into a conversation or have some unique attention to detail in the background while there is someone else in the foreground is among the key visual elements that is used in the film.

Along with some stylish Dutch angles and these mesmerizing tracking shots that manages to capture the vibrancy of the clubs and places Brigante and Gail to go. The direction also has de Palma create moments that are lively with elements of humor but also these unsettling moments such as a sequence where Brigante and Kleinfeld are on a boat is where the former sees the latter for what he’s really done. It is followed by a scene afterwards where it is presented with such simplicity but it also shows exactly where Brigante is and the fact that he knows he is completely fucked by the man who got him out of jail. All of which would lead to these violent and intense moments in the film’s climax where it is quite operatic but also play into what is at stake. Overall, de Palma crafts an exhilarating and rapturous film about a gangster’s attempt to find redemption and a new life away from crime.

Cinematographer Stephen H. Burum does brilliant work with the film‘s cinematography with the usage of colored lights for many of the scenes at the dance clubs as well as some low-key lighting for some of the interiors including the pool hall sequence and natural exterior lighting for scenes in the day. Editors Kristina Boden and Bill Pankow do amazing work with the editing with its usage of jump-cuts, dissolves, and a few stylish cuts for some of the light-hearted and dramatic moments while knowing when not to cut in some of the intricate tracking shots to get a sense of the atmosphere in the film. Production designer Richard Sylbert, with set decorator Leslie A. Pope and art director Gregory Bolton, does fantastic work with the sets that are created from the pool hall, the dance club that Brigante would run, Kleinfeld‘s office, and some of the other places the characters would go to. Costume designer Aude Bronson-Howard does excellent work with the costumes that play into the world of the 1970s from the suits that Brigante wears to the stylish dresses that the women wear at the clubs. Key hair stylist Michael Kriston and key makeup artist Michael Laudati do terrific work with the look of some of the characters including Kleinfeld with his Jew-fro and the look of the hair in some of men in those times.

Sound editor Maurice Schell do superb work with the sound as it play into the atmosphere of the clubs and some of the wild moments in the film plus some of the tense moments in the film such as Brigante‘s meeting with the D.A. The film’s music by Patrick Doyle is phenomenal for its orchestral-based score that play into the drama and suspense with its lush string arrangements that manage to do so much to elevate a scene. Music supervisor Jellybean Benitez create an incredible soundtrack that largely features music from the mid-1970s from the disco music of George McCrae, KC & the Sunshine Band, the Bee Gees, the O’ Jays, Cheryl Lynn, and Hot Chocolate to the salsa music of Hector Lavoe, Willie Colon, Santana, and the Fania All-Stars as well as a poignant usage of Joe Cocker’s You Are So Beautiful.

The casting by Bonnie Timmerman is remarkable as it features a tremendous ensemble that include some notable small roles from filmmaker Paul Mazursky as Brigante’s appeal judge, Angel Salazar and Al Israel as a couple of old friends of Brigante from Spanish Harlem, John Augstin Ortiz as Brigante’s cousin Guarjio, Rick Aviles as a small-time hood Brigante meets early in the film, Ingrid Rogers as a club regular that Kleinfeld goes out with in Steffi, Joseph Siravo and Adrian Pasdar as the sons of a crime boss Kleinfeld is working for, Frank Minucci as the boss Tony T Taglialucci whom Kleinfeld is working for, and the legendary Argentine comedy host Jorge Porcel as a disco/salsa club owner named Saso aka Ron whom Brigante would help out with his debts. James Rebhorn is superb as the district attorney Bill Norwalk who is trying to see if Brigante is up to no good while having his own suspicions about Kleinfeld.

Viggo Mortensen is fantastic as an old friend of Brigante in Lalin as a once top-crime figure who has become down on his luck as he is now on a wheelchair as a person that is being forced to do something bad to Brigante. Luis Guzman is excellent as Pachanga as an old friend of Brigante who works for him as a bodyguard as he is a man that does a lot of things yet is taken aback a bit by Brigante’s own ideals and disdain for his criminal past. John Leguizamo is amazing as Benny Blanco from the Bronx as a young hood who reminds Brigante as a younger version of himself who is eager to earn from Brigante yet is forceful and cunning where Leguizamo manages to be a scene-stealer in the moments he’s in. Penelope Ann Miller is brilliant as Gail as a dancer who was once Brigante’s flame as she is reluctant to be around him yet is someone looking for a change in her own life where she struggles with wanting to chase a dream but contend with the harsh realities of the world.

Sean Penn is sensational as Dave Kleinfeld as a young attorney who gets Brigante out and helps him in finding a club to run yet is someone that is troubled and doing awful things behind the scenes where Penn brings a manic and dangerous approach to his role that has bits of dark humor as it is one of Penn’s finest roles. Finally, there’s Al Pacino in one of his iconic performances of his career as Carlito Brigante as a former criminal that is eager to turn straight and start a new life only for his past activities and flaws in trusting the wrong kind of people come back to haunt him. It’s a role that has Pacino bring in a mixture of accents that play true to the streets while displaying a vulnerability in his role where he realizes he puts himself into a bad situation where he makes the character someone to root for as someone that can still be saved.

Carlito’s Way is a magnificent film from Brian de Palma that features a tremendous performance from Al Pacino. Along with strong supporting work from Sean Penn, Penelope Ann Miller, Luis Guzman, and John Leguizamo as well as a strong script by David Koepp, dazzling visuals, and a killer soundtrack. The film isn’t just one of de Palma’s quintessential films in terms of its style and character study but it’s also a film that showcases a study of redemption as well as the struggle in letting go of a dark past. In the end, Carlito’s Way is a spectacular film from Brian de Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2016

Michael Jackson's Journey from Motown to Off the Wall

Directed by Spike Lee, Michael Jackson’s Journey from Motown to Off the Wall is a documentary film about the period in the life of Michael Jackson from his success as a child when he was singing with his brothers in the Jackson 5 to the first major solo release of his career with 1979’s Off the Wall where he would begin to break out on his own. Featuring rare archival footage and interviews from historians, musicians, artists, and those who knew Michael reveal the boy who was driven to become one of the greatest figures in the history of pop music. The result is an entertaining and exhilarating film from Spike Lee.

The film chronicles the period in the life and career of Michael Jackson from being this idol for children when he was singing in the Jackson 5 and then leaving Motown for Epic to find creative freedom with his brothers that would lead to wanting to make a solo album of his own. It is really the look of a someone who desires to make something of his own while studying everything around him from those he was inspired by to the legends of the past. It’s a film that showcases a prodigy growing up and finding his own identity as a man and an artist and how this album that would set the course in him becoming a legend would be this impact for many people including musicians, artists, actors, athletes, and everyone else.

With interviews with Michael’s brothers Jackie and Marlon as well as Motown founder Berry Gordy, producers Kenneth Gamble and Leon Huff, filmmakers Joel Schumacher and Rob Cohen, songwriters Valerie Simpson and Sediah Garrett, Stevie Wonder, and others that knew him. The people Spike Lee would talk to doesn’t just reveal Michael’s drive and persistence but also that desire to wanting to be more than just some bubblegum singer. Even as it comes to the music as he really did all that he could to make it great as he was known for being a perfectionist. The stories about him at Studio 54 reveal that he was there for the music and would spend much of his time either on the dance floor or in the DJ booth. The film also interviews musicians such as Questlove, Pharrell Williams, the Weekend, and David Byrne as well as producers Mark Ronson and Rodney Jerkins where they would dissect each of the songs on the album and reveal why it still holds up.

With the aid of cinematographer Kerwin DeVonish in filming many of the new interviews where actors like John Leguizamo and Rosie Perez talk about the impact of his music and what it meant to them in their adolescents and growing up into adulthood. Lee also brings his own personal experiences about Michael’s music and the impact it had on him and every African-American child growing up when the Jackson 5 were around. With the aid of editors Barry Alexander Brown and Ryan Denmark in compiling many of the footage of concerts including the ones the Jacksons did in the late 70s and early 80s as well as archival audio from many of Michael’s interviews by sound editor Philip Stockton. Even as some of the demos of the songs Michael made for Off the Wall and the stuff he did with his brothers reveal the work that went into those songs which plays into the importance of musicianship and taking the time to make these songs matter in this age of laptops and machines that doesn’t have the human capacity of what can be done.

Michael Jackson’s Journey from Motown to Off the Wall is an extraordinary film from Spike Lee. Not only is it a fascinating documentary about one of the finest albums in the history of popular music but also an intriguing look into the man that made it and what it took to make a statement from being this child prodigy to a genius that is nearly unparalleled with anyone else in the world of music. In the end, Michael Jackson’s Journey from Motown to Off the Wall is a phenomenal film from Spike Lee.

Spike Lee Films: (She’s Gotta Have It) - (School Daze) - Do the Right Thing - Mo' Better Blues - Jungle Fever - (Malcolm X) - Crooklyn - (Clockers) - (Girl 6) - (Get on the Bus) - 4 Little Girls - (He Got Game) - Freak - Summer of Sam - (The Kings of Comedy) - (Bamboozled) - (A Huey P. Newton Story) - 25th Hour - (Jim Brown: All-American) - (She Hate Me) - (Inside Man) - (When the Levees Broke: A Requiem in Four Acts) - (Miracle at St. Anna) - (Kobe Doin’ Work) - (Passing Strange) - (If God is Willing and Da Creek Don’t Rise) - (Red Hook Summer) - Bad 25 - (Oldboy 2013 film)) - Mike Tyson: Undisputed Truth - (Da Blood of Jesus) - (Chi-Raq) - BlacKkKlansman - Da 5 Bloods - (American Utopia)

© thevoid99 2016

Casualties of War

Based on an article for The New Yorker about the real-life Hill 192 incident during the Vietnam War by Daniel Lang, Casualties of War is the story of a young soldier in the Vietnam War who finds himself being forced by his platoon sergeant to take part in raping a young Vietnamese woman. Directed by Brian de Palma and screenplay by David Rabe, the film explores some of the dark aspects of war where a young soldier tries to deal with the immoral events that occur in war including by those he is forced to serve for. Starring Michael J. Fox, Sean Penn, Don Patrick Harvey, John C. Reilly, John Leguizamo, Ving Rhames, and Thuy Thu Le. Casualties of War is a gripping and chilling film from Brian de Palma.

Set during the Vietnam War, the film revolves around a real-life incident in which a platoon kidnaps and rapes a young Vietnamese War during a mission where a young private deals with the circumstances of what is happening. It’s a film that plays into this young private first-class named Eriksson (Michael J. Fox) who questions the actions of his superior and his fellow soldiers. Especially as he gets confronted by Sgt. Tony Meserve (Sean Penn) who orders him to do this while claiming that it’s what they need to do to fuck over the Viet Cong. David Rabe’s screenplay does dramatize the events that happened in real life but also display some interesting development into the characters as men who are fighting this war where boredom and fatigue doesn’t just drive them into madness but also in doing things that are considered immoral. Much of the story is told from Eriksson’s perspective as the film begins and ends in 1974 San Francisco where Eriksson is on a train sleeping where he sees this young Vietnamese-American woman which triggers what he remembered as a soldier.

The first act is about Eriksson being this new soldier who has arrived three weeks earlier where he is saved by Sgt. Meserve during a battle as it is the first encounter of the realities of war as well as the bond between soldiers. The second act is about Sgt. Meserve’s mission to inspect a river boat delivery where he decides to go into a village and kidnap this young woman (Thuy Thu Le) with the aid of Corporal Clark (Don Patrick Harvey), PFC Hatcher (John C. Reilly), and the new soldier in the platoon in PFC Diaz (John Leguizamo). While Cpl. Clark is willing to help Sgt. Meserve in kidnapping and raping this young woman with PFC Hatcher reluctant at first. Eriksson is the one who is against this as is PFC Diaz only to join in. The third act is about its aftermath where Eriksson copes with what happened but also learns that some of his superiors are indifferent to what happened which forces him to deal with the moral implications and the troubling aspects of war.

Brian de Palma’s direction is very gripping for the way it plays into the terror and chaos of war as well as some of the immorality that occurs. Shot largely on location in Thailand, the film does play into a world that is dangerous and unpredictable from Eriksson’s first encounter with seeing one of his own being killed unexpectedly which sets the tone for what is to come. The usage of the wide shots definitely has de Palma capture the tense atmosphere of the jungles as well as using some close-ups and medium shots to play into the drama and eerie moments of suspense. Even in some of the intense moments of Sgt. Meserve raping the young woman with the very reluctant Pfc. Diaz being the first to have sex with her after Sgt. Meserve is done. The usage of crane shots for some of the battle scenes as well as some of the suspenseful moments that play into the events that would horrify Eriksson. The third act is where de Palma really gets to shine such as a monologue delivered by Eriksson’s superior Lt. Reilly (Ving Rhames) who reveals about some of the dark aspects of human nature as it would force Eriksson to realize that the realities of the way things are. Even if attempting to do what is right is pushed aside by politics and indifference in order to keep going in the state of war. Overall, de Palma crafts an engaging yet harrowing film about a real-life incident that involved the rape of a young Vietnamese woman.

Cinematographer Stephen H. Burum does brilliant work with the film‘s cinematography from the look of the exteriors of the jungle and bases at night to the lighting inside the tunnels that the Vietcong uses. Editor Bill Pankow does amazing work with the editing in creating some unique jump-cuts and rhythmic cuts to play into the suspense and drama that occurs throughout the film. Production designer Wolf Kroeger, with art director Bernard Hides and set decorators Peter Hancock and Hugh Scaife, does fantastic work with the building of the army bases as well as the underground tunnels and bars outside of the army bases.

Costume designer Richard Bruno does nice work with the costumes from the look of the uniforms as well as the ragged clothes of the Vietnamese villagers. Sound editor Maurice Schell does superb work with the sound from the sparse sounds of the jungles to the loud mixing of sounds of gunfire and helicopters in the air. The film’s music by Ennio Morricone is phenomenal with its usage of Asian flute music and lush string arrangements to play into the drama and suspense as it is definitely one of the film’s highlights along with a soundtrack featuring music of that period in time.

The casting by Lynn Stalmaster is incredible for the ensemble that is created as it features some notable small roles from Darren E. Burrows as a young soldier Eriksson deals with late in the film, Sherman Howard as a military judge, John Marshall Jones as a military police officer, Sam Robards as an army captain/chaplain, Dan Martin as Eriksson’s friend Hawthorne, Dale Dye as the top officer of the platoon in Captain Hill, Erik King as a veteran soldier who would serve as an early mentor for Eriksson, and Ving Rhames in a superb role as Lt. Reilly as a platoon leader who reveals some harsh truth about war and human nature. Thuy Thu Le is excellent as the young woman Oanh who is captured by Sgt. Meserve and his platoon as a sex slave claiming that she is working for the Vietcong as she becomes humiliated and destroyed by their actions. In his film debut, John C. Reilly is fantastic as PFC Hatcher as the comic-relief of sorts who always talking about drinking beer and having fun while dealing with the chaos as well as being reluctant in taking part of the rape.

John Leguizamo is amazing as PFC Diaz who just joined the platoon as he is very reluctant to take part in the rape only to be coerced into it which displays someone trying to fit in with the platoon. Don Patrick Harvey is brilliant as Cpl. Clark as a sadistic man with a knife who has no qualms in raping and killing Vietnamese women as well as do things that are very questionable. Michael J. Fox is remarkable as PFC Eriksson as this young soldier who deals with the moral implications of his platoon sergeant as he struggles to do the right thing as well as try and save this young woman in an act of anti-war sentiment. Finally, there’s Sean Penn in a terrifying performance as Sgt. Meserve as this platoon leader who is a great soldier but also quite sadistic himself as Penn brings a strange complexity to someone who is a totally dick and ruthless in what he does yet is the kind of person any soldier would want to have by their side.

Casualties of War is a marvelous film from Brian de Palma that features tremendous performances from Sean Penn and Michael J. Fox. Along with Ennio Morricone’s fantastic score, early breakthrough performances from John C. Reilly and John Leguizamo, and strong anti-war themes. It’s a film that doesn’t play by the rules of war as it showcases some of the dark aspects of humanity in war. In the end, Casualties of War is a sensational film from Brian de Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2016

Chef (2014 film)

Written, directed, and starring Jon Favreau, Chef is the story of a once-revered chef who becomes creatively frustrated as a public meltdown forces him to start all over again as he buys a food truck and takes his young son on a cross-country trip to regain his love for cooking. The film is a return to Favreau’s independent roots after a period of high-budget blockbuster features as the film explores a chef not only returning to his own roots but also try to remember why he wanted to become a chef. Also starring Sofia Vergara, John Leguizamo, Bobby Cannavale, Oliver Platt, Scarlett Johansson, Robert Downey Jr., EmJay Anthony, Amy Sedaris, and Dustin Hoffman. Chef is a dazzling and enjoyable film from Jon Favreau.

What happens to a chef when he is forced to make the food he doesn’t enjoy making as he is forced to start over again by going on his own and run a food truck? That is essentially what the film is about where Chef Carl Casper (Jon Favreau) was someone who used to enjoy cooking but working in a posh Los Angeles restaurant where he is forced to cook meals he’s done so many times has him stifled as well as becoming neglectful towards his 10-year old son Percy (EmJay Anthony). After a negative review from a food critic who once championed him, he sends the critic a message on Twitter unaware that his response when viral forcing Carl to meltdown and lose his job. With the help of his ex-wife Inez (Sofia Vergara) and her ex-husband Marvin (Robert Downey Jr.), Carl buys a food truck as he takes Percy and his loyal friend Martin (John Leguizamo) across the country in the hopes to find joy again as a chef and regain the family he had neglected.

Jon Favreau’s screenplay doesn’t just explore a man being compromised by food critics and people he is forced to work for but also have him lose sight of what is really important in his life. For Carl, being a chef was something he was good at as he wanted to make some good food for people to enjoy but his boss (Dustin Hoffman) wants him to make the same menus that had made their restaurant one of the best in Los Angeles. For Favreau, it’s a story that showcases the frustrations of doing something for other people and not enjoy it as he allows the character of Carl to try and find something where he can enjoy cooking again. By taking Percy on the road with Martin, Carl not only tries to find ways to find that joy in cooking but sharing it with his son who would inspire him to be not just a better cook but also a better father. Though it’s a story that is predictable, it is filled with a lot of heart as well as humor where Favreau blends all sorts of genres and more.

Favreau’s direction is pretty simple in the way he presents these different storylines while going for compositions and such that are very simple. Even with the use of social media and cell-phone cameras, Favreau would use these tools to express a man trying to get his name and reputation back in a new world where everything is almost public. Shooting in various locations such as Los Angeles, Miami, New Orleans, Austin, and other places in America. Favreau goes for a lot of a medium shots and close-ups while also infusing some stylish shots to play in to Carl Casper’s desire to find happiness again. The food truck that he would eventually buy would become a character in the film as it represented Carl’s rebirth while the food itself is just as important. It showcases the beauty and love Carl has in making food where it looks so good that it will have the audience wanting to eat it so bad. Overall, Favreau crafts a very delightful and delicious film about a chef seeking to regain his love for cooking with the help of family and friends.

Cinematographer Kramer Morgenthau does excellent work with the cinematography from not just the vibrancy of the many locations in its exterior scenes but also the low-key lighting in some of its interiors such as the restaurants and kitchens. Editor Robert Leighton does amazing work with the editing as it‘s straightforward in its approach to humor and drama while using some stylish montages including one notable montage in the film‘s third act that proves to be very effective. Production designer Denise Pizzini, with set decorator Bryan Venegas and art director Alicia Maccarone, does fantastic work with the set pieces from the look of the restaurant that Carl worked at to the food truck where he would find his joy again.

Costume designer Laura Jean Shannon does nice work with the costumes as it‘s mostly casual with the exception of the clothes that Inez wears. Visual effects supervisor Bryan Godwin does terrific work with the minimal visual effects which involved tweet pop-ups appearing and the little Twitter bird flying around so it would help Carl get a good word of mouth. Sound editor Steve Slanec does superb work with the sound from the way the kitchens sound to some of the raucous atmosphere of the locations. Music supervisor Mathieu Schreyer does great work with the film‘s soundtrack with its mix of soul, jazz, and Cuban-jazz music to play into its sense of vibrancy that includes some low-key jazz-inspired pieces by Lyle Workman.

The casting by Sarah Finn is incredible as it features some notable appearances from Amy Sedaris as Inez’s publicist Jen who suggests to Carl to do a reality show, Jose C. Hernandez as Inez’s musician father, Bobby Cannavale as Carl’s sous chef Tony who would reluctantly replace Carl after he got fired, and Robert Downey Jr. in a very funny performance as Inez’s ex-husband Marvin who would give Carl the food truck. Scarlett Johansson is wonderful as the restaurant hostess Molly who is a lover of sorts for Carl as she thinks it’s best that he quit his job while Oliver Platt is terrific as the food critic Ramsay Michel who blasted Carl’s cooking at the restaurant. Dustin Hoffman is fantastic as Carl’s boss Riva who forces Carl to make the same menu that had made him famous as Hoffman has this great monologue about playing the hits that would frustrate Carl.

EmJay Anthony is amazing as Carl and Inez’s son Percy who wants to be with his dad while learning the ropes in being a good cook. John Leguizamo is excellent as Carl’s loyal line chef Martin who joins Carl on the road while being very funny as he provides lots of laughs and enthusiasm to his role. Sofia Vergara is superb as Carl’s ex-wife Inez who is still friendly with her ex-husband as well as wanting to help him where it’s a low-key yet effective performance from the actress. Finally, there’s Jon Favreau in a marvelous performance as Carl Casper as this chef who used to love to cook but becomes frustrated by being compromised as well as being a neglectful father as he tries to regain his joy to cook and his family as it’s a role where Favreau gets to be funny as well as show some heart in his performance.

Chef is a remarkable film from Jon Favreau. Joined by a superb ensemble cast and a fun soundtrack, the film is a truly delightful comedy that explores the world of cooking and a chef’s desire to find joy again in cooking. For people who enjoy films about food and cooking, this film will definitely have them desiring the food they see and wish it was available to them. In the end, Chef is a phenomenal film from Jon Favreau.

Jon Favreau Films: (Made) - (Elf) - (Zathura) - Iron Man - Iron Man 2 - (Cowboys & Aliens)

© thevoid99 2014

William Shakespeare's Romeo + Juliet

Directed by Baz Luhrmann, William Shakespeare’s Romeo + Juliet is a modern take on the famed tragic love story involving two young people from feuding families falling in love with each other. With a screenplay Luhrmann and Craig Pearce, the film is the chance to redefine the famed Shakespeare story in a modern setting while retaining Shakespeare’s dialogue to maintain his language. Starring Leonardo diCaprio, Claire Danes, John Leguizamo, Brian Dennehy, Pete Postlethwaite, Paul Sorvino, Diane Venora, Harold Perrineau, Miriam Margoyles, Paul Rudd, and Vondie Curtis-Hall. William Shakespeare’s Romeo + Juliet is a dazzling film from Baz Luhrmann.

The story of Romeo & Juliet is often told in many variations as it is about the tragedy of two young people who fall in love in the middle of a war between their families. By setting it in present time where guns replace swords and cars instead of horses, Baz Luhrmann and co-screenwriter Craig Pearce allow the story to be told for a new audience who might not be able to understand William Shakespeare’s story. As a result, not only does Luhrmann and Pearce were able to be faithful to Shakespeare’s tragedy as well as retain his language but also find a way to make it relevant for a teenage audience as well as be engaging enough for older audiences.

While the script does make some alterations for the story in order to make it more dramatic, Luhrmann and Pearce do maintain that sense of faithfulness in the story while not using exposition to explain the feud between the Capulets and the Montagues other than they’re just two businessmen who hate each other. Caught in the middle of this feud are their children Juliet Capulet (Claire Danes) and Romeo Montague (Leonardo diCaprio) who prefer not to be involved as Juliet is already set to marry a governor’s son in Dave Paris (Paul Rudd) while Romeo is reeling from a break-up. Meeting at party at the Capulets mansion, the two fall in love as they have no idea who they are yet realize what families they’re from. Still, neither Romeo nor Juliet have a care in the world of what their families would think as they hope their union would bring peace to their feuding families though there are those like Juliet’s cousin Tybalt (John Leguizamo) who sees Romeo and the Montagues as villains.

Characters like Juliet’s nurse (Miriam Margoyle) and Father Lawrence (Pete Postlethwaite) would play their roles as those who would try to create the peace between the two families yet events would shatter this peace leading to Romeo’s banishment from Verona Beach and Juliet’s own despair. Even as Father Lawrence would try to do things to get the two together in the film’s third act yet the schematics of what Shakespeare would do to convey the tragedy that is to come.

Luhrmann’s direction is definitely stylish in its presentation as he shoots the film largely in Mexico with bits of Miami as Verona Beach. Filled with an array of dazzling shots and some gorgeous scenery of the locations, the direction is definitely off-kilter in the way the modern world is presented where it’s a mixture of rich and poor where both feuding families go into these locations. While Luhrmann is known for creating images that can be very dazzling and often over-the-top at times. There are also moments where Luhrmann knows when to slow down and create something that is simple and understated such as the scene of Romeo and Juliet seeing each other for the very first time through a fish tank. The way Luhrmann presents this meeting has images that are just beautiful in the way the faces reflect in the glass as there’s a lush musical accompaniment in the background.

It’s one of those moments that shows Luhrmann’s skills as a filmmaker and as a storyteller while he finds a way to inject bits of light humor in the romance while letting Shakespeare’s dialogue flow naturally through the young actors. Even in the way he frames some of the scenes such as the scenes in the church where Luhrmann creates a lot of colorful imagery and maintain that sense of beauty and tragedy that is to happen. The use of TV news footage also helps maintain an air of suspense to establish the chaos of the feud as well as the film’s climax while both films open and end with an anchorwoman (Edwina Moore) reciting the opening and closing text of Shakespeare’s words. Overall, Luhrmann creates a sensational yet entrancing take on William Shakespeare’s romantic tragedy.

Cinematographer Donald M. McAlpine does amazing work with the film‘s colorful cinematography with the use of lights in some of the film‘s interior settings as well as the nighttime exterior scenes along with some lush camera work in the daytime exterior scenes such as the trailer park Romeo was banished to. Editor Jill Bilcock does brilliant work with the film‘s hyper-stylized editing with some of the fast-cutting in the party and confrontation scenes along with some slow yet methodical cuts in some of the film‘s romantic and dramatic moments. Production designer Catherine Martin, with set decorator Brigitte Broch and art director Doug Hardwick, does great work with the look of the Verona Beach with its location dressing and places that Romeo often hangs out as well as some of the interiors of the church and Capulet mansion.

Costume designer Kym Barrett does fantastic work with the costumes from the clothes at the costume party many of the characters wear to some of the colorful casual clothing that Romeo wears and the dresses of Juliet as well as some of the design of the guns the characters carry. Visual effects supervisor Rebecca Marie does nice work with some of the film‘s minimal visual effects such as the minor backdrops of some of the exterior scenes. Sound editor Tim Holland and sound designer Gareth Vanderhope do wonderful work with the sound to capture the atmosphere of the parties as well as the chaos of some of the film‘s violent moments.

The film’s music by Nellee Hooper, Marius de Vries, and Craig Armstrong is superb for its mixture of lush orchestration and low-key electronic music to convey the sense of action and romance with Armstrong‘s string arrangements playing out the sense of romance. The film’s music soundtrack contains an array of pieces ranging from alternative rock, pop, dance, and soul music that is an intoxicating mix to play out the sense of romance and tragedy. Songs by Garbage, Everclear, the Butthole Surfers, Gavin Friday, Des’ree, Radiohead, Kym Mazelle, the Cardigans, and many others are just some of the reasons into why the film is so full of life as it helps elevate the film’s sense of drama.

The casting by David Rubin is incredible as it includes an outstanding collection of actors for this film. In small roles, there’s M. Emmet Walsh as an apothecary who runs a pool hall, Quindon Tarver as a choir boy, Edwina Moore as the anchorwoman, Vincent Laresca and Carlos Martin Manzo Otolora as a couple of Capulet soldiers, Zak Orth and Jamie Kennedy as a couple of Montague men, and Jesse Bradford as Romeo’s cousin Balthasar. Other notable small roles include Vondie Curtis-Hall as the police authority Captain Prince, Dash Mihok as Romeo’s peaceful cousin Benvolio, and Paul Rudd as the very dorky governor’s son Dave Paris who is set to be Juliet’s husband. Miriam Margoyles is wonderful as the nurse who is sort of a mother figure for Juliet as she also tries to help create the union with Romeo. Pete Postlethwaite is superb as Father Lawrence who sees Romeo and Juliet’s love as a chance to end a feud as well as trying desperately to bring true love to the forefront.

Christina Pickles and Brian Dennehy are excellent as Romeo’s parents who are concerned for Romeo while Paul Sorvino and Diane Venora are great as Juliet’s parents where they add a sense of extravagance to their roles. Harold Perrineau is brilliant as Romeo’s friend Mercutio who is a fun-loving man who tries to defend Romeo against the Capulets and Tybalt. John Leguizamo is amazing as Tybalt as a man who hates all Montagues where Leguizamo definitely goes all out for the role of this very vile man.

Finally, there’s the performances of Leonardo diCaprio and Claire Danes in their respective roles as Romeo and Juliet. Both actors bring in performances that are just phenomenal with diCaprio maintaining that mix of sensitivity and bravura as Romeo while Danes brings a sense of awkward innocence and angst to her role as Juliet. The duo are really the highlight of the film as they have great chemistry together and definitely display chops that they would unveil in the years to come.

William Shakespeare’s Romeo + Juliet is a spectacular film from Baz Luhrmann that features sensational performances from Leonardo diCaprio and Claire Danes. Along with great technical work, a brilliant soundtrack, and a superb supporting cast. It’s a film that takes William Shakespeare’s romantic tragedy to the modern world and make it accessible for a new audience while having something Shakespeare fans can enjoy. In the end, William Shakespeare’s Romeo + Juliet is an enchantingly rich film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - Moulin Rouge! - Australia - The Great Gatsby (2013 film) - The Auteurs #23: Baz Luhrmann

© thevoid99 2013

2012 Cannes Marathon: Moulin Rouge!

(Opening the 2001 Cannes Film Festival & Played in Competition for the Palme D’or)

Directed by Baz Luhrmann and written by Luhrmann and Craig Pearce, Moulin Rouge! is the story of a English writer who travels to 1899 Paris where he becomes part of the Bohemian culture where falls for a sickly courtesan and contend with a greedy duke. The film is a lavish musical set at a period where things are changing as it features music from the late 20th Century. Starring Nicole Kidman, Ewan McGregor, John Leguizamo, Richard Roxburgh, Jacek Koman, Caroline O’Connor, and Jim Broadbent. Moulin Rouge! is a spectacular and extremely-entertaining film from Baz Luhrmann.

Arriving from England to Bohemian Paris is a young aspiring writer named Christian (Ewan McGregor) as he meets a group of performers led by the midget Toulouse-Lautrec (John Leguizamo). After creating some inspiring contributions to their play entitled Spectacular Spectacular, Christian joins Toulouse, the narcoleptic Argentine (Jacek Koman), and the musical composer Nini Legs-in-the-Air (Caroline O’Connor), and the bearded musician Satie (Matthew Whittet) to the Moulin Rouge to see its attraction in the beautiful courtesan Satine (Nicole Kidman). Also there is the Duke of Monroth (Richard Roxburgh) whom the owner of the Moulin Rouge in Harold Zidler (Jim Broadbent) hopes to invest money in a future production. When Zidler performs with Satine, he tells her that the Duke wants to meet her as she mistakes Christian as the Duke where things become confusing when the Duke arrives where Christian, Zidler, Satine, and the gang reveal that they’re working on a play that would be exciting.

The Duke agrees to fund the play called Spectacular Spectacular to the delight of Satine, Christian, Zidler, and the troupe but a private meeting with the Duke has Zidler uneasy about the deal he’s making as the Duke wants Satine for himself. Yet, Satine and Christian start to fall in love during the making of the play as they try to avoid the Duke and his henchman Warner (Linal Haft) while Zidler becomes worried as he discovers a secret about Satine that would destroy everything. When a rough version of the play is presented in full for the Duke, he is unhappy about the ending forcing Zidler to try and deal with him where he asks Satine to deal with the Duke for the sake of the play. Satine tries to get the Duke to reason with her only to feel compromised by her love for Christian.

When Zidler tells her about the secret that only he and her assistant (Lara Mulcahy) know, Satine is forced to give in and have Christian be forced out. Yet, it would take the ideas of truth, beauty, freedom, and love for Christian to try and win Satine at the night of the play.

The film is about a young aspiring writer telling the story about how he fell for a courtesan during Bohemian Paris at the Moulin Rouge where he had to contend with a greedy duke for her love. Meanwhile, he tries to create a play with a group of artists that he hopes would win her love as the play about a penniless sitar player who tries to deal with a maharajah for a woman’s life that would mirror his own conflict with the Duke. It’s a story that is quite simple as it focuses on the ideas that the Bohemians wanted to state but it’s told from a young man who wanted to be part of that world only to tell what happened the year before when that world was thriving.

Characters like Christian and Satine are people who want to be great though Satine hopes to achieve greatness outside of Moulin Rouge. Together, they become lovers who find something together away from their world of art while they both had to deal with a greedy, demanding Duke who is on the verge of becoming a loose cannon. It’s up to the Moulin Rouge’s owner to try and reason with the Duke or else he loses everything that he’s worked so hard for only to realize he’s about to lose more than his beloved palace of entertainment. Screenwriters Baz Luhrmann and Craig Pearce definitely succeed in finding motivations for these key characters while adding some nice moments for some smaller characters to stand out. While they’re aware that the story is a simple one, it’s still engaging for the fact that it is a love story with charm and adventure.

Luhrmann’s direction is definitely style over substance but it manages to works because it knows that it’s all about style rather than substance. From the fast-paced, jerky tracking shots to unveil Paris early in the film to the chaos that is the Moulin Rouge with its can-can dances. Luhrmann creates a world that is very lively and over-the-top while doing whatever he can to capture the energy of these dances. Since the film is a musical with these amazing musical numbers, Luhrmann knows how to slow things down for the ballads but also play to the energy of the upbeat songs. Notably the latter as it refuses to take itself so seriously by just being silly in a fun way. It allows the audience to take part in these musical numbers including the climatic play that is inspired by Bollywood.

While there is a lot of craziness in these dazzling dance sequence and upbeat musical numbers, Luhrmann does manage to focus on the film’s story by creating a lot of entrancing close-up on the characters and give reason for the music to help tell the story. Even in the love ballads where Luhrmann has the camera fixated on both Christian and Satine where they would profess their love for each other. The overall result is a musical that lives up to the namesake of its fictional play’s title and more that can only be masterminded by someone who is unapologetic in his emphasis on style like Baz Luhrmann.

Cinematographer Donald McAlpine does excellent work with the film‘s cinematography where it plays into Luhrmann‘s emphasis on style by utilizing blue lights to convey moods as well as an array of colors to help create something that is exciting and vibrant for its interior and exterior settings. Editor Jill Bilcock creates dazzling work with the film‘s hyper-stylized editing with the use of jump-cuts, fast-cuts, and dissolves to play around with the film‘s musical numbers and craziness while knowing when to slow things down for the ballads in the film. The work of production/costume designer Catherine Martin is truly amazing for the way she creates the extravagant sets such as the Moulin Rouge stage and the turn-of-the-century costumes worn by the characters With the help of set decorator Brigitte Broch, art director Ian Gracie, and co-costume designer Angus Strathie, Martin’s work is definitely the film’s technical highlight.

Hair/makeup designers Maurizio Silvi and Aldo Signoretti do wonderful work with the look for many of the film‘s characters such as Zipler with his beard and hair along with the look for several other small characters in the film. Visual effects supervisor Chris Godfrey does brilliant work with some of the film‘s minimal visual effects for the film‘s exterior settings of Paris including the moon that features the voice of Placido Domingo. Sound recorders Craig Heath, Robert Renga, and Guntis Sics do terrific work with the sound work to capture the chaotic atmosphere of the Moulin Rouge as well as the smaller sounds in the film‘s climatic play scene. Choreographer John O’Connell does fantastic work with the dance choreography to play out the extravagance of the dance numbers where things are chaotic but also fun to watch.

Another major highlight of the film is music by Craig Armstrong that is filled with lush orchestral flourishes to play out some of the drama and adventure aspects of the film. Music director Marius de Vries and supervisor Anton Monsted create a truly phenomenal mix of music that plays to the craziness of the dance sequences as well as the splendor of the love ballads. Fusing a cover of LaBelle’s Lady Marmalade with Nirvana’s Smells Like Teen Spirit plus elements of songs like T. Rex’s Children of the Revolution and Marilyn Monroe’s Diamonds are a Girl’s Best Friend with Madonna’s Material Girl are some of the film’s highlights. Yet, it’s the love medley that features many classic love songs by Elton John, the Beatles, Phil Collins, Paul McCartney, David Bowie, and many others are the real highlights. The overall soundtrack is truly one of the best in the world of film.

The casting by Ronna Kress is great for the ensemble that is created as it features cameo appearances from Strictly Ballroom star Tara Morice as a prostitute early in the film, David Wenham as the androgynous writer Audrey, and Australian pop legend Kylie Minogue as the Green Fairy. Other notable small roles include Peter Whitford as the stage manager, Linal Haft as the Duke’s henchman Warner, Kiruna Stamell as the dancer La Petite Princess, Kerry Walker as the dancer Marie, Matthew Whittet as the musical troupe member Satie, Deobia Oparei as stage actor Le Chocolat, Lara Mulcahy as Satine’s aide, and Caroline O’Connor as the eccentric composer Nini Legs-in-the-Air. Jacek Koman is excellent as the narcoleptic Argentine who provides a lot of humor to his kooky character while John Leguizamo is fun as the very outrageous Toulouse who pushes Christian to follow his dreams.

Richard Roxburgh is terrific as the twitchy yet devious antagonist Duke of Monroth whose obsession with Satine leads him to try and take control of the play and wants Satine for his own selfish reasons. The film’s best supporting performance is Jim Broadbent as Harold Zidler in the way he presents himself as this boisterous and larger-than-life man who owns and runs the Moulin Rouge who tries to win over the Duke while being a more serious man when he has to deal with the secret about Satine. Ewan McGregor is incredible as the idealistic Christian who falls for Satine as he wants to fit in with this new world while McGregor truly displays his amazing talents as a vocalist where he and Nicole Kidman truly have great chemistry as vocalists and as actors.

The film’s best performance easily goes to Nicole Kidman who really gives a performance that is definitely filled with star power and more. Proving to be a very capable vocalist who can use her charm and wit to win over a large crowd while also being very funny in some of the film’s whimsical scenes. It’s also a performance where Kidman can bring torment to her character torn by her love for this young writer but also a secret that would allow her to give a grand performance in the film’s climatic play. It’s truly among one of Kidman’s great performances of her career.

Moulin Rouge! is a magnificent film from Baz Luhrmann that features outstanding performances from Nicole Kidman, Ewan McGregor, and Jim Broadbent. The film is definitely Luhrmann’s best film to emphasize his unique approach to style over substance that is truly engaging to watch. It’s also a film that really brings the musical back to life without taking itself too seriously and just do what it needs to do which is to entertain. In the end, Moulin Rouge! is a rip-roaring and exciting film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - William Shakespeare’s Romeo + Juliet - Australia - The Great Gatsby (2013 film) - The Auteurs #23: Baz Luhrmann

© thevoid99 2012

Poison

In the late 1980s and early 1990s, a new wave of gay cinema was emerging that was funded independently and made by gay filmmakers. Coined as New Queer Cinema, it allowed audiences to see a new world unexplored by Hollywood. While it also allowed filmmakers to tackle subjects whether its personal or political, New Queer Cinema did broaden the spectrum for what was needed to be said about gay culture in the era of conservative America. One of the figures to come out of that scene is Todd Haynes. After gaining notoriety for his 1987 short film Superstar: The Karen Carpenter Story about the late Carpenters singer. Haynes was definitely a director on the rise as he had also directed a music video for Sonic Youth in 1990. In 1991, he would unleash a film that would shock everyone that was considered to be one of the definitive films of New Queer Cinema called Poison.

Based on the writings of Jean Genet, Poison is a film set into three different sections as they’re each presented in three different styles. The first of which is a documentary about a boy who kills his father. The second is a 1950s style drive-in movie about scientist who turns into a monster. The third is a prisoner who falls for another prisoner at a juvenile prison. Written for the screen and directed by Todd Haynes, the film is a myriad of styles told in an unconventional form where all three segments are meshed into one whole film. The result is a surreal yet provocative film from Todd Haynes.

Hero

A seven-year old boy named Richie Beacons kills his father and flies away. Policemen and neighbors wondered what happened as his mother Felicia (Edith Meeks) is interviewed. She claims that Richie was a gift from God while others such as classmates and a teacher (Millie White) believe him to be a weird child. Even as he’s been someone that’s been in the nurse’s office and principal’s office in school several times. Often due to fights where he gets beat up as a nurse (Marina Lutz) recalls the moment he called her “fatso”. Even when a boy (Buck Smith) talks about why he beat up Richie at school during gym as the principal and a neighbor reveal that Richie was a strange kid. Dr. MacArthur (Evan Dunsky) even believes there is something strange about Richie from the abuses he has taken from his father and kids. Yet, Felicia Beacons would reveal more into the events that led to him murdering his father.

Horror

Dr. Thomas Graves (Larry Maxwell) is trying to create an elixir that would isolate human sexuality. Though he is vilified by some in his field, a woman named Nancy Olsen (Susan Gayle Norman) helps him as he falls for her. Yet, his infatuation with Olsen has him accidentally drinking the elixir he created. Suddenly, he becomes a monster where he kills through leprosy as Olsen realizes what went wrong. With Olsen attempting to help Graves, she tries to take him to the outside world as it fails. Even as the attempt fails despite their love for each other, reports about the deaths and infections relating to leprosy troubles Nancy. Even as Graves becomes a target where tragedy has him confronting the people he felt ostracized by.

Homo

A thief named John Broom (Scott Renderer) is about to go prison again where he meets Jack Bolton (James Lyons) whom he knew years ago at a French prison. They become friends as Broom recalls his days at another prison where Bolton was a prisoner whom he taunted. Even as Bolton shows Broom his scars where Bolton hopes to make it into the big gang at the prison led by a man named Rass (John R. Lombardi). Broom’s attraction to Bolton increases although Bolton’s attachment to Rass has Broom becoming jealous. Even as Broom recalls an incident when he as a young man (Tony Pemberton) saw Bolton (Andrew Harpending) be abused and taunted by other inmates at the French prison many years ago.

The film is a collection of stories by Jean Genet that recalls various themes of heroism, horror, and homosexuality. In the mind of Todd Haynes, he takes those three themes and inter-cut them into a style that is very unorthodox and engaging. In the Hero section, it is told in a documentary story about a strange boy who kills his abusive father and then flies away. While it’s an interesting story, it’s the one section that isn’t as developed as it ends up bringing more questions while the mother of the film seems to be a woman in denial.

The Horror section is definitely the most entertaining as it’s a mixture of campy horror and thriller in the style of the 1950s while playing allusions to the AIDS crisis of sorts with the use of leprosy as the main disease. Homo is definitely the most provocative and also the most confrontational as it’s about a thief meeting an old inmate from another prison as he becomes infatuated with while dealing with memories about his time at the French prison. Even as it features a scene that will definitely get people disgusted over what Broom sees what happens to Bolton at the French prison. Horror and Homo are definitely the most interesting as they have stories that are engaging and says something. Hero sorts of works but doesn’t engage the viewer into a lot of answers about why this kid killed his dad and why he was so strange.

Haynes’ direction is definitely phenomenal in the way he presents each section. Yet, he creates a film that definitely plays with the idea of conventional narrative. Instead of presenting each story as one whole section to another section and then to another. He creates a narrative where all three stories are inter-cut and meshed into an entire film. For an audience that’s accustomed to traditional film narratives, this different approach will definitely take them aback and be challenging to follow the story. In some respects, it works as it’s a different form of storytelling in its three different styles.

With Hero being a cheesy TV-documentary style with lots of dramatization and a few surreal moments while Horror is a B-movie style horror film and Homo as a homosexual prison story. It creates a film that is very engaging but with two very strong sections and a decent section, it does create a film that is uneven at times while the pacing lags in various spots. While it is largely based on the stories of Jean Genet, Haynes does put in text to reveal what Genet is saying in these stories. Despite the flaws the film has, it is a remarkable yet mesmerizing film by Todd Haynes.

The film’s cinematography is superb for being shot in two different styles. For color, it’s by Maryse Alberti and in black-and-white, it’s by Barry Ellsworth. Alberti’s photography for the Hero scene is very good for its grainy, documentary look while her work in the Homo section for the French prison scenes are exquisite. Barry Ellsworth’s photography for Horror is wonderful for its 1950s style of B-movie cinema that plays up to the suspenseful tone of the story. Editors James Lyons and Todd Haynes do a very good job with the film’s editing in creating numerous styles of cutting for the various sections while the transitions from one section to another does create some fine moments. Even though, there’s moments where it feels jerky and not as smooth.

Production designer Sarah Stollman and art director Chas Plummer do a wonderful job with the look of the French prison for the Homo section with its period feel while the Hero and Horror sections are also noteworthy for its respective scenes. Costume designer Jessica Haston does a great job with the 50s period costume for the Horror section as well as the bland, casual look for the Hero section. Hairstylist/makeup artist Angela Johnson and effects makeup artist Scott Sliger do an amazing job with the leprosy looks for the Horror section of the film.

Sound editor Mary Ellen Porto does an excellent job with the film‘s sound from the suspense of the Horror to the eerie tone of the prison scenes in Homo. The film’s music by James Bennett is definitely the film’s technical highlight from the suspenseful jazz of Horror to the serene, dreamy quality of Homo. Bennett’s somber score for Hero is the least memorable but also cheesy in the way it plays up to the documentary style of the section.

The casting by Karim Anouz, Laura Barnett, Andrew Harpending, and John Michael Kelsey is excellent with its array of performances that includes John Leguizamo as an inmate in the French prison at the Homo section. Other notable small roles from the Hero section include Millie White as the principal, Buck Smith as a bully, Marina Lutz as a nurse, Richard Anthony as a custodian, and Evan Dunsky as the doctor. In Horror, there’s a small but memorable performance from Michelle Sullivan as a hooker. In Homo, there’s some memorable turns from Andrew Harpending and Tony Pemberton as the young Bolton and Broom, respectively, and John R. Lombardi as the brutish Rass.

From Hero, Edith Meeks is very good as the mother who seems to be in denial over Richie’s weird behavior while revealing some ideas into why Richie killed his father. In Horror, Larry Maxwell is excellent as the tortured Dr. Graves who accidentally drinks an elixir that made him a monster while Susan Gayle Norman is superb as the woman who loves and tries to help him. In Homo, Scott Renderer is wonderful as the tough but laid-back Broom who is in love with the tough-talking Bolton. The late James Lyon is stellar as the tough-talking Bolton who hopes to get out of jail while being a guy no one wants to mess with.

When the film premiered at the 1991 Sundance Film Festival, the film was considered to be a landmark film for New Queer Cinema as it won the festival’s top prize. The $250,000 budgeted film proved to be a modest art-house hit while gaining a large degree of controversy when it was revealed to be partially funded from a grant from the National Endowment for the Arts. When news came that the film was funded by the NEA, the American Family Association attacked the film as it ended up helping draw more attention for film and for Todd Haynes. Even as it helped the film’s reputation and furthered the new wave of gay cinema that was to emerge in the 1990s.

Poison is a good and interesting film from Todd Haynes that features an interesting array of styles and stories based on the works of Jean Genet. While it might be considered an essential film of Todd Haynes’ work as well as gay cinema. It’s a film that is flawed in its inter-cut style though it would be more refined with Haynes’ 2007 Bob Dylan bio-pic I’m Not There. While it’s a film that certainly won’t be for everyone for its frank, provocative sexual content and disturbing stories. It’s a film that is also very challenging of what is expected in the form of storytelling. In the end, Poison is an entertaining yet intriguing film from Todd Haynes.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Dottie Gets Spanked - Safe - Velvet Goldmine - Far from Heaven - I'm Not There - Mildred Pierce (TV miniseries) - Carol - Wonderstruck - Dark Waters (2019 film) - The Velvet Underground - The Auteurs #3: Todd Haynes

© thevoid99 2011