Tenet

 

Written and directed by Christopher Nolan, Tenet is the story of a secret agent who takes part in a mysterious mission involving time travel as he is able to manipulate the flow of time to prevent from a major event from happening. The film is a sci-fi action thriller that explore the idea of time but also the perspective of others as this agent finds himself in a strange world. Starring John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Himesh Patel, Clemence Poesy, Aaron Taylor-Johnson, Martin Donovan, Fiona Dourif, Michael Caine, and Kenneth Branagh. Tenet is a visually-sprawling yet messy film from Christopher Nolan.

The film follows a CIA agent who joins a mysterious organization to stop a madman in unleashing the end of the world through time travel as he learns how to manipulate the flow of time and help the madman’s wife in retrieving her son. It is a film that is filled with complexities as it play into the idea of time paradoxes and the flow of time where this agent finds himself dealing with not just these mysterious figures including another agent but also other people whom he has to battle. Christopher Nolan’s screenplay is filled with a lot of complexities but also a narrative that explores this unnamed figure that is known mainly as the Protagonist (John David Washington) who is first seen in a mission at a concert hall in Kyiv to retrieve an object and then he sees something where it was largely a test for him where he joins this secret organization. He meets his handler Neil (Robert Pattinson) who is often vague about what he knows as they target this Russian oligarch named Andrei Sator (Kenneth Branagh).

In order to get to Sator, the Protagonist and Neil approach his estranged wife Kat (Elizabeth Debicki) to get close to him in the hope she can regain regular contact with their son whom she is unable to see often. She agrees to help them as it involves all sorts of objects that they need to retrieve yet the script is also filled with a lot of exposition into the world that these characters are in as it relates to inverted objects that rewind into an object and all of these ideas of time paradoxes. It is an aspect of the film that isn’t just overwhelming but it does drag the story at times as there are moments where scenes are recreated from another perspective in its third act as it play into the idea of past, present, and future but Nolan does make it confusing at times.

Nolan’s direction is definitely vast as it is shot on multiple locations such as Oslo, Mumbai, the Almafi coast in Italy, Estonia, Denmark, Britain, and the U.S. including some studio-created sets shot in Los Angeles. Nolan creates a world that is vast as it opens at a music hall where a concert performance is happening and then a group of terrorists come in and terrorize everyone leading to a battle between terrorists and the military yet the Protagonist is part of a group that is trying to do something else and fight off whoever they can. It is definitely a great way to start the film as there is a lot happening but it also reveals what the Protagonist is encountering when he sees a bullet hole disappear all of a sudden as if it never appeared. Nolan also include a lot of wide shots of buildings and these large windmills as it play into the world that the Protagonist is a part of where he goes to India to meet a mysterious arms dealer in Priya Singh (Dimple Kapadia) who serves as the mastermind of her business with her husband Sanjay (Denzil Smith) as its face. The film also feature these dazzling stunts and fight choreography in the way Nolan presents this world where things move forward and backward as if it is a dance of sorts. Even in some of the intimate fights where Nolan uses medium shots and close-ups as there is a lot of attention to detail in what is being shown.

Nolan’s usage of wide and medium shots play a lot into the scope of the film as well as how big the world the Protagonist and his cohorts encounter as well as in some of the locations that include coastal ports and windmills in the middle of the sea. The close-ups do play into some of the intimate moments but also in some suspenseful moments but the film does drag in scenes that do involve lots of exposition as it does get overbearing and confusing at times. The film’s third act is essentially a recreation of scenes from the first half of the film but it play into a different perspective for the Protagonist as well as others as it play into the ideas of fate and reality. Even for those who feel trapped by their own reality and need a way to make sure that they can control the future without having to control the future of others. Overall, Nolan crafts an exhilarating yet clunky film about a secret agent going on a mission that involves time paradoxes and the fate of the world.

Cinematographer Hoyte van Hoytema does incredible work with the film’s cinematography with its wondrous approach to natural lighting for some of the daytime exterior scenes of these vast locations as well as some stylish usage of lights for many of the scenes at night. Editor Jennifer Lame does brilliant work with the editing with its usage of jump-cuts, montages, and other stylish cuts to play into the sense of confusion and chaos that looms throughout the film. Production designer Nathan Crowley, with set decorators Emmanuel Delis, Kathy Lucas, and Anna Pinnock plus art directors Toby Britton, Rory Bruen, Eggert Ketilsson, and Jenne Lee, does amazing work with the look of some of the places that the characters go to including some of the factories that Sator owns as well as buildings and such for some of the film’s elaborate set pieces. Costume designer Jeffrey Kurland does fantastic work with the costumes from some of the stylish clothing that Kat wears to the tailor-made suits that the Protagonist and Neil wear as well as some of the clothes that Sator wears.

Special makeup effects artists Toni Bisset and Melanie Askamit do terrific work with some of the scars and such for some of the characters in the violence they encounter. Special effects supervisor Scott R. Fisher, along with digital/visual effects supervisors Andrew Jackson, David Lee, and Andrew Lockley, does excellent work with the visual effects in its emphasis to look and feel real in the highway chase scene as well as the battle scene in its third act. Sound designers Richard King and Kathie Talbot do superb work with the sound in the way objects sound though it often clashes with the score as it overwhelms the dialogue at times. The film’s music by Ludwig Gorransson is wonderful for its mixture of hypnotic electronic music with bombastic orchestral swells to play into the suspense and drama though it could’ve been mixed down as the soundtrack also features an unnecessary and awful piece by Travis Scott in the film’s final credits.

The casting by John Papsidera is marvelous as it feature some notable small roles and appearances from Denzil Smith as Priya’s husband Sanjay who is the face of an arms trafficking business, Laurie Shepherd as Kat and Sator’s son Max, Jack Cutmore-Scott as a storage facility manager named Klaus, Yuri Kolokolnikov as Sator’s bodyguard Volkov, Martin Donovan as the Protagonist’s CIA boss Fay, Clemence Poesy as a scientist named Barbara who introduces the Protagonist to the concept of inverted bullets, Fiona Dourif as a military officer who is part of a task force as she also does some exposition, Himesh Patel as a wise-cracking fixer named Mahir, and Michael Caine in a one-scene appearance as a British intelligence officer in Sir Michael Crosby who provides some information to the Protagonist as well as what he would face.

Aaron Taylor-Johnson is excellent as the military commander Ives who knows about the idea of time paradoxes and such where he helps out the Protagonist and Neil while also having some motives of his own. Dimple Kapadia is fantastic as Priya Singh as an arms trafficker dealer who is part of a secret organization as she gives the Protagonist clues on what he will face but also has her own interests into Sator’s plans in the hope that she can benefit from whatever the Protagonist does to stop Sator. Kenneth Branagh is brilliant as Andrei Sator as this Russian businessman who deals in illegal businesses as he also has the power to manipulate time as he is hoping to profit from this as he has extremely personal reasons to end the world no matter the cost.

Elizabeth Debicki is amazing as Sator’s estranged wife Kat as a woman who is trapped in a loveless marriage as she decides to help the Protagonist and Neil in stopping her husband in the hopes she can see her son much more as it is a performance full of complexities and emotional gravitas. Robert Pattinson is incredible as Neil as the Protagonist’s handler who helps the Protagonist with the missions while also knowing things that the Protagonist doesn’t know as it relates to time paradoxes and such where Pattinson brings some wit into his performance. Finally, there’s John David Washington in a phenomenal performance as the Protagonist as this unnamed CIA agent who takes part in a mission where he finds himself learning to manipulate time but also deal with all of these complexities as it is a performance full of intensity and determination despite some of the confusing aspects of the script.

Tenet is a remarkable yet overwrought film from Christopher Nolan. While it does feature some incredible visuals, amazing stunt work, a great ensemble cast, and some chilling music pieces. It is a film that has a lot to offer in terms of its action and suspense yet it tries to be complex for its own good where its emphasis on exposition tends to drag the film as well as be confusing. In the end, Tenet is a marvelous yet flawed film from Christopher Nolan.

Christopher Nolan Films: Following (1998 film) - Memento - Insomnia - Batman Begins - The Prestige - The Dark Knight - Inception - The Dark Knight Rises - Interstellar - Dunkirk - Oppenheimer - The Auteurs #13: Christopher Nolan

© thevoid99 2022

Youth (2015 film)

Written and directed by Paolo Sorrentino, Youth is the story of two old men who travel to a holiday spa in Switzerland as they reflect on their life as they also cope with aging and their longing to be youthful as they meet other people young and old. The film is a study on the ideas of youth, aging, and the struggle about what to do with the time that is left in one’s life. Starring Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, and Jane Fonda. Youth is a ravishing yet evocative film from Paolo Sorrentino.

Set in Swiss Alps in a holiday spa, the film follows two men who are vacationing there as they cope with what is ahead as one of them is a famed composer trying to enjoy retirement while his friend is a filmmaker eager to make one more film and get a big-time actress to star in it. During their time, the two discuss things they can and can’t remember as well as the fact that they’re in their final years unsure of when death will arrive. Especially as the two also have children who are married to each other where something unexpected happens as they would also meet various characters in the course of their vacation. Paolo Sorrentino’s screenplay doesn’t just explore the ideas of youth, aging, life, and death but also the struggle for identity and meaning in the world. Even as these two men try to see if they still matter or have already contributed to the world and be forced to realize they have nothing to prove anymore.

The composer Fred Ballinger (Michael Caine) and the filmmaker Mick Boyle (Harvey Keitel) both try to deal with their roles in life as the former copes with the task of performing a concert for Queen Elizabeth II and her husband for the latter’s birthday while the latter is trying to make a film which he believes will be his greatest work. During the course of their stay, they befriend an actor named Jimmy (Paul Dano) who is doing research for a role while Fred is accompanied by his daughter Lena (Rachel Weisz) who just went through a life-changing event making her stay at the spa much longer. Around the same time, Fred and Mick also encounter many eccentrics during their stay as they also comment on their past as well as their own faults as men where Fred admits to not being a good father to Lena as well as the fact that he wasn’t faithful to his wife where he copes with the fact that he couldn’t do his greatest piece without her.

Sorrentino’s direction is gorgeous for the way he presents this world of tranquility and peace that is like paradise. Shot largely on location in Flims, Switzerland at the Waldhaus Flims hotel with some shots at the Hotel Schatzalp in Davos and additional scenes set in Rome and Venice. Sorrentino creates some unique compositions to play into something that is idyllic in terms of where the elderly would go to relax as well as the fact that it’s a place for those in their prime as well as the young. Sorrentino’s usage of wide shots play into the look as well as some of the intimate moments that involve many of the residents at the spa where they’re shot in groups. The intimacy would also be used in the close-ups and medium shots as Sorrentino knows where to frame the actors or create something that is adds a lot to this air of tranquility and calm as these residents are given the chance to relax but also do some activities and listen to music.

The direction also has moments that are quite surreal as it play into this air of fantasy that some of the characters embark on. These sequences not only are dream-like but also play into some of the fear some of the characters endure but also moments that play into their sense of desire. Even as they are these odd moments that do make sense as well as showcase that feeling of existence where it would be overshadowed by the harshness of reality. Notably in a sequence in the third act which relates to the lives of Fred and Mick as the former is still carrying some form of grief and regret while the latter would face heartbreak of the worst kind. All of which these two men would be forced to carry for the remainder of their lives. Overall, Sorrentino creates an enchanting yet rapturous film about two old friends going on a holiday in the Swiss Alps coping with the remaining moments of their lives.

Cinematographer Luca Bigazzi does brilliant work with the film‘s cinematography from the usage of its natural and colorful look for many of its daytime exteriors the usage of lights and moods for many of the scenes set at night. Editor Cristiano Travaglioli does nice work with the editing as it has some stylish rhythmic cuts to play into the offbeat moments while much of it is straightforward. Production designer Ludovica Ferrario, with set decorator Noel Godfrey and art directors Daniel Newton and Marion Schramm, does amazing work with the look of the rooms the residents live in as well as some of the design of the rooms and places they would go to. Costume designer Carlo Poggioli does excellent work with the different array of clothes of the many residents who are at the spa as well as the look of the actress that Mick wants to work with.

Hair/wig designer Aldo Signoretti and makeup designer Maurizio Silvi do fantastic work with the look of the actress that Mick wants to work with in her diva-esque persona as well as the look for Mick‘s own surreal moment. Visual effects supervisor Andrew Morley does terrific work with some of the visual effects as it play into the elements of surrealism that the characters would encounter or dream about. Sound editor Dario Calvari does superb work with the sound in playing up that sense of tranquility as well as the layer of sounds that Fred would hear in a surrealistic moment. The film’s music by David Lang is wonderful for its mixture of somber folk with elements of orchestral flourishes that play into the serenity of the locations as it would also feature additional contributions by Mark Kozelek who appears in the film as himself in creating some songs that are performed including Fred‘s famed composition that is sung in the final credits by the soprano singer Sumi Jo.

The casting by Shaheen Baig, Laura Rosenthal, and Anna Maria Sambucco is great as it feature some notable small roles from the British pop vocalist Paloma Faith as herself, Ed Stoppard as Lena‘s husband/Mick‘s son, Alex MacQueen as an emissary for Queen Elizabeth II, Ian Keir Attard as the emissary‘s assistant, Madalina Diana Ghena as Miss Universe, and Roly Serrano as an overweight and ailing version of the famed futbol icon Diego Maradona. In the roles of the screenwriters who work with Mick on his story, there’s Tom Lipinski, Chloe Pirrie, Alex Beckett, Nate Dern, and Mark Gessner as these different writers who provide Mick different ideas as well as try to come up with the ending as they‘re all fun to watch. Luna Mijovic is wonderful as a young masseuse that Fred befriends while Robert Seethaler is superb as a mountain climbing instruction that Lena takes interest in. In a small but crucial role as the diva-esque actress Brenda Morel, Jane Fonda is incredible as this longtime collaborator of Mick who makes this appearance as she represents some of the harshness of reality that Mick faces where she just owns that scene.

Paul Dano is excellent as Jimmy Tree as a young actor who befriends Fred and Mick where he shares their frustration with their work as he’s famously known for playing a robot where he hopes to find a role that could give him more. Rachel Weisz is amazing as Lena as Fred’s daughter who is also his assistant as she makes an unexpected return to the retreat where she copes with some of the bitter aspects of her relationship with her father. Harvey Keitel is phenomenal as Mick Boyle as a filmmaker eager to try and create one final film that would define his legacy while dealing with aspects of his life along with his friendship with Fred. Finally, there’s Michael Caine in a remarkable performance as Fred Ballinger as this music composer trying to retire as he is dealing with the demands of his former career in doing a concert for Queen Elizabeth II and write a memoir while dealing with his own faults as a man, a father, and as a husband where he also recalls things he can and can’t remember.

Youth is a spectacular film from Paolo Sorrentino that features brilliant performances from Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, and Jane Fonda. Along with memorable performances from the rest of its ensemble cast, gorgeous visuals, strong themes on life and death, and superb music. It’s a film that explores many of the ideas about getting old as well as the idea of capturing some element of youth in an old age. In the end, Youth is a tremendous film from Paolo Sorrentino.

Paolo Sorrentino Films: (One Man Up) - (The Consequences of Love) - (The Family Friend) - (Il Divo) - (This Must Be the Place) - (The Great Beauty)

© thevoid99 2016

Kingsman: The Secret Service

Based on the comic book The Secret Service by Dave Gibbons and Mark Millar, Kingsman: The Secret Service is the story of a young man who is recruited to be part of a secret spy organization where they try to save the world from a megalomaniacal man of great wealth. Directed by Matthew Vaughn and screenplay by Vaughn and Jane Goldman, the film is a take on the world of spies and what it takes to become a badass spy with a sense of style. Starring Colin Firth, Taron Egerton, Mark Strong, Sophie Cookson, Sofia Boutella, Mark Hamill, Samuel L. Jackson, and Michael Caine. Kingsman: The Secret Service is an exhilarating and fun film from Matthew Vaughn.

The film revolves around a young man, whose father had died when he was young, as he is recruited to be part of a secret organization from a man who feels he owes a debt to that young man’s father for saving his life. There, the two deal with a wealthy Internet mogul who has plans to wipe out most of the population in favor of saving the world as it forces the secret organization of the Kingsman to save the world. It’s a film with a simple plot that plays into a lot of the tropes that is expected in spy films such as world domination, chaos, and doing what is right. Yet, Matthew Vaughn and co-screenwriter Jane Goldman become aware of these clichés and play with those while investing their time in developing a young man who was going through an aimless life into finding something that has meaning.

The protagonist Eggsy (Taron Egerton) is a young kid who lost his father at a young age where he’s been living with his mother, an abusive stepfather, and infant half-sister where he had all of the grades and potential to be something more than a criminal but has a chip on his shoulder. When he meets Harry Hart aka Galahad (Colin Firth) who knew Eggsy’s father, he would bail him out and show him what he could be as Galahad is a spy that looks like a tailor but proves to be a formidable badass. Yet, Galahad is also dealing with the loss of one of his colleagues and needs a replacement where he and the Kingsman are dealing with this billionaire named Richmond Valentine (Samuel L. Jackson) who is an odd villain of sorts. A billionaire with a lisp and can’t stand the sight of blood despite what he is doing to the world with his new free software that he gives to the world which really serves as what he is planning to do. Once Galahad and the Kingsman senior agent Merlin (Mark Strong) realize what they’re dealing with, they knew something had to be done which also prompts Eggsy to fulfill his own potential.

Matthew Vaughn’s direction is definitely stylish from some of the tracking shots and long takes he creates for some of the scenes to the mixture of violence and humor that is injected in the film. While it starts off with comical moments of violence, Vaughn does play into some of the impact that occurs such as an opening sequence where Eggsy’s father sacrifices himself to save three men from a suicide bomber which plays into Galahad making an oath to be there for Eggsy. While some of the action and suspenseful moments are quite gripping, Vaughn does find a way to inject some humor but also play into what is at stake where Eggsy learns what he has to do to become a Kingsman. Even in a tense moment where he meets with Kingsman leader Arthur (Michael Caine) that would serve as a major test to see if he can really become one. Vaughn’s usage of close-ups and medium shots do play into the drama as well as Eggsy coming to term with who he is but also someone that has a lot of attachments which is often the reason for why he never able to live up to his promises as a young man.

When the film reaches its third act where the Kingsman have to confront Valentine, it is presented in a grand scale in terms of its set pieces and what is at stake where Eggsy not only fulfills that potential. He also becomes aware of what is at stake where Vaughn does play with the conventions of these climaxes as some of it is very violent but also has this air of dark comedy that manages to be a whole lot of fun to watch. Especially in what Valentine unleashes into the world through his app which gave the world free internet and free cellphone usages which plays into the drawbacks of the modern world. Overall, Vaughn creates a very thrilling yet witty film about a young man who realizes his potential to be something more as well as saving the world.

Cinematographer George Richmond does excellent work with the film‘s cinematography with its usage of lights for many of the nighttime interior settings including the film‘s climax as well as some of the exteriors in the day to play off its natural look for scenes set in London. Editors Eddie Hamilton and Jon Harris do nice work with the editing as it does have some fast-paced rhythmic cuts for some of the action and conversations while knowing when not to cut such as some of the tracking shots. Production designer Paul Kirby, with supervising art director Andy Thomson and set decorators Naomi Moore, David Morison, and Jennifer Williams, does fantastic work with the set design from the look of the Kingsman base and its training facilities to the secret hideout where Valentine holds his party. Costume designer Arianne Phillips does terrific work with the costumes from the tailored suits the Kingsman wear as well as the stylish clothes of Valentine.

Hair/makeup designer Christine Blundell does wonderful work with the hairstyles of the characters including the one Galahad would wear during his brief comatose state. Visual effects supervisors Steven Begg, Huseyin Caner, and Matt Kasmir do fine work with some of the visual effects though some of the background stuff don‘t look finished at times. Sound designer Matthew Collinge and sound editor Danny Sheehan do superb work with the sound in creating some sound effects for some of the gadgets the Kingsman use along with some of the sound that occurs in the locations and places the characters go to. The film’s music by Henry Jackman and Matthew Margeson is amazing for its mixture of orchestral bombast and some pulsating electronic music as the latter plays more into Eggsy‘s personality while music supervisor Ian Neill creates a fun soundtrack that features a plethora of music ranging from rock, pop, and hip-hop from acts like Lynyrd Skynyrd, KC and the Sunshine Band, Dire Straits, Take That, Dizzee Rascal, Iggy Azalea and Ellie Goulding, and Bryan Ferry.

The casting by Reg Poerscout-Edgerton is brilliant as it features notable small roles from Jack Cutmore-Scott, Tom Prior, and Fiona Hampton as a few Kingsman candidates, Hanna Alstrom as the Swedish princess who refuses to make a deal with Valentine, Bjorn Floberg as the Swedish prime minister, Richard Brake as an interrogator for the candidates, Jack Davenport as the original Lancelot who tried to save a professor, Geoff Bell as Eggsy’s abusive stepfather Dean, Samantha Womack as Eggsy’s mother whom he cares about, and Mark Hamill in a terrific role as Professor James Arnold as this man who would be a pawn into what Valentine is creating. Edward Holcroft is superb as the Kingsman candidate Charlie Hesketh who bears all of the attributes to be a Kingsman as he is the total opposite of what Eggsy brings to the organization.

Sofia Boutella is fantastic as Valentine’s amputated henchwoman Gazelle as this woman who is beautiful but dangerous as her sword-like legs are very dangerous. Sophie Cookson is amazing as Kingsman candidate Roxanne as a young woman who befriends Eggsy as she is one of the few who doesn’t dismiss his working-class background while being someone who can be a Kingsman and do what is right. Michael Caine is excellent as Arthur as the Kingsman leader who tries to sort out everything that is happening as well as deal with a world that is changing very rapidly. Mark Strong is awesome as Merlin as a senior Kingsman officer who is also the candidates’ trainer as a man that had seen so much as he is also the film’s conscious of sorts.

Samuel L. Jackson is phenomenal as Richmond Valentine as this megalomaniacal man of wealth who believes he has the answers for all of the problems of the world while doing it in a very evil way where Jackson brings charm but also some humor in his lisps and aversion to blood and violence. Colin Firth is remarkable as Galahad/Harry Hart as a Kingsman agent who personifies all of the things to be a spy that is full of control and style while also being the one person who can show Eggsy what he can be as it’s one of Firth’s finest performances. Finally there’s Taron Egerton in a real breakthrough as Eggsy as young man with a chip on his shoulder as someone that is lost and destined for trouble as he tries to find ways to better himself as well as bring meaning where Egerton manages to have some charm and dramatic weight to his role.

Kingsman: The Secret Service is a sensational film from Matthew Vaughn. Featuring a great cast and an inventive premise that manages to be fun and engaging, the film is truly not just a play on spy movies but also showcases the idea of what a gentleman can be when he’s facing the world in danger. In the end, Kingsman: The Secret Service is a rapturous film from Matthew Vaughn.

Matthew Vaughn Films: (Layer Cake) - (Stardust) - Kick-Ass - X-Men: First Class

© thevoid99 2015

Dressed to Kill (1980 film)

Written and directed by Brian De Palma, Dressed to Kill is the story of a murder mystery where the woman’s son, her psychiatrist, and a young prostitute try to figure out who killed her. The film isn’t just about a murder mystery but an exploration into the world of eroticism and why a housewife was killed which was partly due to her own sexual desires. Starring Angie Dickinson, Michael Caine, Nancy Allen, Keith Gordon, Dennis Franz, and David Margulies. Dressed to Kill is a sexy yet thrilling film from Brian De Palma.

The film revolves the mysterious murder of a housewife in New York City who was killed just after having a tryst with a man she had just met in order to fulfill her own sexual desires. It’s a film that isn’t just a simple whodunit but also a film that explores the world of sex as it relates to certain desires and what people want. At the same time, it also explores the idea of transsexuality where the killer is suspected to be a transsexual as the housewife’s psychiatrist is also treating a transsexual. Once the housewife had been killed where a young hooker is the only witness, she along with the psychiatrist and the housewife’s genius son each to into their own investigation.

Brian De Palma’s screenplay has a unique structure where the first act is about Kate Miller (Angie Dickinson) as she is sexually-frustrated with her marriage as she goes to Metropolitan Museum of Arts where she encounters a man she had seen in her fantasy. While it would be fulfilling, it would have some very serious consequences and an eventual outcome that would set the entire mystery to play out. With the prostitute Liz (Nancy Allen) being the sole witness as she would also be an unfortunate suspect due to carrying the murder weapon. The second act is about the mystery where Liz and Kate’s son Peter (Keith Gordon) both do their own investigation where the latter would use his skills in creating gadgets to stake out the office of his mother’s psychiatrist Dr. Elliott (Michael Caine). Dr. Elliott would also be questioned by the police detective Marino (Dennis Franz) who wants access to Dr. Elliott’s files as things become more complicated as it relates to the identity of the killer who is a patient of Dr. Elliott with the name Bobbi.

The character of Bobbi raises a lot of question of transsexuality where Dr. Elliott would reveal to Marino that Bobbi is a man that wants to be a woman as he tries to tell him to not go with this sex change. It adds to this sex of intrigue into the world of sex while there all of these little details that De Palma uses in the script that plays into the dangers of infidelity as well as the world of unprotected sex. In some ways, it is De Palma making a bit of commentary over the drawbacks of the sexual revolution in the age where sexually-transmitted diseases are starting to become public just before the era of AIDS. Even as it is clear that there’s some very strange motives into what goes on in Kate’s sex life as well as the world of sex itself.

De Palma’s direction is very mesmerizing for the way it emphasizes largely on style but allowing every image and scene to matter. The film opens with this very sexy shower scene where Kate is masturbating in a shower as it plays to a fantasy of Kate wanting to have sex with this man. Yet, it then cuts to reality where she is having very unsatisfying sex with her husband where De Palma’s usage of medium shots and close-up play to Kate’s own boredom in her married life. While the film is set in New York City, it is shot largely in Philadelphia with the exception of a few second-unit shots of NYC as it plays into this world of that is quite dangerous where things are becoming nothing as it seen. Even in the world of sex and such where Kate would meet her fantasy man at the museum where it leads to one of the finest sequences in film with this steadicam tracking shot of these two flirtatiously chasing each other in the museum with very sparse dialogue.

It is among some of the finest sequences in film as well as some of the sexual-driven scenes such as Kate having sex with a man in a cab and the aftermath where it’s about the sense of timing and usage of memory. De Palma’s usage of split-screens help play into that sense of memory as well as a sense of intrigue as it relates to the different investigations held by Dr. Elliott and Liz. De Palma’s approach to suspense is very intense such as a sequence where Liz is being chased by Bobbi in the subway as she also makes trouble with a young gang and a major sequence in the third act. Notably a scene where Liz meets Dr. Elliott where she is hoping to get a record of Bobbi’s identity with the help of Peter. The sense of tension and how De Palma would compose some of the scenes where one character would be in the foreground and the other in the background just adds to this sense of style and intrigue over the mystery of who killed this woman. Overall, De Palma creates an unsettling yet rapturous film about a murder mystery involving transsexual and other forays into the world of sex.

Cinematographer Ralf Bode does excellent work with the film‘s cinematography with its soft yet colorful look of some of the interior/exterior scenes at the museum to the eerie scenes set at night as well some unique lighting and textures for some of the interior/exterior scenes set at night. Editor Jerry Greenberg does brilliant work with the editing with its usage of jump-cuts, slow-motion, split-screens, and other stylish cuts to play into the suspense and elements of eroticism. Art director Gary Weist and set decorator Gary J. Brink do fantastic work with the look of Dr. Elliott‘s home office as well as the home where Kate and Peter lives in along with the scenes set in the apartment building where Kate would have her tryst.

Costume designer Ann Roth does superb work with the costumes from the clothes that Liz wears to the stylish white dress that Kate wears in the film. Sound editor Dan Sable does nice work with the sound to create some tension in some of the moments of suspense as well as the great usage of cuts and mixing for the museum sequence in the scenes without music. The film’s music by Pino Donaggio is amazing as it is one of the film’s major highlights thanks to its soaring and lush orchestral-based score with its strings to some of the eroticism of the film as well as some more eerie themes for its suspenseful moments.

The casting by Vic Ramos is terrific as it features some notable small performances from David Margulies as a fellow psychiatrist in Dr. Levy, Fred Weber as Kate’s husband Mike, Bill Randolph as a cab driver in a chase scene, William Finley as the voice of Bobbi, and Ken Baker as Kate’s object of desire as the man she would flirt with at the museum. Dennis Franz is superb as the detective Marino who is leading the investigation as he doesn’t trust Liz because of who she is as well as Dr. Elliott because of the information he didn’t want to reveal. Keith Gordon is excellent as Peter Miller as Kate’s son who is an inventor who feels guilty over what happened as he is driven by grief to find out who the killer is as he would also help out Liz in the investigation.

Angie Dickinson is brilliant as Kate Miller as the bored housewife who is sexually-frustrated with her marriage as she would have a tryst with a man who is her ideal fantasy as things would go wrong in its aftermath. Nancy Allen is amazing as Liz Blake as this young prostitute who would witness the murder as she also becomes an unfortunate suspect as she does whatever to help Peter and keep herself out of jail knowing she has done enough trouble in her life. Finally, there’s Michael Caine in a fantastic performance as Dr. Elliott as this psychiatrist who is treating Kate as he learns that one of his patients could be a serial killer who also wants a sex change as it is a very straightforward performance with some unique complexities that makes it very interesting.

Dressed to Kill is a phenomenal film from Brian De Palma. Featuring a great cast as well as some amazing technical feats and Pino Donaggio’s thrilling score. It’s a film that isn’t just a stylish and engaging erotic thriller but also a unique commentary into the downsides of sex and the fallacy of the sexual revolution in the pre-AIDS era. In the end, Dressed to Kill 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) - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - 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 2015

Interstellar

Directed by Christopher Nolan and written by Christopher and Jonathan Nolan, Interstellar is the story of an engineer who takes part into an interstellar mission to find a habitable planet through wormholes in the hopes he can save humanity including the children he’s leaving behind. The film is an exploration into the world of outer space and the world beyond where a man joins a space crew to find salvation just as Earth is in ruins. Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, Wes Bentley, and Michael Caine. Interstellar is a grand yet exhilarating film from Christopher Nolan.

Set in a world where planet Earth is being destroyed by dustbowls and are forced to live on whatever agricultural resources they have, the film is about an engineer who is asked to go to outer space to find a habitable planets through a wormhole as he is forced to leave his children behind. Through this mission, Cooper (Matthew McConaughey) tries to find a world in the hopes to save humanity but things become complicated as time becomes sparse due to time dilation. Back on Earth, Cooper’s daughter Murph (Jessica Chastain) tries to finish a theory left behind by Professor Brand (Michael Caine) in the hope that her father comes back. It’s a film that plays into ideas of theory of relativity as well as a man trying to do whatever to save humanity and return home to his family.

The film’s screenplay by Christopher and Jonathan Nolan doesn’t just explore the concept of interstellar travel where time becomes very complex where an hour spent in a planet can actually take years on Earth or any part of the galaxy. It adds to the dramatic aspect of the story and Cooper’s desire to hoping to come home and make a difference as his absence made it hard for his daughter to deal with. Even as Murph as she gets older becomes resentful while wondering if there was any kind of hope to the mission at hand. There’s also a sense of desperation that occurs between Cooper and Brand’s daughter Amelia (Anne Hathaway) who is part of the mission as she is trying all she can to make sure they succeed but complications ensue where their encounters with a planet to retrieve data from previous missions begin to fall apart.

While the script does have a traditional structure where its first act is set on Earth as Cooper tries to uncover a series of mysterious messages he found with a younger Murph (Mackenzie Foy) that lead him to be contacted by Professor Brand. Yet, what Cooper is asked to do by Brand would be a hard decision to make as it would hurt him to leave Murph and his son Tom (Timothee Chalamet) as the film’s second act is about Cooper’s mission in space with Amelia and two other astronauts in Romilly (David Gyasi) and Doyle (Wes Bentley) where it takes them two years to travel from Earth to the wormhole near Saturn. Then comes this third act where it crisscross the narratives of both Cooper and the adult Murph where the latter tries to finish Brand’s theory as well as figure out the codes that she encountered as a child. Especially as they both have to deal with forces that would prevent a reunion between father and daughter from happening.

Christopher Nolan’s direction is definitely astonishing in terms of the visual scope that he presents. Shot in this 2:35:1 aspect ratio in 35mm film, which is also blown up for 70mm, as it has this grand look in terms of scale for the scenes not just set in outer space but also in some of the planets the characters are in. Some of it is shot in Iceland while scenes set on Earth are shot in Alberta, Canada as it plays into something that feels like a Midwest film that are shot very naturally while the scenes on these mysterious planets have something that feels very alien-like. The usage of wide shots with some crane cameras and other shooting styles add to the massive scope of the film that includes this sequence in these strange mountain-like locations where it adds to a sense of mystique about what might be out there.

Still, it is a film about a father and a daughter trying to reunite as the former is trying to find some kind of hope where it feels like a few years for him but it’s much longer than that on Earth. The complexity of the film’s narrative and sense of time is very prevalent which does add to some of the exposition that occurs on film though it does get overwhelming at times. Even in its third act where there is a sense of conventional drama that occurs as it does take away some of the unconventional aspects of the film that was working though there is a payoff that is satisfying which plays to the emotional crux of the film. Overall, Nolan creates a very rapturous yet evocative film about a man going to outer space to save his daughter and humanity in the hopes to find a new world.

Cinematographer Hoyte van Hoytema does brilliant work with the film‘s cinematography from the naturalistic look of the farmland locations in Canada to the array of lights and shading for much of the film‘s interior setting including the shots set in outer space. Editor Lee Smith does amazing work in creating some very straightforward cuts for the drama while going for unique rhythms in the space travels including the wormhole sequence along with some intense moments in the film. Production designer Nathan Crowley, with set decorator Gary Fettis and supervising art director Dean Wolcott, does excellent work with the design of the space ships Cooper and his team travel in as well as the robots they‘re accompanied with along with the NASA base that Professor Brand would work at.

Costume designer Mary Zophres does nice work with the costumes from the casual look of the characters on Earth to the design of the astronaut suits. Visual effects supervisor Paul Franklin does fantastic work with the visual effects for some of the scenes set in outer space to the movement of the robots plus some set-dressing for some of the planets. Sound editor Richard King does superb work with the sound to convey the sense of silence of exterior scenes in space as well as the sounds of rockets and some of the locations in its surroundings. The film’s music by Hans Zimmer is incredible for its mixture of soaring orchestral textures mixed in with minimalist electronic music to play into the sense of mystique that is prevalent in the film.

The casting by John Papisdera is phenomenal as it features some notable small roles from David Oyelowo as Murph’s school principal, William Devane as a NASA official, Matt Damon as a scientist who been part of an earlier mission, Topher Grace as a doctor friend of Murph, Leah Cairns as Tom’s wife, Liam Dickinson as Tom’s son Coop, Timothee Chalamet as the young Tom, and John Lithgow in a terrific role as Cooper’s father-in-law Donald who says some of the film’s funniest lines. Voice performances from Josh Stewart as CASE and Bill Irwin as TARS are excellent as they bring some soul to the machine as these robots that help the team in space with the latter being the most humorous. Casey Affleck is superb as Murph’s older brother Casey who also misses his father as he tries to cope with loss and saving the family farm.

Wes Bentley is wonderful as the geographer Doyle who tries to understand the wormholes and planets while David Gyasi is fantastic as the physicist Romilly who tries to understand the idea of space and time itself. Michael Caine is great as Professor Brand as a scientist who tries to prove a theory about how to save Earth as he copes with trying to do what is right as well as deal with the implications. In the roles of Murph, there’s Mackenzie Foy in a great performance as the young Murph who tries to cope with her father’s departure while Jessica Chastain is amazing as the older Murph as a woman filled with resentment as she tries to finish Professor Brand’s theory. In the brief role of the eldest Murph, Ellen Burstyn is brilliant in telling the story of what it was like in the dustbowl to explain the severity of the mission.

Anne Hathaway is incredible as Amelia Brand as a fellow astronaut who tries to keep things going while dealing with her own emotional baggage as tries to make sense of the stakes of the mission. Finally, there’s Matthew McConaughey in a magnificent performance as Cooper as this former pilot turned engineer who takes on a mission to space in the hopes that his family can survive beyond the dustbowl as he struggles with his own emotional baggage as well as the mission at hand.

Interstellar is a sensational film from Christopher Nolan. Armed with a great ensemble cast led by Matthew McConaughey as well as intriguing concepts about space, interstellar travel, and theories of relativity and time. It’s a film that is sci-fi at its most complex with some astonishing visuals that is backed up with a powerful story of a man trying to bring a future of hope for his children. In the end, Interstellar is a remarkable film from Christopher Nolan.

Christopher Nolan Films: Following - Memento - Insomnia - Batman Begins - The Prestige - The Dark Knight - Inception - The Dark Knight Rises - Dunkirk - Tenet - Oppenheimer - The Auteurs #13: Christopher Nolan

© thevoid99 2014

Blind Spot 2013: Mona Lisa

Directed by Neil Jordan and written by Jordan and David Leland, Mona Lisa is the story of a small-time criminal who becomes a driver for a high-class prostitute only to be entangled into a dark underworld involving the sex trade. The film is an exploration into a man trying to do the right thing when he realizes he is a new world as he tries to help a prostitute find someone. Starring Bob Hoskins, Cathy Tyson, Robbie Coltrane, and Michael Caine. Mona Lisa is a gripping yet evocative film from Neil Jordan.

What happens to a former criminal who takes a job as a driver for a high-class prostitute for his boss only to enter this dark underworld involving the sex trade? That is the premise of the film as it revolves around this man named George (Bob Hoskins) who returns from a seven-year prison stay seeking redemption as well as compensation for doing his time for his former mob boss Denny Mortwell (Michael Caine). Mortwell gives him this job as a driver for a hooker named Simone (Cathy Tyson) where the two become friends as she asks George to help find a friend of hers whom she believes has gotten herself into serious trouble. George does what Simone asks only to go very deep into this dark underworld where it involves Mortwell trying to legitimize himself through the sex trade that also involves drugs forcing George to do what he feels is right.

The screenplay by Neil Jordan and David Leland is quite complex in not just the exploration of prostitution and this underworld that includes that along with other aspects of the sex trade. It goes very deep into that world where it is controlled by this mob boss who is seeking legitimacy by using prostitutes to service men who have power. Men like politicians or movers-and-shakers that Mortwell wants to take part in so he can have money, power, and respectability so he wouldn’t be in trouble with the police. For a man like George, it’s a world he doesn’t know very much about as he is more interested in making a living and not get in trouble while trying to re-establish a relationship with his daughter Jeannie (Zoe Nathenson) whom he hadn’t seen since going to prison. Upon working for Simone, George learns what he has to do as a chauffer as well as dressing like one where he learns about what kind of work Simone does.

Simone is an interesting individual who is a prostitute that is willing to service men of power for lots of money but there are things that she does that do become questionable as Mortwell asks George to find out the things she’s doing. Yet, she knows about the sex underworld that is prevalent in London as they always drive through the bridge above King’s Cross that is filled with young hookers and all sorts of seedy people. By asking George to find one of her friends whom she believes is dealing with the worst sort of people, George goes inside as he makes some unsettling discoveries. Yet, he finds himself drawn to Simone as he tries to ensure her a world of hope but things eventually become more complicated as Mortwell gets involved.

Neil Jordan’s direction is very engaging for the way he explores the world of London’s sex shops and its connection to the world of the rich-and-powerful. Notably as he shoots it on location in London where it is a world that is unique but also very seedy in some of the areas like the King’s Cross bridge or some of the streets in London. The direction is also filled with these array of mesmerizing images of the way some of the hotels that George and Simone frequent to or other locations such as Brighton late in the film. The camera is often moving in several scenes such as a montage of George walking through the sex shops, peep shows, and other places in London trying to find this mysterious young woman.

The direction also has a moment of intimacy in some of the scenes between George and Simone where Jordan uses some close-ups and medium shots to express their growing friendship that also has a hint of romance. Jordan infuses a lot of genres into this story though it’s mainly a suspense-drama with bits of humor and adventure. Yet, he also tries to create something that is unsettling where George and Simone are aware they’re in trouble as it does involve some chilling moments of violence. Even as it features this climax involving Mortwell where a lot of revelations occur but also some moments that would prove to disheartening for George. Overall, Jordan crafts a very powerful yet fascinating film about a man’s willingness to do the right thing and find redemption.

Cinematographer Roger Pratt does brilliant work with the film‘s photography from the look of many of the film‘s daytime exteriors and interiors in London to some of the stylish lighting schemes for scenes at night or at the garage owned by George‘s friend Thomas. Editor Lesley Walker does excellent work with the editing by creating a wonderful montage of George trekking through the sex underworld as well some stylish cuts in some of the film‘s suspenseful moments. Production designer Jamie Leonard and art director Gemma Jackson do terrific work with the look of some of the peep shows and sex shops that George treks through as well as the garage that Thomas lives in.

Costume designer Louise Frogley does wonderful work with the costumes from the classy dresses and lingerie that Simone wears to the suits that George wears that allows him to fit in with the world of the rich. Sound editor Jonathan Bates does nice work with the sound from the way some of the sex shops sound like to the more intimate yet layered work in the posh hotels as well as the crazier moments in the London streets.

The film’s music by Michael Kamen is superb as it is a mixture of serene orchestration along with some suspense in the strings as well as some eerie electronic cuts to play out some of the dark elements of the film. The rest of the music is largely based on the works of two artists in Nat “King” Cole and Genesis. The former has two songs that play to George’s yearning for the old ways as well as his attraction towards Simone in When I Fall in Love and the title track. In the latter, the Genesis ballad In Too Deep is featured in a montage of George trekking into the sex underworld as it plays to his own emotions and loneliness as the music is a major highlight of the film.

The casting by Susie Figgis is amazing as it features a brilliant ensemble cast that includes some notable small roles from Joe Brown as an associate of Mortwell in Dudley, Sammi Davis as a young hooker named May, Katie Hardie as the woman George is trying to find for Simone, Clarke Peters as a brutish pimp named Anderson, and Zoe Nathenson as George’s daughter Jeannie whom George is trying to reconnect with. Robbie Coltrane is great as George’s friend Thomas who tries to piece out all of the things George is going through while helping him out a bit. Michael Caine is brilliant as the devious Denny Mortwell as a man who wants to ensure that George is doing well though the things he does are very seedy as it is one of Caine’s finest performances.

Cathy Tyson is excellent as Simone as she displays an air of class to her role as well as a grittiness that is just captivating to watch as a woman who knows how to navigate to the scenes while being very troubled by some of the circumstances that occur. Finally, there’s Bob Hoskins in a magnificent performance as George. Hoskins display that sense of working class ethics and naivete while becoming more refined in his choice of clothes while showing a sensitivity to his role as a man who is really determined to find Simone’s friend while being a friend to Simone as it’s one of Hoskin’s greatest performances.

Mona Lisa is an outstanding film from Neil Jordan that features a riveting performance from Bob Hoskins. Along with brilliant supporting work from Cathy Tyson, Robbie Coltrane, and Michael Caine. The film is definitely one of the great films of British cinema as well as one of Neil Jordan’s finest works. It’s also an intriguing study of a man trying to help someone and seek redemption for some of his past actions. In the end, Mona Lisa is a tremendous film from Neil Jordan.

Neil Jordan Films: (Angel (1982 film)) - (The Company of Wolves) - (High Spirits) - (We’re No Angels) - (The Miracle (1991 film)) - (The Crying Game) - (Interview with the Vampire: The Vampire Chronicles) - (Michael Collins) - (The Butcher Boy) - (In Dreams) - (The End of the Affair) - (The Good Thief) - (Breakfast on Pluto) - (The Brave One) - (Ondine) - (Byzantium)

© thevoid99 2013

The Dark Knight Rises

Based on the DC Comics, The Dark Knight Rises is the story of a battered Bruce Wayne who dons his role as Batman after an eight-year hiatus to battle a cat burglar and a large man who has taken over the League of Shadows who hopes to wreak havoc on Gotham. Directed by Christopher Nolan and screenplay by Christopher and Jonathan Nolan with story by Jonathan Nolan and David S. Goyer. The film is the third and final part of Nolan’s Dark Knight trilogy as it follows Bruce Wayne in his quest to bring peace for Gotham as Christian Bale reprises the role. Also starring Michael Caine, Morgan Freeman, Gary Oldman, Joseph Gordon-Levitt, Anne Hathaway, Marion Cotillard, Ben Mendelsohn, Matthew Modine, and Tom Hardy as Bane. The Dark Knight Rises is a magnificent end to the Dark Knight trilogy from Christopher Nolan.

Eight years after the events that involved Harvey Dent’s death, Gotham lives in a world of peace but based on a lie as Commissioner James Gordon (Gary Oldman) starts to feel uneasy about the lie. Back at Wayne Manor, Bruce Wayne is living a life as a recluse still lost over his grief and having Batman hide out. Yet, he learns that a cat burglar named Selina Kyle (Anne Hathaway) has broken into his safe as she had been trying to retrieve his fingerprints for a business rival in John Daggett (Ben Mendelsohn). Yet, Wayne learns about a far more sinister figure in a mercenary named Bane who plans to wreak havoc on Gotham. Realizing he needs to be Batman again, he has his left leg repaired while getting ready to face whoever as Bane has officially arrived at Gotham. Still, Wayne has to deal with his losses as he asks Miranda Tate (Marion Cotillard) to take over Wayne Enterprises with Lucius Fox’s help.

With Gordon recovering from a gunshot after discovering Bane’s hideout, he asks a young police officer in John Blake (Joseph Gordon-Levitt) to watch over things as Peter Foley (Matthew Modine) takes when Bane finally storms Gotham’s financial stock market to wreak havoc. Yet, it would mark the first of his many confrontations with Batman who makes his return as Batman also confronts Kyle over her theft as she reveals what she’s been doing. She would eventually lead Batman to confront Bane where the confrontation proves to be disastrous for Wayne as he’s sent to a mysterious land that he cannot escape leaving Bane to destroy Gotham all by himself.

After learning some stories about the League of Shadows and having to see Gotham be on its own under Bane’s terror with help from a fusion device Wayne had hoped to use for clean energy. The fusion device becomes a bomb that will detonate leaving the people of Gotham in fear as its criminals are free leaving to do whatever they want. Having to see Bane’s destruction, Wayne realizes what he must do to destroy Bane and the League of Shadows from destroying Gotham as he’ll need the help of some people.

The film is about Bruce Wayne/Batman getting back in the swing of things when Gotham is being threatened by a terrorist who hopes to finish the job that Ra’s Al Ghul (Liam Neeson and Josh Pence as the younger Ra’s Al Ghul) was able to finish in Batman Begins. Yet, Batman also has to deal with a cat burglar who has been trying to steal things from him in order for a businessman to bankrupt Bruce Wayne as she eventually realizes that she is getting little in return as she eventually teams up with Wayne. It’s all about Bane’s plan to fulfill Ra’s Al Ghul’s desire to destroy Gotham at the pinnacle of its chaos and then rebuild it as a new society. Still, he has to face Batman and a few others who actually believe in good triumphing over evil.

While the screenplay does have trouble following along with what Bane is planning along with subplots revolving around John Daggett’s plans to bankrupt Bruce Wayne for the League of Shadows. It does succeed in fleshing out the characters and motivation as it centers around Wayne’s desire to finally return as Batman following an eight-year hiatus but finds himself facing foes that are more powerful than him. Particularly as his motivations get him into conflict with his longtime butler Alfred (Michael Caine) who believes that Wayne is headed for death where he eventually reveals a secret that he kept for eight years.

Then there’s Bane who is this villain that represents a physical force where literally in his confrontations with Batman but also conceptually in how he terrorizes Gotham. Yet, he’s also a very intelligent man who wants to punish Wayne for the lies he created eight years before and for wounding the League of Shadows several years before that. He may not be the anarchist of the Joker nor the more organized planning of Ra’s Al Ghul but Bane is still an interesting villain. While other new character like John Blake and Miranda Tate are also interesting with some back story about them. Another character who simply steals the show from everyone is Selina Kyle. Though she isn’t called Catwoman throughout the film, she is a character that is quite complex as she’s just a thief who likes to steal for herself while aiding others in hopes to clear her name. Yet, she has to deal with all sorts of things as she eventually becomes conflicted about stealing from Wayne once Bane starts to wreak havoc.

Christopher Nolan’s direction is definitely vast in the way he presents the film in its opening scene with this elaborate scene of a plane being captured by a bigger plane that is inter-cut with a scene of Bruce Wayne watching above Wayne Manor to see Commissioner Gordon praise Harvey Dent. It’s a big way to open a film that is ambitious but also intimate in the way Nolan creates small scenes involving Wayne’s own turmoil with his loss that includes a heartbreaking moment where Alfred makes a confession that becomes an emotional turning point for Wayne in his upcoming confrontation with Bane. Yet, there are few scenes where Batman appears as it’s mostly to do with Wayne’s struggle to find reasons to be Batman again while dealing with all of these new dark forces.

Through the vast compositions and big action scenes, Nolan’s direction is truly ambitious as it includes the climatic battle between Batman and Bane where there are revelations into how Batman must save Gotham from nuclear Armageddon. It’s all about creating suspense and moments where Nolan is waiting for the payoff as well as things where Wayne has to face some realities. While there’s a few things in the film that don’t work such as a fantasy sequence where Wayne sees Ra’s Al Ghul in a dream. Still, Nolan does enough for what is expected in a blockbuster superhero film genre with his rapturous shots and thrilling action sequences that does more than entertain. Overall, Nolan creates a truly solid film that ends his Dark Knight trilogy on a high note.

Cinematographer Wally Pfister does amazing work with the photography such as the vast opening sequence and other action sequence that carries a wide depth of field while creating amazing lighting schemes for some of the film‘s interior scenes. Editor Lee Smith does excellent work with the editing to play up the intensity of the action films as well as slowing things down to build up the suspense. Production designers Nathan Crowley and Kevin Kavanaugh, with set decorator Paki Smith and art directors James Hambridge and Naaman Marshall, do spectacular work with the set pieces such as the new Batcave as well as Wayne Manor and the prison that Wayne is put in during the film‘s second half.

Costume designer Lindy Hemming does superb work with the costumes from the look of the Batsuit and Bane‘s costume to the gorgeous leather look of Selina Kyle‘s cat-suit. Visual effects supervisor Paul J. Franklin does terrific work with the minimal visual effects created such as the wide shots of the bridges blowing up as well as other shots involving the Batwing. Sound designer Richard King does brilliant work with the sound from the way the chants sound at the prison scene to the layering of sounds to exemplify the chaos that occurs in the film‘s second half. The film’s score by Hans Zimmer is wonderful for its percussive-driven score to play out the intensity of the action along with more low-key yet heavy orchestral themes to play up the drama.

The casting by John Papsidera and Toby Whale is incredible for the ensemble that is created for the film. With notable appearances from Liam Neeson and Josh Pence as Ra’s Ah Ghul with the latter in flashback scenes, other standouts include Juno Temple as Selina’s assistant Holly Robinson, Brett Cullen as a Congressman Selina woos, Thomas Lennon as a doctor, John Nolan as a Wayne Enterprises board member, Nestor Carbonell as Mayor Garcia, Alon Abutbul as the scientist Dr. Pavel that Bane kidnaps early in the film, Matthew Modine as deputy commissioner Foley, Chris Ellis as a priest John Blake confides in, Ben Mendelsohn as the slimy John Daggett, Burn Gorman’s as Daggett’s assistant Stryver, and Cillian Murphy reprising his role as Dr. Jonathan Crane/Scarecrow in a mock trial scene.

Morgan Freeman is excellent as the always resourceful Lucius Fox while Michael Caine is brilliant as the very witty but concerned Alfred where the latter definitely pulls a lot of the emotional weight involving his relationship with Bruce Wayne. Marion Cotillard is excellent as philanthropist Miranda Tate who tries to get Bruce back in the world and be involved with a clean-energy machine that ends up being trouble. Gary Oldman is great as Commissioner Gordon who deals with the guilt he created from a lie as he becomes overwhelmed with facing Bane by himself only to find a new ally in John Blake. Joseph Gordon-Levitt is superb as John Blake, a hot-headed young cop turned detective who confronts Wayne about what really happened to Harvey Dent as well as try to figure out what Bane is doing. Tom Hardy is marvelous as Bane by exemplifying his physique as a huge force while proving to be a man of great intelligence and power as it’s definitely Hardy at his best.

Anne Hathaway is phenomenal as Selina Kyle where she definitely steals the show from everyone from the one-liners she gives to the way she is able to outwit Wayne in every way and form. It’s Hathaway bringing a lot of humor and physicality to a woman who can’t be trifled with as she gives out one of her greatest performances of her career. Finally there’s Christian Bale as Bruce Wayne/Batman where Bale gives another great performance by displaying the anguish and confusion of a man unsure if he’s willing to be Batman again while having to deal with all of these forces. It’s Bale creating a lot of realism to the character of Wayne while being more cunning as Batman where he is more unafraid to do whatever he needs to do to save Gotham.

The Dark Knight Rises is an exhilarating and thrilling film from Christopher Nolan. Thanks to a large ensemble cast that features top-of-the-line performances from Christian Bale, Anne Hathaway, Tom Hardy, Joseph Gordon-Levitt, Marion Cotillard, Gary Oldman, Michael Caine, and Morgan Freeman. It’s a film that definitely lives up to the hype though it doesn’t top its predecessors in terms of excitement and storytelling. It’s also a blockbuster that manages to excite but also engage for the way it reveals on what Batman must do to save the world. In the end, The Dark Knight Rises is an incredible film from Christopher Nolan.

Christopher Nolan Films: Following - Memento - Insomnia (2002 film) - Batman Begins - Prestige - The Dark Knight - Inception - Interstellar - Dunkirk - Tenet - Oppenheimer - The Auteurs #13: Christopher Nolan

Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2012

Children of Men

Originally Written and Posted at Epinions.com on 1/7/07 w/ Additional Edits & Revisions.

Based on P.D. James' novel The Children of Men, Children of Men is the story of a dystopian United Kingdom in 2027 where a man tries to save mankind's extinction from infertility by trying to help a young pregnant woman from political radicals and others. Directed by Alfonso Cuaron and screenplay by Cuaron, Timothy J. Sexton, David Arata, Mark Fergus, and Hawk Ostby, the film is a dystopian sci-fi drama where the world is in danger by declining population and infertility where a man tries to bring hope. Starring Clive Owen, Julianne Moore, Michael Caine, Charlie Hunnam, Claire-Hope Ashitey, Pam Ferris, Peter Mullan, Chiwetel Ejiofor, and Danny Huston. Children of Men is a brilliant yet harrowing film from Alfonso Cuaron.

Following the death of the youngest person living on Earth named Diego (Juan Gabriel Yacuzzi) at 18 years old, total has erupted in totalitarian Britain as a former activist named Theo (Clive Owen) goes to an unsecured countryside to meet an eccentric scientist named Jasper (Michael Caine). Still mourning the loss of his son years ago, Theo has given up activism until he was kidnapped by a group of radicals led by his wife Julian (Julianne Moore) and her cohorts Luke (Chiwetel Ejifor) and Patric (Charlie Hunnam). Julian wants some transfer papers for a person to get around the immigration camps as Theo asks his cousin Nigel (Danny Huston) for help since he's a government official though Nigel warns him about the chaos that is to happen from immigrants and anarchists. Theo ends up getting a different kind of transfer paper as he, Julian, Luke, and a midwife accompany a young woman named Kee (Claire-Hope Ashitey) to a drive through the country to reach a mythical ship where a group of scientists are trying to find the cure to end infertility.

Instead, things go wrong during the trip where Theo had to return to a remote farm as Luke takes over. Theo learns that Kee is pregnant with a child as she reluctantly makes the decision to stay with Luke to not make any risks. When Theo learns what Luke and Patric are really doing, he decides to take Kee and Miriam away from the farm as they hide out in Jasper's place. With Jasper's help, they learn that a ship called Tomorrow is the project that will hope to end fertility with Kee as the thing they need. With Theo, Miriam, and Kee go into Jasper's car to the sea while Jasper holds off Luke, the trio continue onto their road trip as they meet Jasper's contact in a man named Syd (Peter Mullan) who sends them to the immigration camps to hide where Kee starts to feel contractions. At the camp, things become troubling forcing Kee and Theo to make their way through the decayed British ghettos where they meet a gypsy named Marchika (Oana Pellea) who reveals that Theo and Kee are fugitives. With trouble brewing as radicals and governments are fighting, Theo and Kee try to find way to get to a boat and evade those that are trying to find them.

Though dystopian ideals is nothing new, the idea of a world in a state of chaos itself due to the fact that there's no future is still something that is scary. What Alfonso Cuaron and his writers bring is the idea that a world where no children is going to come to save mankind as the world is on the brink of collapse as hope finally arrives. Yet, the film's themes of dystopia is really the background in which the film is about a man's revitalized activism takes hold as he tries to save a young woman in having her child that could save the world from the government and those with political motives against the government. The result is truly an intense, harrowing film that Cuaron brings. While the script is filled with provocative tales of science, humanity, and politics, its his direction that brings weight to the film's themes and images.

While Cuaron does add a little bit of humor in terms of dialogue and a few references (including one for fans of Pink Floyd), he still maintains the idea of Britain in a bleak state where the world is in chaos. Some of the film's intense scenes are shot with hand-held cameras with little moments of sunshine to reveal the brief, serene peace of Britain with most of it still shivering with its grey, morose look. Cuaron also doesn't sugarcoat the brutality of totalitarian Britain where officers will kill people, immigrants or not, depending on what's going on as citizens are being watched left and right. The drama and development of characters are true to the situation they're in as it's really Theo's story and how he tries to do right despite his own flaws and idealism. There's even a moment that amidst the brutality in one of the film's fighting, battle sequences where a moment of peace and realism occur into how absurd everything is and it is brief. It is there where in Cuaron's direction, that the film has a moment that can't be replicated into any other film and it's truly an idea that can be felt among its audience.

Helping Cuaron in his visual presentation is his longtime cinematographer Emmanuel Lubezki. Fresh off from shooting Terrence Malick's 2005 film, The New World, Cuaron goes from the beauty of Malick's historical revision of 17th Century Virginia to the bleak futurism of Britain in the 21st Century. Lubezki's lighting and grey vision really adds nuance and atmosphere to every frame where in the interior settings, he brings little amounts of artificiality to bring a realism while his exterior shots are exquisite. To the brief moments of sun to the shade of green and grey in other sequences that reveals Britain in a new light where it's not tinted or given any kind of style. It looks and feels real as Lubezki does incredible work with its look.

Production designers Jim Clay and Geoffrey Kirkland along with visual effects supervisors Frazer Churchill and Timothy Webber did amazing work in recreating futuristic London and Britain with graffiti on the walls plus buildings and bridges that are created by some visual effects to convey the sense of decay of the future. Costume designer Jany Temime also does great work in the costumes of its cast where there's no flashy, bright clothing as everything looks contemporary and dark. Cuaron and editor Alex Rodriguez do some excellent work in the editing in bringing a nice, rhythmic pace to the film's intense scenes while bringing some long shots to convey the action where no cuts were involved. Sound designer Richard Beggs does amazing work in the sound with his sound mixes of battle scenes and screaming along with moments of serenity to convey the atmosphere. Beggs work in this along with Sofia Coppola's Marie-Antoinette are the highlights in the year of sound for film.

The film's score is largely ambient and operatic from composer John Tavener that adds the sense of melancholia and drabness of the world while the film's soundtrack is wonderfully diverse. With cuts by Radiohead, King Crimson, John Lennon, Pulp's Jarvis Cocker, the Libertines, Roots Manuva, Aphex Twin, Digital Mystikz, and a great cover of the Rolling Stones' Ruby Tuesday by Franco Battiato. The soundtrack adds punch to the film's political feel as it's provided in the scenes with Michael Caine who is a hippie with some great taste in music. It's truly one of the year's best soundtracks.

The film's cast is wonderfully assembled with small performances by Juan Gabriel Yacuzzi, Philippa Urquhart as Jasper's catatonic wife, Oana Paella, and Paul Sharma as Ian, a cohort of Luke's. Charlie Hunnam is pretty funny as the psychotic Patric while Danny Huston gives an excellent performance in the one scene he has with Clive Owen. Peter Mullan brings a comical performance as the corrupt cop Syd who has some hilarious one-liners as a man who helps Theo despite his own motives. Pam Ferris of Harry Potter & the Prisoner of Azkaban fame is very impressive as the midwife Miriam whose knowledge of births and history of the infertility epidemic is important to the plot as Ferris is amazing while sporting cool dreadlocks. Julianne Moore is good in her role as Theo's ex-wife Julian who hopes to reconnect with Theo as Moore brings realism and drive to her character who helps revitalize Theo's activism. Chiwetel Ejiofor is excellent as radical Luke who isn't a total villain but whose political motives make him a complex character who wants to do the right thing but is addled with the idea of no future as he's a character who is forced to make sacrifices for his own reasons.

Michael Caine is brilliant as the eccentric, witty hippie-scientist Jasper who always brings a "pull-my-finger" joke whenever the film needed it. Caine brings a wonderful sense of humor and warmth to the film as he's the man who acts like a father figure to Owen's Theo character. Claire-Hope Ashiey is amazing in her performance as Kee, the young woman who is aware of her role as she tries to maintain her pride while knowing that she doesn't trust anyone other than Miriam and Theo. Ashitey is really the film's most breakthrough performance. Finally, there's Clive Owen in another magnificent performance. Owen really shows his depth as a man on the brink of acceptance of his own disillusioned role when he's thrust back into the world of activism. Owen really adds a bit of humor and heart to the character as he becomes an unlikely father figure to Ashitey in which, they have great chemistry together. If there's anyone, aside from Ashitey, that is the highpoint of the cast, it's Clive Owen.

***Additional DVD Content Written from 4/30/12-5/2/12***

The 2007 Region 1 DVD for Children of Men from Universal presents the film in an anamorphic widescreen format to preserve a 1:85:1 theatrical aspect ratio with 5.1 Dolby Digital surround Sound in English, Spanish, and French with Spanish and French subtitles along with English for the hearing impaired. The DVD includes various special features to coincide with the film’s DVD release.

The first big one is a twenty-seven minute documentary short film directed by Alfonso Cuaron entitled The Possibility of Hope. It’s a documentary about the possible end of the world due to many things including globalization and policing borders. With comments from various philosophers and scientists including Slavoj Zizek and Naomi Klein, the documentary film is filled with footage of a world in chaos and the idea that things might not get better but there’s also a semblance of hope that might happen. It’s a very compelling piece from Cuaron that unveils the idea of what might happen if things do go bad like in Children of Men.

Other features includes three deleted scenes that total for nearly two-and-a-half minutes that includes a small scene of Theo giving a homeless man a cigarette while an immigrant is getting illegal dental work, a scene of Theo being confronted by his landlord about rent, and a scene where Theo talks to Arthur that got cut from the final film. The six-minute interview with Slavoj Zizek has the poltical/social commentator discuss the film’s themes and why he thinks it is an important film for the way it plays the world in a state of chaos. He also compares the film to Y Tu Mama Tambien as they’re both road movies with backdrops of a world changing.

The seven-minute, thirty-five second Under Attack featurette is an in-depth look of how the filming was made for two of the film’s intense action scenes including the car scene where Theo, Julian, Kee, Luke, and Miriam encounter rioters and the opening scene where a café blows up. Cuaron, Clive Owen, Julianne Moore, Chiwetel Ejiofor, and crew members reveal how some of it was done while in the car scene. A camera was made above the car to slide and spin around to capture everything that is happening while where’s a driver in front of the car that is unseen while a small crew is up there. It’s truly a wonderful look for those wondering how these scenes are done.

The four-minute, thirty-nine second Theo & Julian featurette discuss the two characters and their development where Cuaron, Owen, and Moore revel into the character’s history and why their story is important to the main plot of the film in relation to Owen’s character. The eight-minute, thirty-seven second Futuristic Design is about the making of the film’s art direction where Cuaron and his team of set designers and costume designer Jany Temime discuss what needed to be done. They wanted to aim a very realistic look while creating shantytowns that was unheard of since England is cold and never had such a thing. The three-minute featurette on how the birth scene is made is shown just as the scene is playing from the way it was originally filmed to the final additions made in the visual effects. The overall DVD is superb for the special features is added while actually providing something that is worth the money for this film’s home video release.

***End of DVD Tidbits***

Children of Men is a sprawling, intense, and harrowing film from Alfonso Cuaron. With a great cast led by Clive Owen, Claire-Hope Ashitey, Michael Caine, Julianne Moore, Pam Ferris, and Chiwetel Ejiofor, and a great crew led by cinematographer Emmanuel Lubezki. This is truly one of 2006's best films as Cuaron continues to delve into different film genres and such. Along with fellow Mexican auteur Alejandro Gonzalez Inarritu's Babel, Cuaron brings a unique vision to the world and how messed up it is whether it's in the present or in the future. In the end, Children of Men is a film that must not be missed by those who love dystopian imagery.

Alfonso Cuaron Films: Solo con Tu Pareja - A Little Princess (1995 film) - Great Expectations (1998 film) - Y Tu Mama Tambien - Harry Potter & the Prisoner of Azkaban - Gravity - Roma (2018 film) -The Auteurs #11: Alfonso Cuaron

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