Directed by Jamie M. Dagg and written by Benjamin and Paul China, Sweet Virginia is the story of a motel manager who befriends a mysterious visitor who may be involved in a wave of violence nearby. The film is a neo-noir thriller that explores unlikely friendship between two men as well as a small town coming undone by this wave of violence. Starring Jon Bernthal, Christopher Abbott, Imogen Poots, Rosemarie DeWitt, Odessa Young, and Jared Abrahamson. Sweet Virginia is a haunting yet gripping film from Jamie M. Dagg.
Following a murder at a restaurant/bar in a small Alaskan town, the film revolves in an unlikely friendship between a former rodeo champion who manages a motel and a mysterious drifter who has stopped by as the former isn’t aware that the latter is a hitman. It’s a film that play into a small town that is shaken by this act of violence while they try to move on as a few people deal with the tragedy as well as the motivations of why three men were killed inside a bar. The film’s screenplay by Benjamin and Paul China open with three men at a bar/restaurant getting ready to play a card game when this mysterious drifter in Elwood (Christopher Abbott) arrives wanting a late breakfast as he is refused only to gun down the three men. The film’s narrative follows the lives of Elwood and the motel manager Sam Rossi (Jon Bernthal) who runs the Sweet Virginia motel for his late brother while is an on-off affair with Bernadette Barrett (Rosemarie DeWitt) whose husband Tom (Joseph Lyle Taylor) was one of the three men killed by Elwood.
The script also play into why Elwood is in town as he had been hired to kill one of the men but ends up doing much more which only complicates things for one of the men’s wives in Lila (Imogen Poots) who thought she would inherit money only to learn that her husband was in some serious debt. Elwood’s stay in the town is extended as he would befriend Sam whom he had heard about through Sam’s time as a rodeo cowboy until he retired due to injury. Sam is a man that is someone who was poised for so much only to lose a lot as he’s divorced with a child who barely sees him as he spends his time with his niece Maggie (Odessa Young) whenever he’s not with Bernadette. There’s not much plot to the story as it’s more about characters living their lives but the drama and suspense do pick up toward its third act.
Jamie M. Dagg’s direction is largely straightforward although he doesn’t really go for anything stylistic other than some lingering long shots in parts of the film. Shot largely on locations in British Columbia in Canada including parts of Vancouver, Dagg’s direction does use some wide shots to establish the location but also in some eerie moments as it play into Elwood haunting certain characters or where he is about to go as there are also some medium shots from afar that show him talking on the phone and then beat up a couple of guys. There aren’t a lot of close-ups in Dagg’s direction except in some intimate moments as well as a chilling confrontation between Elwood and Lila late in the film. The film’s opening scene starts off slow while the violence is quite intense but not overtly-bloody and graphic where Dagg is more concerned with a town that is trying to understand what had happened and why as well as these two men ravaged by their past with Elwood also being someone who is extremely troubled. Even in the third act as it is about the money Elwood is owed for his services as the suspense is approached in a low-key manner that would also be followed by Elwood being confronted for his actions. Overall, Dagg crafts a riveting yet eerie film about a motel manager and his encounter with a mysterious yet troubled drifter.
Cinematographer Jessica Lee Gagne does excellent work with the film’s cinematography as it maintains a naturalistic look for scenes in the day and at night with its usage of available light as well as using some low-key lights for some interior scenes at night. Editor Duff Smith does nice work with the editing as it is largely straightforward with a few rhythmic cuts to play into some of the conversations. Production designer Danny Vermette, with set decorator Robin Tilby and art director Justin Ludwig, does fantastic work with the look of Bernadette’s home in the interior as well as the bar/restaurant in the film’s opening scene and the motel that Sam runs.
Costume designer Mia Fiddis does terrific work with the costumes as it is largely straightforward that includes the ragged look of Elwood including some of the shirts he wears. The sound work of Brody Ratsoy is amazing for its low-key approach to the sound as it maintains something that feels natural but also help to play up the suspenseful moments of the film. The film’s music by Brooke and Will Blair is wonderful for its low-key ambient score that play sparingly into parts of the film as it add to drama and sense of loss that occur throughout the film while music supervisor Natasha Duprey provide a soundtrack of music that is played on location as it include a couple of pieces from the Butthole Surfers and Rolla Olak.
The casting by Kate Caldwell, Kara Eide, Melissa Kostenbauer, and Kris Woz is superb as it feature some notable small roles from Garry Chalk as one of the victims in the film’s opening sequence, Gabrielle Rose as an old woman living at the motel, Jonathan Tucker as Elwood’s intended target in Lila’s husband Mitchell, Joseph Lyle Taylor as Bernadette’s husband Tom, and Jared Abrahamson as a young mechanic named Paul who is asked by Elwood to help him retrieve the money he’s owed. Odessa Young is terrific as Sam’s niece Maggie as a teenage girl who helps him with the motel while pondering about her dad as well as her uncle’s own issues with the world in general. Rosemarie DeWitt is fantastic as Bernadette Barrett as a woman who had just lost her husband although she doesn’t feel anything about his passing leaning back to an on-again, off-again affair with Sam while dealing with some truths about her own marriage and how it fell apart.
Imogen Poots is excellent as Lila McCabe as a young woman who hired Elwood for a job only for things to get complicated as it relates to money as she deals with what she’s done prompting her to try and avoid Elwood anyway she can. Christopher Abbott is brilliant as Elwood as a hitman drifting from town to town for a job as he starts to unravel over his lack of payment as he displays a creepiness and an instability that makes him a dangerous person to encounter. Finally, there’s Jon Bernthal in an amazing performance as Sam Rossi as a former rodeo champion who has retired due to injury to run his late brother’s motel as he tries to keep things to himself and engage in his relationship with Bernadette where he later befriends Elwood unaware of who Elwood really is as he later becomes troubled by some of the violence that is happening in his town.
Sweet Virginia is a marvelous film from Jamie M. Dagg. Featuring a great cast, gorgeous visuals, an eerie music score, and a chilling premise that play into loss and mental illness. It’s a neo-noir film that doesn’t play by the rules while doesn’t emphasize a lot on plot in favor of character study. In the end, Sweet Virginia is a remarkable film from Jamie M. Dagg.
© thevoid99 2019
Directed by Carter Smith and written by Scott B. Smith that is based on his novel, The Ruins is the story of four college kids and a German tourist who go to a mysterious Mayan temple unaware of what is there as it relates to some mysterious vines. The film is an exploration into the unknown where some young people venture into an unknown land as well as deal with Mayans who are protecting a piece of land they fear. Starring Jonathan Tucker, Jena Malone, Shawn Ashmore, Laura Ramsey, and Joe Anderson. The Ruins is a chilling yet unsettling film from Carter Smith.
Four American college kids meet a German tourist as he has a map to a mysterious Mayan temple that is considered off-limits where they make a discovery that proves to be the biggest mistake of their lives. It’s a film that has a simple premise about a Mayan temple that is filled with these vines, plants, and flowers that has some strange power as these tourists find themselves stuck on top of this temple not just surrounded by these plants but also Mayans who are trying to quarantine what is at the temple. Scott B. Smith’s screenplay doesn’t just play into the horror at the temple but also five people trying to survive as they are unaware of what they’ve gotten themselves into. Especially as there is a naiveté into where they wanted to go as locals don’t go there and why it’s not on any current map. Once the five are on top of the temple trying to survive as one of them is severely injured, they also are forced to face the realities that help might not ever come. It’s an intriguing aspect of the script as it does stray from conventional character plot-points in favor of something that is psychological but also with something that feels real.
Carter Smith’s direction is very simple for the way he creates that sense of tension and uncertainty that looms throughout the film once it’s set on top of this Mayan temple. Though it is set in Mexico, the film is shot in Queensland, Australia not just for the beachside locations in the film’s first 20 minutes but also for the setting of jungles with the top of the temple shot on a soundstage. While Smith uses some wide and medium shots to establish some of the beauty of the locations, much of the direction emphasize on the latter to capture some of the suspense into what the characters would encounter. The scenes inside the temple are some of the most chilling as it play into something that is frightening.
There are moments where the film is psychological as the location and the surroundings for these characters add to the terror where one character becomes paranoid. Even in moments where it does become quite extreme such as a scene where a character had to have his leg amputated or someone trying to get vines out of her body. All of which as a mean to survive no matter how dire the consequences are. Overall, Smith creates a gripping yet eerie film about tourists going to a mysterious Mayan temple filled with deadly plants.
Cinematographer Darius Khondji does excellent work with the cinematography from the usage of somewhat de-colored look for some of the daytime exteriors to the eerie scenes at night as well as inside the temple. Editor Jeff Betancourt does nice work with the editing as it has some stylish rhythmic cuts to play into the suspense and horror as well as maintaining something that is straightforward. Production designer Grant Major and supervising art director Brian Edmonds do amazing work with the look of the temple interiors as well as its top roof and the hotel rooms the characters were staying early in the film. Costume designer Lizzy Gardiner does terrific work with the costumes as it‘s mostly casual as well as the grimy detail into the blood and dirt that would be on the clothes.
Hair stylist/makeup supervisor Shane Thomas does superb work with the makeup in some of the moments involving blood and other things to play into the unforgiving nature of what the characters had to go through. Visual effects supervisors Leo Baker, Matthew Gratzner, and Gregory L. McMurry do fantastic work with the way the plants moved in the scenes inside the temple as well as how the flowers moved. Sound designer Dorian Cheah, with sound editors John Marquis and Sean McCormack, does brilliant work with the sound to play into some of the eerie and disturbing moments in the film as well as how the flowers would mimic the things the characters said as well as the sounds outside of the temple from the Mayans. The film’s music by Graeme Revell does wonderful work with the music as it‘s a mixture of ambient electronic pieces to play into the suspense along with some orchestral pieces for the intense moments while the soundtrack features a few traditional Mexican pieces, dance music, and a song from the Yeah Yeah Yeahs.
The casting by Denise Chamian and Ben Parkinson is marvelous as it feature some notable small roles from Bar Paly as an archeologist in the film’s opening sequence, Dimitri Baveas as a fellow traveler who is immediately killed by the Mayans, Karen Strassman as the vocal effects of the vines, and Sergio Calderon as the Mayans’ chief. Joe Anderson is superb as the German tourist Mathias as the guy who has a map to the temple as he gets a serious injury in an attempt to find a phone that belongs to his brother. Shawn Ashmore is excellent as Eric as the comic relief of sorts of the four American tourists who becomes a realist as he wants to try and make a run to the jeep so he can get some help.
Laura Ramsey is fantastic as Stacy as a young woman who gets injured in an attempt to retrieve Mathias inside the temple where she becomes infected by the vines as she becomes paranoid. Jena Malone is amazing as Amy as a young woman who is the first to unknowingly touch the vines as she is the most reluctant to visit the temple as she copes with the situation she and her friend are in. Finally, there’s Jonathan Tucker in a brilliant performance as Jeff as a med student who is the most sensible of the four Americans and Amy’s boyfriend as he tries to raise morale as well as be the one who responds to the severity of the situation in how for all to survive.
The Ruins is a remarkable film from Carter Smith. Featuring a great cast, an intriguing premise, and some superb technical work, it’s a film that strays from some of the conventions of horror in favor of exploring characters and what they try to do to survive. In the end, The Ruins is a marvelous film from Carter Smith.
© thevoid99 2016
Based on the non-fiction novel by Lorenzo Carcaterra, Sleepers is the story of four young boys from the Hell’s Kitchen section of New York City whose lives were changed when they were sent to a brutal juvenile hall as they endured sexual abuse by guards only to get revenge on them many years later as adults. Written for the screen and directed by Barry Levinson, the film is an exploration of men who deal with the abuse that had changed them as two of them go on trial for the murder of one with two of the men trying to find ways to mess the trial up as one of them is a prosecutor trying against them. Starring Jason Patric, Brad Pitt, Kevin Bacon, Minnie Driver, Billy Crudup, Ron Eldard, Brad Renfro, Joe Perrino, Jonathan Tucker, Geoffrey Wigdor, Bruno Kirby, Dustin Hoffman, and Robert de Niro. Sleepers is a chilling yet evocative film from Barry Levinson.
Told in the span of nearly 20 years, the film revolves around four boys living in the Hell Kitchen’s section of New York City where an act of theft just to eat hot dogs led to an accident that nearly killed a man. In response to what happened, the boys are sent to the Wilkinson Home for Boys where they would be abused physically and sexually by guards as the experience would haunt them as adults where two of them would finally get revenge on one of the guards as they’re tried for murder by one of the men who would mastermind everything to make sure he loses and his friends go free. It’s a film that is part of a revenge film but it’s also about abuse and what drove these men into trying to free themselves from this horrific experience. All of which is told by one of the men who is a journalist as he reflects on his childhood as well as what he wants to do where he even gets a local priest involved in the trial.
Barry Levinson’s script has a unique structure as much of the first half is set in the mid-to-late 1960s as it revolves around these four boys who were just regular kids that go to church, do small yet non-violent jobs for a local Mafia kingpin, and play stickball. Due to a prank where everything went wrong and be sent to this juvenile hall, their lives change thanks in part to this guard named Sean Nokes (Kevin Bacon) who would abuse them in the worst way with three other guards. The abuse becomes intense to the point that they couldn’t even tell their parents nor their priest in Father Bobby Carillo (Robert de Niro). The film’s second half takes place fourteen years later where the boys become adults as Tommy Marcano (Billy Crudup) and John Reilly (Ron Eldard) have become career criminals and discover Nokes eating a restaurant where they confront and later kill him. With the aid of assistant district attorney Michael Sullivan (Brad Pitt) being their prosecutor who wants to lose the case against them with help from the washed-up alcoholic attorney Danny Snyder (Dustin Hoffman) to represent Marcano and Reilly.
Yet, Sullivan and Lorenzo “Shakes” Carcatetta (Jason Patric) are aware that it’s not enough to help Marcano and Reilly be found not guilty as they would also mastermind revenge on the three other guards with the aid of the local Mafia boss King Benny (Vittorio Gassman) as well as longtime childhood friend Carol (Minnie Driver) as the latter would later learn about the abuse Carcatetta, Marcano, Reilly, and Sullivan endured as Father Bobby would also learn what happened. Yet, the film’s third act is about what Father Bobby is being asked to do by Carcatetta to help Marcano and Reilly as it does become not just a moral issue but also in seeing if Father Bobby could help these men he knew as boys.
Levinson’s direction does have an air of style in the way he presents 1960s Hell’s Kitchen as a place where things were innocent despite some of the dark aspects that surrounds the boys such as Carcatetta seeing his mother be beaten by his father or some of the things that King Benny does to keep his neighborhood clean. It’s as if Levinson recreates 1960s New York City as a time where things were enjoyable and had a bit of danger to it that still made it fun with the usage of the wide and medium shots. By the time the film moves upstate at the juvenile hall, it becomes a much tighter and more unsettling film as Levinson’s direction really maintains that haunting atmosphere. The scenes of abuse are never shown as Levinson is more concerned about what will happen before and its aftermath which just adds that sense of terror.
Once the film reaches its second half, it is set in a more modern world but one that is very dark in terms of its imagery but also in the impact of the violence. Notably the scene where Marcano and Reilly see Nokes and confront him as it is quite eerie as well as being very violent. Levinson’s direction would become stylish in the way Carcatetta and Sullivan would set things up as it includes a meeting between King Benny and another crime lord in Little Caesar (Wendell Pierce) as it relates to the latter whose brother was in the same juvenile hall the four boys were in. It’s a small scene but one that showcases an air of respect in the world of crime but also in the fact that some debts just can’t be paid with money as King Benny would learn the truth about what happened to boys he had cared about despite what he does for a living. The trial scenes are just as intense emotionally as well as in the climax as it involves Father Bobby’s testimony as it is one of the most chilling moments in the film. Overall, Levinson creates a mesmerizing film about four men getting revenge on those that had abused them at a juvenile hall.
Cinematographer Michael Ballhaus does excellent work with the film‘s cinematography from the sunny and lively look of the film‘s first act in Hell‘s Kitchen to the eerie look at the juvenile hall that includes some de-colored film stock for a football sequence between the kids and the guards. Editor Stu Linder does nice work with the editing as it has bits of style in a few montages while also being straightforward in its drama and some light-hearted moments. Production designer Kristi Zea, with set decorator Beth A. Rubino and art director Tim Galvin, does fantastic work with the look of the juvenile hall as well as some of the places in Hell‘s Kitchen and the restaurant where Marcano and Reilly see Nokes.
Costume designer Gloria Gresham does terrific work with clothes from the look of the kids in the 1960s to the clothes the characters would wear as adults in the 1980s. Sound designer Richard Beggs and sound editor Tim Holland do superb work with the sound in capturing the vibrant energy of Hell‘s Kitchen to the tense and scary world of the juvenile hall. The film’s music by John Williams is amazing for its low-key yet heavy orchestral score that plays into the drama with its string arrangements as it carries a lot of weight into the story while the soundtrack features an array of music of the 60s like Frankie Valli and the Four Seasons, the Beach Boys, Donovan, Spencer Davis Group, Love, Dusty Springfield, and Doris Day to music from the Gap Band, Soft Cell, and Everything is Everything.
The casting by Louis DiGiaimo is incredible as it feature some notable small roles from James Pickens Jr. as an African-American guard who doesn’t take shit from Nokes and protects the boys on their first day, Frank Medrano as a Hell’s Kitchen hood in Fat Mancho, Monica Potillo as the young Carol, Aida Turturro as a woman who witnessed Marcano and Reilly at the restaurant, Eugene Byrd as a tough African-American kid named Rizzo the boys befriend at the juvenile hall, Dash Mihok as a juvie who gets into a fight with Sullivan at the juvenile hall, Angela Rago as Shakes’ mother, and John Slattery as a kind English teacher at the juvenile hall. Other noteworthy small roles include Bruno Kirby as Shakes’ father who is strict but fair towards him and Wendell Pierce as the crime lord Little Caesar who is also Rizzo’s older brother as he learns the truth about what happened to him. In the roles of the three guards who abused the boys with Nokes in Jeffrey Donovan as the aspiring politician Henry Addison, Lennie Loftin as the corrupt Adam Styler, and Terry Kinney as Ralph Ferguson are superb in their roles as three men who are quite scary.
In the roles of the younger version of the boys, Joe Perrino as the young Shakes, Brad Renfro as the young Sullivan, Jonathan Tucker as the young Marcano, and Geoffrey Wigdor as the young Reilly are all amazing as they display an innocence to guys who live in the streets of Hell’s Kitchen as they’re unprepared for what they deal with as well as the abuse they’re too ashamed to unveil to their parents and Father Bobby. Vittorio Gassman is excellent as King Benny as a former bodyguard for Lucky Luciano turned local Mob king who learns about what happened to the boys as he does whatever to help them without leaning towards the world of crime. Minnie Driver is fantastic as Carol as a childhood friend who helps Shakes in trying to help Marcano and Reilly while learning about the truth about what happened to them as kids which made her very uneasy. Ron Eldard and Billy Crudup are brilliant in their respective roles as John Reilly and Tommy Marcano as two men who are haunted by their experience as they turn to crime where they finally get some vengeance upon seeing Nokes at a restaurant.
Dustin Hoffman is great as Danny Snyder as this alcoholic lawyer that is given a chance to defend Reilly and Marcano though he is largely unaware of the role he is playing other than getting a chance to become someone again. Robert de Niro is remarkable as Father Bobby Carillo as a priest who has been the one person the boys can turn to as he learns about what happens where he is put into a situation that goes against everything he’s been doing as a priest. Kevin Bacon is phenomenal as Sean Nokes as this abusive and sadistic prison guard who likes to beat up the kids as well as do things to them in his own perverse way of making them tough. Brad Pitt is marvelous as Michael Sullivan as an assistant district attorney who is masterminding the case as an act revenge as he tries whatever he can to lose convincingly while dealing with his own issues as it relates to the abuse he suffered as a kid. Finally, there’s Jason Patric in a tremendous performance as Lorenzo “Shakes” Carcaterra as a journalist who helps Sullivan in trying to get revenge but also is forced to tell Father Bobby and Carol the truth as he also reflects on his past that still haunts him.
Sleepers is an outstanding film from Barry Levinson. Featuring a great ensemble cast, a multi-layered storyline, and eerie yet compelling stories about sexual and child abuse as well as vengeance. It’s a film that is stylish but also manages to do a lot without being heavy-handed nor go too far into material that is quite intense. In the end, Sleepers is a magnificent film from Barry Levinson.
Barry Levinson Films: (Diner) - (The Natural) - (Young Sherlock Holmes) - (Tin Men) - (Good Morning Vietnam) - (Rain Man) - (Avalon (1990 film)) - (Bugsy) - (Toys) - (Jimmy Hollywood) - (Disclosure) - (Wag the Dog) - (Sphere) - (Liberty Height) - (An Everlasting Piece) - (Bandits (2001 film)) - (Envy) - (Man of the Year) - (What Just Happened) - (You Don’t Know Jack) - (The Bay) - (The Humbling) - (Rock the Kasbah) - (The Wizard of Lies)
© thevoid99 2016
