More than 30 years after events in which a young woman meets a demonic figure named Betelgeuse, the film revolves around that woman, her stepmother, and daughter who return to the small town following the death of her father where strange events occurred in the Afterlife involving Betelgeuse and his ex-wife seeking revenge on him. It is a film that does not just explore loss but also a woman dealing with the traumatic events when she was a teenager as she is forced to confront her past as well as her own relationship with her daughter. The film’s screenplay by Alfred Gough and Miles Millar is straightforward in its narrative as it plays into a woman who remains haunted by Betelgeuse where she has spent her adult life hosting a TV show relating to ghosts whom she can see. Yet, the show has also been the reason Lydia Deetz has become estranged from her teenage daughter Astrid (Jenna Ortega) who does not believe her mother’s claims, nor does she believe in ghosts as she wonders why her mother could see ghosts but not her late father.
The death of Lydia’s father Charles Deetz forces Lydia, Astrid, and Lydia’s stepmother Delia to return to Winter River fin the funeral as well as cleaning out their old house where Astrid discovered a flyer at the attic that has Betelgeuse’s name. Astrid would meet a fellow teenager in Jeremy (Arthur Conti) as they share a love of Dostoyevsky while Lydia’s boyfriend/producer Rory publicly proposed to her during the wake adding to the growing tension between Lydia and Astrid while Delia also is not fond of Rory as she’s concerned with cleaning out the house and express her grief through art. The script does play into Lydia and Delia’s relationship with each other as the former feels lost as she turns to the latter despite the issues they have had in the past. Still, the presence of Betelgeuse still looms as he has problems of his own in the fact that his ex-wife Delores (Monica Bellucci) has returned following a strange accident involving a janitor. Delores and Betelgeuse met during the plague as the former was part of a soul-sucking cult that tried to kill the latter only for Betelgeuse to kill her in retaliation. While Lydia is reluctant to ask for Betelgeuse’s help when Astrid is sent to the Afterlife, Betelgeuse does help her though it does come with some risks as he is an opportunist who will always want something. Still, he does want to show Lydia that he does care despite his motives.
Tim Burton’s direction is stylish and full of whimsy in terms of re-establishing a few visual clues and some Easter eggs relating to the original 1988 film but also paying tribute to that film as its opening sequence mirrors the same one from that film. Shot on location in Vermont and Massachusetts with some interior shots created in London, Burton does play into these two different worlds that is the living and the dead where Lydia’s show is filled with these quirks that is expected in shows about the paranormal. Yet, Burton also infuses the film with different kinds of style ranging from European horror in a sequence where Betelgeuse tells his employees about how he met his ex-wife to stop-motion animation in discussing how Charles Deetz had died. Still, Burton knows when to break from the humor and horror to create scenes that are straightforward in his compositions where he uses close-ups and medium shots in the way characters interact with one another. There are some wide shots that Burton uses though he prefers to maintain some simplicity when it comes to the compositions and elaborate set pieces.
Burton also plays into this idea of death where there are some humorous moments as it relates to Delia’s over-the-top approach to grief as she expresses it through art as well as well as some of the antics that Betelgeuse does in the building he works at. Burton also maintains some suspense once Astrid is sent to the Afterlife as there are stakes not just for the Deetz but also for Betelgeuse himself as he is also being chased by the ghost detective Wolf Jackson (Willem Dafoe) who was once a B-movie actor. The film’s climax is a throwback of sorts to the climax of the original film, but Burton brings in a more elaborate setting that involves musical dance numbers and other silly things that is expected from Burton. Overall, Burton crafts a dazzling and offbeat film about a woman reaching out to her former tormentor to help her retrieve her daughter in the Afterlife.
Cinematographer Haris Zambarloukos does brilliant work with the film’s cinematography with the usage of natural lighting for the daytime exteriors in some scenes as well as the usage of colorful lighting for the interior scenes in the Afterlife. Editor Jay Prichidny does excellent work with the editing as it is straightforward in its approach to rhythmic cuts to play into the humor and suspense. Production designer Mark Scruton, along with supervising art directors Nick Gottschalk and Andrew Palmer plus set decorators Lori Mazuer and David Morison, does amazing work with the look of the Afterlife offices and hallways as well as the interiors of the old Deetz/Maitland home that also featured additional work from the first film’s production designer Bo Welch who serves as the film’s visual consultant. Costume designer Colleen Atwood does fantastic work with the costumes from the black clothing that Lydia wears as well as some of the clothes that Betelgeuse wears and the stylish clothing that Astrid and Delia wear.
Hair/makeup designer Christine Blundell does incredible work with the look of the characters from the look of the dead in the Afterlife as well as Delia’s red hair. Visual effects supervisor Angus Bickerton and special effects supervisor Stefano Pepin, along with creature effects designer Neal Scanlan, do phenomenal work with the visual effects in the mixture of practical and CGI effects to create a unique world . Sound designer Jimmy Boyle does superb work with the sound in some of the sound effects created as well as the atmosphere of a room during the wake scene as well as the raucous atmosphere of the scenes in the Afterlife.
The film’s music by Danny Elfman is wonderful for its bombastic orchestral score filled with grand string and brass arrangements that play into the sense of suspense and humor while music supervisors James Balmont and Matthew Lawrenson create a fun soundtrack that features two different versions of the song MacArthur Park sung by Richard Harris and a disco version by Donna Summer. The rest of the music soundtrack also features music from the Bee Gees, Mazzy Star, Scott Weiland, Pino Donaggio, Sigur Ros, and Richard Marx as it is a highlight of the film.
The casting by Sophie Holland is great as it feature some notable small roles and appearances from Georgiana Beedle as Jackson’s secretary who always brings him a cup of coffee, Filipe Cates as a mysterious figure Astrid would meet in Vlad, casting director Sophie Holland as a hot dog lady with a stick who runs the office when the dead arrive, Sami Silane as an artist in Le Tigre who is upset at Delia for cancelling her show, and Amy Nuttall as the real estate agent Jane Butterfield who took over the business from her mother as she reveals some crucial information to Lydia that would be a key plot-point to the film. Other notable small roles include Santiago Cabrera as Astrid’s late father Richard who had died in South America, Burn Gorman as Father Damien who performed the funeral for Charles Deetz as well as other events in the town, and Nick Kellington as Betelgeuse’s right-hand shrinker-zombie friend Bob who helps run things for Betelgeuse.
Arthur Conti is superb as Jeremy as a young man Astrid meets after crashing her bicycle into his fence where he offers a chance to help Astrid see her father though he has motives of his own. Willem Dafoe is excellent as Wolf Jackson as a former B-movie actor who leads a paranormal detective force as he tries to deal with Delores and the antics of Betelgeuse where Dafoe gets the chance to ham it up as someone who really loves playing the role of a detective. Monica Bellucci is fantastic as Delores as Betelgeuse’s ex-wife who is part of a soul-sucking cult that tried to kill Betelgeuse during the black plague only to be killed by him in retaliation as she is eager to get revenge on him. Justin Theroux is brilliant as Lydia’s producer/boyfriend Rory as a guy who is the embodiment of uncool as he tries everything to win over Astrid while also forcing Lydia into a wedding for publicity reasons where Theroux is fun to watch in the way he reacts to certain things as well as just being so dumb. Jenna Ortega is incredible as Astrid as Lydia’s teenage daughter who wants nothing to do with her mother as she doesn’t believe in ghosts while feeling resentful towards her mother for not seeing their late father as well as other issues where Ortega brings a lot of wit and angst to her character while also proving to funny as she has great rapport with her co-stars.
Catherine O’Hara is phenomenal as Delia Deetz as Lydia’s stepmother who becomes consumed with grief over the death of her husband as she expresses it through art in the most hilarious of ways. Notably as she does some things that are odd, yet O’Hara often keeps things lively while also proving to be understanding over Lydia’s relationship with Astrid. Winona Ryder is great as Lydia Deetz as a paranormal TV show host who is still dealing with trauma as well as loss where Ryder keeps a lot of her performance straightforward while retaining a few quirks in her choice of clothing. Even though she is determined to not deal with Betelgeuse but realizes that she needs him to help retrieve her daughter in the Afterlife. Finally, there’s Michael Keaton in a tremendous performance as Betelgeuse as the demon who still pines for Lydia while dealing with the return of his ex-wife as he is eager to be rid of Delores while also hoping to reunite with Lydia in the hopes of marrying her. Keaton adds a lot of energy and charisma to his performance as well as the complexity of someone who likes to create chaos while also wanting to show Lydia that he really does care in his own offbeat way.
Beetlejuice Beetlejuice is a marvelous film by Tim Burton that features great performances from Michael Keaton, Winona Ryder, Catherine O’Hara, and Jenna Ortega. Along with its supporting ensemble cast, amazing set pieces, dazzling visuals, a fun music soundtrack, and a story about loss and family. It is a film that does not try to be its predecessor while also acknowledging it in a loving way while also wanting to be entertaining and not taking itself too seriously. In the end, Beetlejuice Beetlejuice is a remarkable film by Tim Burton.
Tim Burton Films: (Pee-Wee’s Big Adventure) – Beetlejuice - Batman - (Edward Scissorhands) – Batman Returns - Ed Wood - (Mars Attacks!) – (Sleepy Hollow) – (Planet of the Apes (2001 film)) – (Big Fish) – (Charlie and the Chocolate Factory) – (Corpse Bride) – (Sweeney Todd: The Demon Barber of Fleet Street) – (Alice in Wonderland (2010 film)) – (Dark Shadows) – (Frankenweenie) – (Big Eyes) – (Miss Peregrine’s Home for Peculiar Children) – (Dumbo (2019 film))
© thevoid99 2024
Directed by Adam McKay and written by McKay and Chris Henchy, The Other Guys is the story of two mismatched NYPD detectives who take on a case while other detectives do bigger jobs as they make a discovery involving financial embezzlement and such. The film is a mixture of the buddy-cop films mixed in with humor as well as an exploration into the world of finance as it’s all narrated by rapper/actor Ice-T. Starring Will Ferrell, Mark Wahlberg, Eva Mendes, Rob Riggle, Damon Wayans Jr., Steve Coogan, Ray Stevenson, and Michael Keaton. The Other Guys is a wild and adventurous film from Adam McKay.
The film follows two mismatched detectives working for the NYPD whose attempt to be taken seriously is met with constant ridicule by other detectives as they take on a case involving the world of finance. It’s a film that is a spoof of sorts of the buddy-cop films yet it also follow two different men who embark on a case that involves a multi-billionaire who has lost money to a client who wants him killed. The film’s screenplay by Adam McKay and Chris Henchy doesn’t just follow these two mismatched partners who aren’t treated with respect but also their effort to get respect from fellow officers despite the fact that neither man are considered great detectives. Allen Gamble (Will Ferrell) is a mild-mannered forensic accountant that likes to be on the desk as he’s teamed up with the very hot-tempered Terry Hoitz who is forced to team up with Gamble over an incident where he accidentally shot New York Yankees player Derek Jeter during the World Series. Following the strange death of two widely-revered but cocky detectives, Gamble and Hoitz try to take that spot as they compete with the more-experienced and respected detectives Martin (Rob Riggle) and Fosse (Damon Wayans Jr.).
During the course of their investigation of the billionaire Sir David Ershon (Steve Coogan), Hoitz and Gamble get to know each other as the former is still eager to prove himself that he can be relied on as he’s also having issues with his ex-girlfriend Francine (Lindsay Sloane) due to his own faults. In the latter, Hoitz would learn that Gamble is married to an extremely-beautiful woman in Sheila (Eva Mendes) as well as get the attraction of a lot of beautiful woman that relates to a past that Gamble is covering up. Some of the investigation relating to Sir Ershon’s embezzlement scam is a bit complicated but it’s made up for the situations that Gamble and Hoitz endure as they had to make their reports to their superior in Captain Gene Mauch (Michael Keaton) who works a second job managing a Bed, Bath, and Beyond. Captain Mauch is an oddball character not just for having a second job but also being secretive into what Gamble and Hoitz is trying to uncover. Another quirk that he has is the fact that unknowingly quotes lyrics from the famed 90s R&B group TLC.
McKay’s direction does have elements of style as it relates to a lot of the visual tropes expected in buddy-cop films while it also play with these tropes to create something that is simpler and with an offbeat sense of humor. Shot on location in New York City with additional locations in Staten Island and Albany, the film does play into a world in which its police department is considered one of the best where two men don’t feel like they’re part of that elite group. Even as they endure some very strange moments during their investigation such as talking to a couple who wants Gamble to have sex with his wife since she used to have a relationship with him back in college. While there’s some wide shots for some of the action scenes as well as some establishing shots of the locations. Much of McKay’s direction emphasizes more on close-ups and medium shots to play into the interaction with the characters and the growing partnership between Gamble and Hoitz.
Notably as the latter starts to open up about his anger issues while the former reveals to have a dark side that he’s repressing as his own personal life is about to change. McKay would also take breaks from the humor and action as it relates to the environment Gamble and Hoitz are trying to discover as it relates to Ershon and his business dealings. Notably in a final credits sequence where McKay reveals a lot about some of the financial scandals that happened in real-life showing how big it can affect everything and how it adds to Gamble and Hoitz needing to stop those going after Ershon who is already in trouble for his role. The film’s climax is definitely big as it’s expected in action films but also play into some of the silliness that occurs throughout the climax over the group of mercenaries hired to take out Ershon. Overall, McKay creates a fun and thrilling film about two mismatched partners who step in when everyone else is busy in saving New York City.
Cinematographer Oliver Wood does excellent work with the cinematography as it has elements of style in some of the interiors and exterior scenes at night while much of the daytime exteriors is straightforward. Editor Brent White does brilliant work with the editing as it does play into the many conventional ideas of editing in action films while also providing something straightforward in capturing the humor in the film. Production designer Clayton Hartley, with set decorator George DeTitta Jr. and art director Jim Gloster, does fantastic work with the look of the offices including Ershon’s posh penthouse and a bar that Gamble frequents at. Costume designer Carol Ramsey does nice work with the costumes as it is largely straightforward with the more posh look of Ershon as well as some of the somewhat-skimpy clothing that Sheila wears.
Visual effects supervisor Gregor Lakner does terrific work with a few of the film’s visual effects as it largely relate to some of the action scenes in the film including a helicopter chase scene. Sound editor George H. Anderson does superb work with the sound as it play into the chaos of some of the action as well as the places that Gamble and Hoitz go to during the sequence where they unknowingly take Ershon’s bribes. The film’s music by Jon Brion is wonderful for its low-key score that is a mixture of bombastic orchestral music with some light-hearted jazzy pieces while music supervisor Erica Weis provide a fun mix of music ranging from acts like Little River Band, Phil Collins, Wyclef Jean, the Foo Fighters, Swizz Beatz, Donovan, the Black Eyed Peas, the Hit Crew, Goldfrapp, the White Stripes, Cee-Lo Green with Eva Mendes, Rage Against the Machine, the Mamas and the Papas, and TLC.
The casting by Jennifer Euston and Allison Jones is great as it feature cameo appearances from wrestlers Brian Girard James/Road Dogg Jesse James and Monty Kip Sopp/Bad Ass Billy Gunn, Tracy Morgan, Rosie Perez, and Brooke Shields as themselves at a New York Knicks game, New York Yankees player Derek Jeter as himself, Anne Heche as a CEO who targets Ershon, Josef Sommer as the district attorney who is angry over Gamble and Hoitz’s screw-ups, director Adam McKay as a seedy hobo named Dirty Mike, Bobby Cannavale as a detective who despises Hoitz for shooting Derek Jeter, Rob Huebel as Officer Watts who keeps coming to everyone about putting money into a fund which would play into the third act, Natalie Zea as a former girlfriend of Gamble in Chrisinith, Brett Gelman as Chrisinith’s husband who wants Gamble to fuck her, Tess Kartel as a Brazilian mercenary who is attracted to Gamble, Viola Harris as Sheila’s mother, and Andy Buckley as Ershon’s attorney who is targeted for his actions relating to Ershon’s finances.
Samuel L. Jackson and Dwayne “The Rock” Johnson are terrific in their brief yet respective role as the arrogant detectives Highsmith and Danson as two guys who do so much yet would do stupid things for the NYPD. Rob Riggle and Damon Wayans Jr. are superb in their respective roles as detectives Martin and Fosse as two men who often make fun of Gamble and Hoitz for their incompetence as they try to take in the top spot that was once filled by Danson and Highsmith. Ray Stevenson is fantastic as Roger Wesley as a mercenary leader hired by the people that Ershon had stolen from as he does whatever he can to try and get rid of Gamble and Hoitz. Lindsay Sloane is wonderful as Hoitz’s former girlfriend Francine who isn’t eager to get back with him due to his anger issues as she later realizes why he is flawed as she’s unsure of taking him back.
Steve Coogan is brilliant as Sir David Ershon as a billionaire who gets himself into some trouble over money he’s stolen from a big corporation as he tries to bribe Gamble and Hoitz while dealing with the trouble he’s in. Eva Mendes is fantastic as Gamble’s wife Sheila as a doctor who is super-attractive as she knows about her husband’s dark past as she is something she refuses to take. Michael Keaton is amazing as Captain Gene Mauch as Gamble and Hoitz’s superior who is sympathetic in their need to prove to themselves while he is also offbeat for the fact that he manages a Bed, Bath, and Beyond and unknowingly quotes TLC lyrics as it’s one of Keaton’s funniest performances. Finally, there’s the duo of Will Ferrell and Mark Wahlberg in phenomenal performances in their respective roles as Allen Gamble and Terry Hoitz as two detectives who are totally different to each other in their personality as Wahlberg captures the eagerness and frustration of a man trying to do right but feels like a screw-up every time. Ferrell is more laid back as someone who is just wanting to do his job but also harbors a dark secret which starts to re-emerge where Ferrell displays a manic sense of energy where he and Wahlberg display a fun chemistry that is a joy to watch.
The Other Guys is a sensational film from Adam McKay that features top-notch performances from Will Ferrell, Mark Wahlberg, Eva Mendes, Steve Coogan, and Michael Keaton. Along with its supporting cast, witty script, high-octane action, and some hilarious moments, it’s a film that manages to do more with buddy-cop action film while taking the time to explore different places while maintaining its humor. In the end, The Other Guys is an incredible film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - Step Brothers - Anchorman 2: The Legend Continues - The Big Short - (Backseat) – The Auteurs #63: Adam McKay
© thevoid99 2018
Based on the Marvel comics series by Stan Lee and Steve Ditko, Spider-Man: Homecoming is the story of Peter Parker dealing with his life in high school as he’s part of a decathlon team while trying to learn the ropes in being a superhero as he faces off against a mysterious enemy who has a grudge against towards Tony Stark. Directed by Jon Watts and screenplay by Watts, Jonathan Goldstein, John Francis Daley, Christopher Ford, Chris McKenna, and Erik Sommers from a screen story by Goldstein and Daley. The film is an exploration of Peter Parker trying to be Spider-Man due to the new suit he’s given created by Tony Stark as he also deal with the bad guys as Parker/Spider-Man is played by Tom Holland and Stark/Iron Man is played by Robert Downey Jr. Also starring Zendaya, Marisa Tomei, Jacob Batalon, Laura Harrier, Angourie Rice, Tony Revolori, Tyne Daly, Donald Glover, Jon Favreau, and Michael Keaton as Adrian Toomes/Vulture. Spider-Man: Homecoming is an exhilarating yet whimsical film from Jon Watts.
Set two months after working with Tony Stark in dealing with Captain America, Peter Parker deals with a new enemy while trying to be a regular kid as he struggles to balance his role as himself and Spider-Man. It’s a film with a simple story as it shows Parker adjusting to the new suit he’s given created by Stark as he wants to be part of Stark’s inner circle and hopefully become part of the Avengers. Yet, he would encounter a series of strange events involving a man named Adrian Toomes who lost his job in collecting scraps for money as he seeks revenge on Stark by stealing the Chitauri technology that happened during the Avengers’ first battle with them some years ago. The film’s screenplay doesn’t just explore Parker trying to maintain his identity a secret but also wanting to find out more about these arm deals as he tries to contact Stark and Stark’s longtime assistant Happy Hogan (Jon Favreau) about his discoveries.
The screenplay doesn’t just explore Parker trying to balance that life of superhero and as a normal teenager being part of the school’s decathlon team. It’s a script that also explore growing pains as Parker is eager to prove to Stark that he can be part of the Avengers but he’s only a 15-year old sophomore that is dealing with all of the things in high school. The only other person that knows his identity as Spider-Man via accident is his best friend Ned (Jacob Batalon) who would keep asking questions but also would make some discoveries of the suit. Much of the film’s first act is about Parker trying to prove his worth in his discovery of the weapons deal and his first encounter with Toomes’ secret identity in Vulture. There are also these little moments of Parker dealing with high school life as he’s falling for the popular senior Liz (Laura Harrier) as well as bearing the verbal humiliations of the popular nerd Flash Thompson (Tony Revolori) and witty comments of Michelle (Zendaya). At the same time, Parker is trying to keep his identity a secret from his aunt May (Marisa Tomei) whom he really cares for and doesn’t want to stress her out.
The film’s second act involves Parker learning more about the Chitauri technology he found during an encounter with some of Toomes’ henchmen as well as Parker attending the national decathlon in Washington D.C. These moments in the second act play into Parker’s development as a character as someone who is very eager to get into these dangerous moments as it can be overwhelming as Stark is constantly watching him in the hope that Parker does better. The film’s antagonist in Toomes isn’t a conventional villain but someone who feels slighted by the system during a prologue where he loses his job as he makes his own discoveries of the Chitauri technology for his own usage. All of what he does is to provide for his own family and he sees Spider-Man and Stark as threats that need to be eliminated.
Jon Watts’ direction definitely has some elements of style as it owe a lot to some of the cinematic style and humor of John Hughes but it also play into the ideas of modern-day society. Shot mainly in Atlanta as the Queens borough in New York City with some shots set in New York City, Washington D.C., and Berlin. The film does play into Parker’s own excitement into being a superhero which starts with this opening sequence of him documenting everything including the events before he was to face Captain America. Yet, Watts would keep the film grounded in reality as it has Parker just trying to explore his new powers through the suit Stark has designed for him as Watts explore the mistakes that Parker would do as it has this very natural approach to the humor. While Watts would use some wide shots for some of the locations, he would favor more intimate shots in the close-ups and medium shots to play into Parker trying to be just a regular kid as it include some comical moments as well as a few dramatic moments.
The direction has Watts create some intense moments involving the action that includes this massive set piece in a ferry where Spider-Man battles the Vulture and gets himself into trouble where it is an ode to films of the past but also become this key moment that would make Parker realize how over his head he’s in. It has Watts maintain some grounding into the growing pains that Parker is dealing with where as much as he wants to be a superhero, save the world, and do good. He’s still a young kid with so much going for him as he also needs time to be a kid as it’s something he needs to fight for against someone like Toomes/Vulture who has his own reasons to fight which is for the well-being of his family. Overall, Watts creates a fun yet engaging film about a young kid becoming a superhero and learn what it means to be one.
Cinematographer Salvatore Tino does excellent work with the film’s cinematography as it has a lot of gorgeous colors for many of the locations in the daytime with unique lighting moods for the scenes at Toomes’ workshop. Editors Dan Lebental and Debbie Berman do fantastic work with the editing with its usage of jump-cuts, montages, and other stylish cuts to play into the action and humor. Production designer Oliver Scholl, with supervising art director Brad Ricker plus set decorators Lauri Gaffin and Gene Serdena, does superb work with the look of Toomes’ workshop as well as the interior of the schools and some of the places Parker goes to. Costume designer Louise Frogley does brilliant work with the look of the Spider-Man suit as well as the clothes Parker wears casually as well as the clothes of his classmates.
Visual effects supervisors Theodore Bialek, Doug Spilatro, and Dominik Zimmerle do amazing work with the visual effects from the way Spider-Man would use his webs to move around or the way some of his tech would appear as well as some of the scenes involving Vulture. Sound editor Steve Ticknor, with sound designers Tony Lamberti and Eric A. Norris, does terrific work with the sound in capturing some of the atmosphere of the few parties that Parker goes to as well as some of the massive action sequences at the Washington monument and in the film’s climax. The film’s music by Michael Giacchino is great as it features this soaring orchestral score that plays into the action and humor with some very melodic themes while music supervisor Dave Jordan provides a fun soundtrack with music from the Rolling Stones, Spoon, the Ramones, the English Beat, Yello, A Flock of Seagulls, Traffic, and a few other tracks from hip-hop, EDM, and indie artists.
The casting by Sarah Finn is incredible as it feature some notable small roles and appearances from Kerry Condon as the voice of Iron Man’s AI F.R.I.D.A.Y., Jennifer Connelly as the voice of the A.I. in Spider-Man’s suit, Garcelle Beauvais as Liz’s mother, Hemky Madera as a local bodega owner that Parker knows, Logan Marshall-Green as a henchman of Toomes, Martin Starr as the decathlon coach/teacher, Hannibal Burress as the school gym teacher, Kenneth Choi as the school principal, Angourie Rice as the school news reporter Betty Brant, Tiffany Espensen as one of Parker’s decathlon teammates in Tiffany, Bokeem Woodbine as a henchman of Toomes in Herman Schultz who would also be known as Shocker, and Tyne Daly as a U.S. department head for damage control who would ruin Toomes’ life. Tony Revolori is terrific as Parker’s high-school nemesis Flash Thompson as he’s this rich nerd that likes to verbally humiliate Parker as he is quite funny while Laura Harrier is wonderful in a somewhat underwritten role as Parker’s love interest Liz who is baffled by why Parker never shows up for things.
Donald Glover is superb as the criminal Aaron Davis as a guy trying to buy the weapons Toomes is selling as he realizes something isn’t right where he would provide some information to Spider-Man later on. Zendaya is fantastic as Michelle as a classmate of Parker who is this quiet observer that makes some very snarky comments as she provides a lot of the film’s funnier moments. Jacob Batalon is excellent as Ned as Parker’s best friend who is one of the few people that knows about Parker’s identity as Spider-Man as he provides some funny moments as well as be useful for the film’s third act. Jon Favreau is brilliant as Happy Hogan as Stark’s bodyguard who watches over Parker as he is annoyed by Parker calling him for any special assignments. Marisa Tomei is amazing as May Parker as Peter’s aunt who is wondering what her nephew is doing as well as helping him with some of his growing pains.
Robert Downey Jr. is marvelous as Tony Stark/Iron Man as Parker’s mentor who is trying to make sure that Parker is being responsible as he’s dealing with his own things as he knows when he has to step to lecture Parker. Michael Keaton is remarkable as Adrian Toomes/Vulture as a scrap-metal collector who loses his job due to Stark as he would steal and use Chitauri technology to create weapons as a way to give himself and his family the life they wanted as it’s a role with some charm as Keaton doesn’t make him a total villain but someone that is determined to do whatever to protect his family. Finally, there’s Tom Holland in a phenomenal role as Peter Parker/Spider-Man as a 15-year old kid that is trying to deal with the gifts he’s given as well as try to be a normal kid as Holland has this air of exuberance and humility that provides the right balance to play both Parker and Spider-Man in making him vulnerable but also provide the maturity he would gain later on in becoming the superhero.
Spider-Man: Homecoming is a sensational film from Jon Watts that features great performances from Tom Holland, Michael Keaton, and Robert Downey Jr. Along with its amazing ensemble supporting cast, thrilling action sequences, and the need to not take itself seriously or rehash anything previous films about the character that audiences already knew. It’s a film that knows what it needed to do while providing something fresh to the beloved character in a setting that isn’t explored and have fun with it. In the end, Spider-Man: Homecoming is an incredible film from Jon Watts.
Jon Watts Films: (Clown (2014 film)) – Cop Car
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Into the Spider-Verse - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Thor: The Dark World - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2017
Directed by Thomas McCarthy and written by McCarthy and Josh Singer, Spotlight is the story of reporters for The Boston Globe who uncover a major scandal involving sexual abuse of children in the hands of Catholic priests in Boston in 2002. The film is a dramatization of the events that would shake up the world of Catholicism in the hands of a group of journalists who struggle with their own upbringing as well as uncovering the truth to an entire city. Starring Michael Keaton, Mark Ruffalo, Rachel McAdams, Liev Schrieber, Brian d’Arcy James, Billy Crudup, John Slattery, and Stanley Tucci. Spotlight is a riveting and exhilarating film from Thomas McCarthy.
Set from the summer of 2001 to early 2002 in Boston at The Boston Globe, the film revolves the famed Spotlight investigative journalist team who are asked by the paper’s new editor to do a story about a sex abuse scandal involving a Catholic priest at a parish in Boston. There, the journalists not only uncover more about what happened but also cover-ups and the fact that they themselves had a chance to tell the story years ago but never did. It’s a film that isn’t just about a sex scandal involving priests who abused children for many years in Boston but also the fact that the Catholic church in Boston was willing to cover up and do things in their power to pretend that it never happened. Even as the journalists try to figure out what are they hiding as they realize that this is bigger than one priest but an entire city that was involved and maybe the entire world.
The film’s screenplay by Thomas McCarthy and Josh Singer opens with a chilling scene of priest making a settlement with lawyers over a sex scandal which establishes what is common in Boston that people know but don’t want to talk about. It then cuts to the arrival of new Boston Globe editor Marty Baron (Liev Schreiber) who is aware that he has to gain the trust of the staff including the Spotlight team where he asks them to follow-up on a column about a sex abuse scandal from a Catholic priest. Leading the Spotlight team is Walter “Robby” Robinson (Michael Keaton) who is joined by Michael Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d’Arcy James) as they were looking for something to do where Rezendes would try to talk to attorney Mitchell Garabedian (Stanley Tucci) is reluctant to talk publicly to Rezendes yet eventually reveals what is at stake.
With the team talking to victims as well as revelations that they had a chance to tell the story years ago when Robinson was part of the team. While Robinson does admit guilt on his own part for not taking the chance to cover the story, he would redeem himself in not just going further once it becomes clear that the story is bigger than one parish but rather a whole city. Especially as it becomes clear that many who work for the paper are Catholic where they seem to know what is happening but they are either too scared to reveal what happened or are in denial. By the film’s third act where it becomes clear that there is evidence to get one priest to finally confess about his actions. Robinson realizes that it’s not one name they need to go after but the almost 100 names that they’ve uncovered including one living in Carroll’s neighborhood.
McCarthy’s direction is quite engaging for the way it plays into the atmosphere of the newspaper world where many are struggling with the new age of internet news and the decline of print. Even as it plays into events such as 9/11 as the world of the newspaper and journalism is a very busy one where many colleagues talk and socialize about what stories to tell. McCarthy’s usage of tracking shots, wide, and medium shots don’t just play into that atmosphere but also help flesh out the drama where the camera would pull back in scenes where the Spotlight team try to gather whatever they can use to tell the story. While McCarthy does use close-ups for some intimate moments where the characters talk to victims or what they do in their personal lives as it relates to Pfeiffer accompany her grandmother to church on Sundays. It helps establish not just what kind of city Boston is but also why it has this very unique relationship with the Catholic church.
McCarthy would also know how to build up drama such as a scene where Rezendes gains access to old testimonial records with the aid of Garabedian as he tells the team that they should unleash the story now. Yet, it becomes clear that these scandals have taken a personal toll for the team as well as one of its key editors in Ben Bradlee Jr. (John Slattery) who admit to being a lapse Catholic. Even as there are those who were thinking about returning to church to regain some idea of faith but the scandal has damaged that faith as they aren’t sure if revealing this to the city would destroy all of that for those who still believe in the church. It adds to the dramatic conflict as the decision that is made doesn’t just hit home for the entire team but would also for an entire city and maybe the entire world. Overall, McCarthy creates a chilling yet visceral drama about a group of newspaper journalists uncovering a sexual abuse scandal in their home city.
Cinematographer Masanobu Takayanagi does excellent work with the film‘s cinematography from the usage of natural lights for many of the daytime exteriors as well as the usage of lights for the scenes set at night in the interior/exterior settings. Editor Tom McArdle does amazing work with the editing as it‘s mostly straightforward with a few jump-cuts for dramatic purposes as well as montages to play into the team at work. Production designer Stephen H. Carter, with set decorator Shane Vieau and art director Michaela Cheyne, does fantastic work with the look of the set of The Boston Globe building as well as the room where the Spotlight team works at plus the home of a few characters in the film.
Costume designer Wendy Chuck does terrific work with the costumes as a lot of it is casual with the exception of the clothes that some of the priests and cardinals wear. Visual effects supervisor Colin Davies does nice work with the minimal visual effects in the film which is essentially set dressing for some of the exteriors to make the city look like Boston circa-2001. Sound designer Paul Hsu does superb work with the sound to play into the atmosphere of the rooms at the Boston Globe to the machines where the papers are printed and other parts of the city. The film’s music by Howard Shore is brilliant for its very low-key piano score that has a few orchestral flourishes as it‘s mostly straightforward to play into the drama as well as the heaviness of what is happening while music supervisor Mary Ramos provides a more low-key soundtrack filled with bands based on Boston that only appears in the background.
The casting by Kerry Barden, John Buchan, Jason Knight, and Paul Schnee is incredible as it features some notable small roles from Neal Huff as one of the victims in Phil Savino, Len Cariou as Cardinal Bernard Law whom Baron meets early in the film, Paul Guilfoyle as one of the people involved with the church in Peter Conley, Jamey Sheridan as one of the church’s attorneys in Jim Sullivan whom Robertson knows, Maureen Keiller as columnist Eileen McNamara who would create the column that would start the investigation, Gene Amoroso as investigative reporter Stephen Kurkjian, Richard Jenkins as the voice of a noted psychiatrist for the victims, and Billy Crudup as attorney Eric MacLeish who is reluctant to reveal the settlements he took part in as well as reveal some revelations about the paper. John Slattery is fantastic as Ben Bradlee Jr. as one of the editors of the Globe who tries to make sure everything Spotlight does is under wraps where he realizes how big the story is prompting to get Baron on their side.
Stanley Tucci is excellent as Mitchell Garabedian as a man who is trying to defend the victims as he is reluctant to provide information because of the church where he gives Rezendes tips about what to find. Liev Schreiber is brilliant as Marty Baron as the new editor-in-chief who tries to understand more about the world of the Catholic church in Boston as he is a Jewish man trying to see what is going on where he learns more about what is really happening prompting him to put more support on Spotlight. Brian d’Arcy James is superb as Matt Carroll as a Spotlight reporter who helps piece many of the stories and sources that happens while making a chilling discovery about how close to home the scandal is at.
Rachel McAdams is amazing as Sacha Pfeiffer as a Spotlight reporter who talks to the victims in the streets while she would also talk to a former priest only to realize more of what is happening as she copes with how the news will affect her grandmother. Mark Ruffalo is phenomenal as Michael Rezendes as a Spotlight reporter who meets with Garabedian where he would go into the records with Carroll and Robertson where he would later uncover a major breakthrough for the story. Finally, there’s Michael Keaton in a remarkable performance as Walter “Robby” Robertson as the Spotlight chief who leads the charge where he would make some revelations into what he discovered as well as carry the guilt that he had the chance to reveal it years ago where he realizes the chance to do things right for himself and for Boston.
Spotlight is a tremendous film from Thomas McCarthy. Featuring a great ensemble cast, an intriguing story, well-crafted direction, and top-notch technical work, the film isn’t just a fascinating newspaper drama. It’s a film that explores people coping with something they either knew or didn’t want to know as they try to find a way to expose it to their city and the world in the hopes that something like this never happens again. In the end, Spotlight is a sensational film from Thomas McCarthy.
Thomas McCarthy Films: (The Station Agent) - The Visitor - Win Win - (The Cobbler)
© thevoid99 2015
Directed by Alejandro Gonzalez Inarritu and written by Inarritu, Armando Bo, Alexander Dinelaris Jr., and Nicolas Giacobone, Birdman or (The Unexpected Virtue of Ignorance) is the story of a once-famous film star who tries to mount a comeback by staging a production of Raymond Carver’s What We Talk About When We Talk About Love as he deals with professional and personal issues. The film is an exploration into the day of a life of a man whose greatest claim to fame was playing a superhero on film as he struggles with his ego, failures as an actor and as a man, and all sorts of things just days before he tries to make his comeback. Starring Michael Keaton, Edward Norton, Emma Stone, Zach Galifianakis, Andrea Riseborough, Amy Ryan, Lindsay Duncan, and Naomi Watts. Birdman or (The Unexpected Virtue of Ignorance) is a sprawling yet engrossing film from Alejandro Gonzalez Inarritu.
The film explores a week in the life of a once-famous film star in Riggan Thompson (Michael Keaton) who is trying to make a comeback by directing, writing, and starring in a Broadway stage production of Raymond Carver’s What We Talk About When We Talk About Love. Yet, Riggan’s life starts to spiral downward as he copes with the bad decisions he made in his life as an actor and as a man while his attempts to gain legitimacy as an actor has him questioning his worth. It’s a film that explores a man who is at a crossroads where the play that he’s doing starts to mirror the chaos of his own life while famous alter-ego that he played many years ago is stalking him about the decisions he’s making. Even as parts of his own life from his troubled relationship recovering drug-addict daughter Sam (Emma Stone) to who he is play into this turbulent week as he struggles with his past glory and the fear of failing as he’s putting everything on the line.
The film’s screenplay is quite complex in the way it explores a production that is quite chaotic where Riggan is trying to do everything he can but there’s a lot that isn’t working. After purposely taking out an actor from the production because he sucks, Riggan would bring in the very popular but pretentious theater actor Mike Shiner (Edward Norton) who would do whatever to usurp Riggan as he would also make first-time Broadway actress Lesley (Naomi Watts) insecure as she had previously dated Shiner. Riggan’s relationship with another actress in Laura (Andrea Riseborough) starts to fall apart as she feels unappreciated while Riggan’s relationship with his daughter Sam is often filled with tension as Riggan blames himself for not being there for her. With his ex-wife Sylvia (Amy Ryan) appearing to see what is going on with him while his friend/producer Jake (Zach Galifianakis) tries to keep things under control.
The script also showcases much of Riggan’s reasons to want to make this comeback and why he chose Raymond Carver as his comeback vehicle. Yet, his reasons only gain questions from Shiner who also knows Carver’s work as he believes that Riggan isn’t authentic enough to do Carver justice. Adding to Riggan’s own self-doubt and low self-esteem issues is the notorious theater critic Tabitha (Lindsay Duncan) who despises Hollywood and its actors believing that they’re not good enough to do theater. It all plays to ideas in Riggan’s head in his attempt to find legitimacy and shake off the Birdman character that he had played a long time ago as it leads to questions of existentialism and art. Even as it plays to the idea of one man against the entire world.
Alejandro Gonzalez Inarritu’s direction is truly astonishing as it is presented in a mostly one-continuous shot that follows the turbulent week of Riggan trying to mount his production. While it is a feat that is quite amazing, Inarritu does use some editing and visual tricks to make it feel like a film that is presented in an entire take. It is quite engaging for the way it explores a theater production coming together as the usage of steadicam and hand-held cameras in intimate, cramped-up spaces such as hallways and dressing rooms. Much of it has Inarritu use a lot of medium shots and close-ups where the compositions are engaging such as a scene between Lesley and Laura talking about Shiner. There’s also these smooth transitions where the camera is often moving in a crane shot or on a dolly track where it would have a character in a scene and then be seen again in a few seconds in another scene.
While the film is shot on location in New York City in its Broadway setting, there is something that feels loose in its direction such as a scene of Riggan walking through the city at night in his underwear. Even in the scenes where much of the theater performances has this sense of energy where it would evolve into something more authentic as well as daring. Especially in its climax where it is about this opening night performance as Riggan will do whatever it takes to become the star of the show in this mentality of me against the world. There’s also elements of surrealism in the scenes involving Riggan struggling to get Birdman out of his life as it would play into Riggan thinking about returning to the character as an act of defiance where a sequence of him flying and saving the world plays into Riggan’s desire to act and prove that he has what it takes. Overall, Inarritu creates a very thrilling and mesmerizing film about a man trying to mount a comeback against all odds while dealing with his ego and is troubled personal life.
Cinematographer Emmanuel Lubezki does brilliant work with the film‘s very entrancing cinematography from its colorful approach to theater lighting in some of its scenes to more low-key yet naturalistic look in its interiors plus some unique lights for the exterior nighttime scenes in New York City. Editors Douglas Crise and Stephen Mirrone do fantastic work with in a few montages that is created in the film‘s opening and a sequence near the end while using some tricky editing skills to make the film feel like an entirely continuous shot. Production designer Kevin Thompson and set decorator George DeTitta Jr. do excellent work with the set pieces from the look of the theater sets as well as the bar next to the theater where Riggan would wind down as he has to endure Shiner in one scene. Costume designer Albert Wolsky does amazing work with the costumes from the clothes the actors would wear onstage to the casual clothes behind the scenes as well as the design of the Birdman costume.
Special effects makeup designer Mike Elizade does nice work with a few of the minimal makeup work that the actors would do for the play along with the look of the Birdman mask. Visual effects supervisors Jake Braver and Adam Howard do terrific work with the fantasy sequences that involves Birdman in a reminder of what Riggan used to be and what he could be again. Sound designer Martin Hernandez and co-sound editor Peter Brown do superb work with the sound from the sparse sounds that happens in the theater to the raucous sounds of the locations including the bird screeches that remind Riggan of Birdman. The film’s music by Antonio Sanchez is just incredible as it‘s mostly this very hypnotic and energetic jazz-based score led by drums that is either played on location or in the scene while music supervisor Lynn Fainchtein brings in a soundtrack filled with some classical pieces from Piotor Tchaikovsky, Gustav Mahler, John Adams, and Sergei Rachmaninoff to play into Riggan’s own sense of fantasy.
The casting by Francine Maisler is great as it would feature some notable small roles from Merritt Weaver as the assistant director Annie, Benjamin Kane as the Birdman character that stalks Riggan, Jeremy Shamos as the original actor that Shiner would replace, and Lindsay Duncan in a wonderful performance as the very vicious theater critic Tabitha who adores Shiner and hates Riggan and everything he’s about. Zach Galifianakis is excellent as Riggan’s friend/producer Jake who is trying to make sure nothing goes wrong as he deals with legal issues as well as the money that Riggan is giving away making Jake nervous. Naomi Watts is fantastic as Lesley as a girlfriend of Shiner who is eager to star in her first Broadway production as she becomes very insecure due to Shiner’s arrogance as she is annoyed by Sam’s presence. Andrea Riseborough is amazing as Laura as Riggan’s girlfriend who feels unappreciated as she tries to reach out to him amidst his own issues while helping Lesley with her insecurity issues.
Amy Ryan is brilliant as Riggan’s ex-wife Sylvia who tries to understand what Riggan is going through as well as expressing concern for Sam and their troubled relationship. Emma Stone is incredible as Sam as Riggan’s recovering drug-addict daughter who is working as her father’s assistant as she tries to deal with her dad while flirting with Shiner to cope with her anger towards her dad. Edward Norton is superb as Mike Shiner as this arrogant theater actor who craves for realism in every aspect of the performance as he makes Riggan insecure while being a dick to everyone but Sam. Finally, there’s Michael Keaton in an outstanding performance as Riggan Thompson as this once-famous film star who tries to mount his comeback on Broadway as he deals with his ego, his issues as a man, and all sorts of things as it’s a performance that has Keaton be quite funny but also lay it on the line with monologues and scenes about the art of acting as it’s really a performance for the ages.
Birdman or (The Unexpected Virtue of Ignorance) is a magnificent film from Alejandro Gonzalez Inarritu that features a tour-de-force performance from Michael Keaton. Along with a strong supporting cast as well as amazing technical work from Emmanuel Lubezki and Antonio Sanchez’s brilliant score. It’s a film that definitely blurs the line between the world of art and reality as well as being a film that features technical feats that isn’t seen very often in mainstream films. In the end, Birdman or (The Unexpected Virtue of Ignorance) is a gloriously tremendous film from Alejandro Gonzalez Inarritu.
Alejandro Gonzalez Inarritu Films: Amores Perros - The Hire-Powder Keg - 11'9'01-September 11-Mexico - 21 Grams - Babel - To Each His Own Cinema-Anna - Biutiful - The Revenant - The Auteurs #45: Alejandro Gonzalez Inarritu
© thevoid99 2014
Directed by Tim Burton and screenplay by Michael McDowell and Warren Skaaren from a story by McDowell and Larry Wilson, Beetlejuice is the story of a recently deceased couple who asks a deranged ghost to get rid of a family who have moved in to their house. The film is a strange romp of horror and comedy where a couple try to deal with living with an eccentric family where its teenage daughter can see them due to her fascination with death. Starring Michael Keaton, Geena Davis, Alec Baldwin, Jeffrey Jones, Catherine O’Hara, Winona Ryder, Glenn Shadix, Robert Goulet, and Sylvia Sidney. Beetlejuice is a wild and extremely insane film from Tim Burton.
Following their death due to an accident, a newlywed couple deal with new inhabitants of their house that includes a death-obsessed teenage girl prompting the couple to hire the services of a crazed ghost by the name of Beetlejuice (Michael Keaton). It’s a film that doesn’t play by the rules of conventional horror as it’s more of a comedy where this recently deceased couple cope with their death as well as the fact that they’re forced to share the house with a New York City family and their offbeat interior designer. Yet, Adam and Barbara Maitland (Alec Baldwin and Geena Davis, respectively) do befriend this Goth teenager in Lydia (Winona Ryder) who is the only one that can see them due to her fascination with death. Even as it is frowned upon by the afterworld to make friends with the living as Beetlejuice would cause hell for the Maitlands.
The film’s screenplay starts off with the life of the Maitlands as they just bought their new home which they refuse to sell from some potential buyers as a simple errand goes wrong which lead to their deaths. Upon this discovery that they’re dead and any place outside of their house has them in a very strange afterworld as they would eventually go to a caseworker named Juno (Sylvia Sydney) who reveal what they have to deal with as well as what to do to get rid of their new inhabitants in real estate developer Charles Deetz (Jeffery Jones) and his aspiring sculptor in Delia, who is Lydia’s stepmother,.
While the Maitlands try to haunt them, they would eventually succeed in haunting Charles and Delia but end up amusing them while their interior designer Otho (Glenn Shadix) would realize what is going on. Adding to this sense of chaos and the Maitlands’ attempt to get rid of the Deetzes is Beetlejuice whose approach to scaring the living is cruel and diabolical. Yet, there is something about the character that is so off-the-wall as he ends up being this very unconventional antagonist. Even as he has this macabre sense of humor who thinks The Exorcist is a comedy while is very crude to the Maitlands as he also pines for Lydia who would get to know what Beetlejuice is.
Tim Burton’s direction is definitely off the wall where it starts off being this quaint little story about a nice couple living in this small New England town. Then comes this very chilling accident where it plays to the sense of macabre humor that would be prevalent in the film. Even as Burton’s compositions ranging from some wide shots to some offbeat close-ups and medium shots showcase something that is really out of this world. Notably the scenes in the afterlife where the dead arrive in a waiting room to meet their case worker and later learn how to live as a dead person. Much of the presentation of the afterworld is presented with some unique visual effects and stop-motion animation to play into this strange approach to black humor that Adam and Barbara have to deal with.
The direction also had Burton create some moments that really amp up the line of reality and fantasy such as a dinner party with the Deetzes where Delia finds herself singing The Banana Boat Song where she has no control of what is happening to her. It’s a sequence that mixes humor and horror in the most absurd way as it refuses to play into any kind of traditional or conventional genre but rather a mish-mash of genres. Even as the film’s climax would maintain that offbeat approach of horror-comedy would force the Maitlands to do something as Beetlejuice would just cause hell for everyone. Overall, Burton creates a very spectacular and hilarious film about two dead people hiring a psychopathic ghost to get rid of people who moved into their home.
Cinematographer Thomas E. Ackerman does fantastic work with the film‘s cinematography from the use of colorful lights for some of the film‘s interior scenes including the dinner scenes and the meeting with Juno. Editor Jane Kurson does excellent work with the editing as it‘s quite straightforward with some rhythmic cuts to play into the film‘s humor and suspense. Production designer Bo Welch, with set decorator Catherine Mann and art director Tom Duffield, does brilliant work with the set design from the house in and out based on Otho‘s work as well as the world of the afterlife including the sand dunes. Costume designer Aggie Guerard does superb work with the costumes from the Goth clothes that Lydia wears to the fashionable upscale New York City look that Delia and Otho wears.
Makeup designers Steve La Porte, Ve Neill, and Robert Short do amazing work with the makeup from the look of Beetlejuice as well as the look of the dead characters in the afterlife. Visual effects supervisor Alan Munroe does awesome work with the visual effects from the use of stop-motion animation to the design of the sand dunes world that would feature sandworms. Sound editor Richard L. Anderson does nice work with the sound from some of the low-key sound work in some of the scenes at the house to the sound effects that occur in the world of the afterlife. The film’s music by Danny Elfman is incredible as it is very offbeat with its playful orchestral score that is filled with strange choirs and string arrangements while the soundtrack features some amazing songs by Harry Belafonte to play into the film’s offbeat tone.
The casting by Janet Hirshenson and Jane Jenkins is just phenomenal as it features some notable small roles from Annie McEnroe as the woman who tries to sell the Maitlands’ home early in the film, Patrice Martinez as an afterworld receptionist, Dick Cavett and Susan Kellermann as a couple of guests at the dinner party, and Robert Goulet as Charles’ boss Maxie Dean who wants Charles to do some things to the small town. Glenn Shadix is very funny as the interior designer Otho who tries to give the Maitlands’ home a post-modern look that plays to his taste. Sylvia Sydney is amazing as the deceased case worker Juno who often smokes a cigarette where smoke would come out of her neck as she is very blunt and to the point about what not to do. Jeffrey Jones is excellent as Charles Deetz as a real estates developer who is eager to wanting a simple life as he copes with the chaos involving ghosts. Catherine O’Hara is amazing as Delia as this aspiring sculptor who wants to make it as an artist while wanting to live the life of a New York City artist.
Winona Ryder is brilliant as the troubled Goth teenager Lydia whose fascination with death has her meeting the Maitlands as she wants to die due to loneliness. Alec Baldwin is fantastic as Adam Maitland as a guy who designs models who tries to make sense of everything that goes on. Geena Davis is superb as Barbara Maitland who also tries to make sense as she doesn’t want to bring harm to Lydia despite what the people in the afterworld says. Finally, there’s Michael Keaton in a magnificent performance as the titular role despite only appearing in less than a third of the film. Yet, he steals every moment from his crude approach to humor as well as being completely wild in every kind of mannerism that he does as it’s really an iconic performance for the ages.
Beetlejuice is a rapturous yet extremely fun film from Tim Burton that features a tour-de-force performance from Michael Keaton in the titular role. Along with a great cast as well as some amazing technical work, it’s a film that showcases Burton’s gift for blending weird and macabre humor with an absurd approach to horror. In the end, Beetlejuice is an outstanding film from Tim Burton.
Tim Burton Films: (Pee-Wee’s Big Adventure) - Batman - (Edward Scissorhands) - Batman Returns - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice
© thevoid99 2014
Based on the DC Comics by Bill Finger and Bob Kane, Batman Returns is the sequel to the 1989 film in which Batman faces a new foe in the Penguin who teams up with a business tycoon to take down the Batman while a mysterious vigilante in Catwoman also creates trouble. Directed by Tim Burton with a screenplay by Sam Hamm and Daniel Waters from a story by Hamm, the film is a darker story than its predecessor as Bruce Wayne/Batman deals with his new foes as Michael Keaton reprises his role with Michelle Pfeiffer as Selina Kyle/Catwoman, and Danny Devito as Oswald Cobblepot/the Penguin. Also starring Pat Hingle, Michael Gough, Michael Murphy, Cristi Conaway, and Christopher Walken as Max Shreck. Batman Returns is a superbly thrilling film from Tim Burton.
The film is an exploration into Bruce Wayne adjusting to his role as Gotham’s peacekeeper as new enemies emerge during the Christmas holidays to wreak havoc on the city. Among them is a deformed man known as the Penguin who wants to take over Gotham where he kidnaps the industrialist Max Shreck as the two team up to control Gotham. Adding to the chaos is a woman named Selina Kyle who was a secretary of Shreck as she was pushed out of a window and fell many stories to the ground. Kyle would survive the fall as she becomes Catwoman as she becomes a vigilante of her own as she causes problems for Batman where she briefly aligns with the Penguin. Yet, Kyle’s life is more complicated when she falls for Bruce Wayne unaware that he’s Batman and vice versa as it would lead to a very troubling climax.
The film’s screenplay by Sam Hamm and Daniel Waters, with additional work by Wesley Strick, doesn’t just explore Bruce Wayne being this hero for Gotham but also encounter these new forces. The real villain in the film is Max Shreck as he is this industrialist that wants to create a new power-plant for Gotham when the city doesn’t need it. When Kyle accidentally learns what Shreck is doing, Shreck tries to kill her as he would use the Penguin to usurp Gotham’s mayor (Michael Murphy) to become the new mayor so Shreck can build his power plant. Though Penguin had his own plans to create chaos in Gotham, he teams up with Shreck for power while trying to discredit Batman with the help of Catwoman. One of the aspects of the script that is unique is the fact that it’s a film about identity as it relates to Batman, Penguin, and Catwoman.
Whereas Bruce Wayne tries to cope with his dual role as he is also seeking some balance as a man where he wouldn’t need to keep secrets. Though he accepts his role as Gotham’s hero, it’s not one that he easily accepts as he has few allies in the city. The Penguin maybe an antagonist but not a conventional one as the film begins with his birth as he arrives as a deformed baby his rich parents would dump into a sewer just days after his birth. In being this outcast, he wants to destroy Gotham only to become a pawn in Shreck’s plans that forces him to become more determined for Gotham’s end. Then there’s Selina Kyle who starts out as this timid secretary who lives with a cat as her near-death experience in the hands of Shreck has her becoming this unstable woman that not only wants to get revenge on Shreck but her encounter with Batman would create a very complicated relationship as their real-life personas are in love with each other while there’s a strange attraction between the two in their other personas. Catwoman isn’t a villain nor a hero but a true anti-hero who is only in it for herself.
Tim Burton’s direction is definitely more extravagant in some respects but also very offbeat in its mix of dark humor, action, and suspense. Yet, there’s a looseness to the story where Burton is able to make all of these elements fuse together though not all of these moments work. Still, he is able to create some exotic scenes and action sequences that are very exciting as it includes a very memorable moment where Catwoman introduces herself to Batman and the Penguin. The use of close-ups, wide shots, and medium shots gives Burton some room to breathe in the way he creates some of these moments while being able to explore the complexity of identity in the film in shots that are much more simpler. Especially in the romantic attraction between Wayne/Batman and Kyle/Catwoman as there’s an element of sensuality in that attraction.
The direction is also stylish in the way some of the action scenes and in some of the humor that is presented though a lot of its very dark. Especially in the film’s climax as it involves Batman, the Penguin, Catwoman, and Shreck as it features extravagant set pieces as well as a lot of penguins where some of it is real and some are robotic. The usage of animals do add some style to the film where they would aid whoever is needed as its climax is both enthralling but also somber where it would play into Batman/Wayne’s struggle to find a balance in his dual role. Overall, Burton crafts a very exciting and stylish film about Batman coming to terms with his identity and the new foes he faces.
Cinematographer Stefan Czapsky does excellent work with the film‘s cinematography from the look of the exteriors of Gotham as well some of the lighting in the sewer home of the Penguin and his army as well as the shadows in the Batcave. Editors Chris Lebenzon and Bob Badami do nice work with the editing as it‘s pretty straightforward with some stylish cutting for some of the film‘s action scenes as well as some of its humorous moments. Production designer Bo Welch with set decorator Cheryl Carasik and supervising art director Tom Duffield, does amazing work with the set pieces from the look of the city square in Gotham to the Batcave as well as the Penguin‘s lair, and the apartment Kyle lived in. Costume designers Bob Ringwood and Mary E. Vogt do fantastic work with the look of Catwoman‘s costumes as well as the clothes of the Penguin and the suits that Max Shreck wears.
Makeup designers Stan Winston, Ve Neill, and Ronnie Specter do brilliant work with the makeup design of the Penguin as well the look of his band of freaks that he leads. Visual effects supervisor Michael L. Fink does terrific work with some of the visual effects that includes some early ideas of CGI as well as the use of miniatures in some of the action sequences. Sound editors Richard L. Anderson and David E. Stone do superb work with the sound to create some layering of sounds in the action scenes as well as some of the scenes set in Gotham. The film’s music by Danny Elfman is incredible for its mixture of bombastic orchestral pieces to some more serene and enchanting pieces to play into some of the melancholia as the film’s soundtrack also includes a few Christmas pieces and a collaboration with Siouxsie & the Banshees for the song Face to Face.
The casting by Marion Dougherty is great for the ensemble that is created as it features cameo appearances from Jan Hooks as a PR assistant, Vincent Schiavelli as one of the Penguin’s henchmen, Anna Katarina as the poodle lady who works for the Penguin, and in the role of Penguin’s parents, Paul Reubens and Diane Salinger who had appeared in Burton’s first film Pee-Wee’s Big Adventure. Other notable small roles include Andrew Bryniarski as Shreck’s son Chip, Cristi Conaway as the Ice Princess who lights Gotham’s Xmas tree, and Michael Murphy as the city’s mayor. Reprising their roles from the first film, Pat Hingle and Michael Gough are terrific in their respective roles as Commissioner Gordon and Alfred Pennyworth where Gordon becomes one of the few men who trusts Batman while Pennyworth helps Batman/Wayne in uncovering some of the mysteries relating to the Penguin.
Christopher Walken is brilliant as the very manipulative and power-hungry Max Shreck as Walken has this charm that makes him a very unique villain that doesn’t have any personas but is willing to use people for his own means. Danny DeVito is fantastic as the Penguin as a man who learns about his family as he becomes manipulated into becoming a politician only to realize that he is who he is as he wants to destroy Gotham and its hero Batman. Michelle Pfeiffer is phenomenal as Selina Kyle/Catwoman as this woman who despises Shreck for his plans and later trying to kill her as she becomes this very unstable woman that wants to create chaos as she also falls for Wayne/Batman. Finally, there’s Michael Keaton in a superb performance as Bruce Wayne/Batman as Keaton displays more aggression in his role as Batman while still being a bit brooding as he showcases Wayne’s struggle to balance his dual roles as he also has some great chemistry with Pfeiffer in their different personas.
Batman Returns is an excellent film from Tim Burton that manages to be a worthy sequel to its 1989 predecessor. Armed with an amazing cast as well as dazzling set pieces and Danny Elfman’s sumptuous score that includes a song by Siouxsie & the Banshees. While it is a darker film than its predecessor, it is still an engaging one for the way it explores identities and one man’s desire to balance his role as a man and crime fighter. In the end, Batman Returns is a marvelous film from Tim Burton.
Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - Batman - (Edward Scissorhands) - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice
Batman Films: (Batman (1966 film)) - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)
© thevoid99 2014
