Superman (2025 film)

 

Based on the DC Comics series by Jerry Siegel and Joe Shuster, Superman is the story of an alien superhero who is trying to save the world while coming to terms with who he really is and the family that has adopted him on Earth. Written and directed for the screen by James Gunn, the film is a re-telling of the Kryptonian hero as he tries to find his place on Earth while dealing with those who are afraid of him and those who oppose him as David Corenswet stars as the titular role/Clark Kent/Kal-El. Also starring Rachel Brosnahan, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, and Nicholas Hoult as Lex Luthor. Superman is an exhilarating and wondrous film by James Gunn.

The film is the story of an alien superhero who has chosen to use his powers to do good while he copes with constant criticism and attacks from different forces, including Lex Luthor who has created a smear campaign on Superman. It is a film that explores a man who believe he was sent by his biological parents from Krypton to be a beacon of hope on Earth during tough times where he would stop an invasion from one country towards a neighboring country without government approval or sanction. That action would lead to criticism from social media and others including the American government with Luthor amping up the criticism because of his hatred for Superman. James Gunn’s screenplay is straightforward in its narrative where it is more about Kal-El playing not just the role as a superhero who is trying to make the world a better place but also understand his own place in the world as Clark Kent who was raised by kind-hearted humans in Smallville, Kansas.

The script opens with Superman crashing onto a snowy landscape after he had lost a fight with a mysterious being known as the Hammer of Boravia following Superman’s own involvement in stopping Boravia from invading the neighboring country Jarhanpur. Kent also works for Metropolis’ newspaper Daily Planet with Lois Lane (Rachel Brosnahan), whom he has been in a relationship with as she also knows his identity as Superman where she questions him about what happened at Jarhanpur since Kent always created his own interviews with Superman where Kent is forced to realize that things are not as simple as he wants them to be. Especially with the U.S. government having their own relationship with Boravia unaware that their leader President Vasil Ghurkos (Zlato Buric) is conspiring with Luthor in a scheme that Luthor wants to do with Jarhanpur. Luthor is an antagonist that is smart but is also hoping to be this godlike figure that is feared and revered yet he is unhappy with the presence of Superman to the point that he has one of his henchman in Ultraman and a nanotech metahuman in Angela Spica/the Engineer (Maria Gabriela de Faria) help find ways to get access to Superman’s secret lair in the Fortress of Solitude where they steal the message from Superman’s parents as well as Superman’s pet dog Krypto.

The script’s second act plays into Superman dealing with Luthor’s smear campaign and Superman turning himself to the U.S. government where Superman is sent to a mysterious pocket universe that Luthor has created. There, Superman is forced to endure torture by a metahuman named Rex Mason/Metamorpho (Anthony Carrigan) who can change his body into any form as he turns his hand into Kryptonite with Luthor also doing whatever he can to hurt Superman every way he can much to Mason’s own disgust as he is forced to torture Superman. The second act also has Lane making some discoveries about what is happening to Superman and Luthor’s connection to Boravia as she turns to a team of metahumans in the Justice Gang led by Guy Gardner/Green Lantern (Nathan Fillion) along with Kendra Saunders/Hawkgirl (Isabela Merced) and Michael Holt/Mr. Terrific (Edi Gathegi) for help but only Mr. Terrific decides to help Lane who also learns about Luthor’s pocket universe due to sources from fellow journalist Jimmy Olsen (Skyler Gisondo) who has his own mysterious connections.

Gunn’s direction is sprawling in terms of its overall presentation and different settings to play into a world that is chaotic yet there is this element of hope in this superhero from another planet. Shot on various locations at Trilith Studios in Duluth, Georgia as well as locations in Atlanta, Ohio, and Svalbard, Norway as the last of which is used for the scenes where the Fortress of Solitude is placed. The film opens with images in Antarctica where Superman crashes down the snow only to be picked up by Krypto to the Fortress of Solitude. What Gunn does is create something different rather than play into what has been told already about Superman as it plays into something more immediate as he has known to the world for about three years and this is the first time he lost a fight. Gunn’s usage of wide and medium shots not only establishes the locations that the characters are in but also a world that is falling apart due to war, misinformation, and the ambitions of those who want to destroy it for their own gain.

Gunn also maintains a sense of intimacy with the medium shots and close-ups as it relates to Kent’s relationship with Lane where he would let the camera linger for a bit during Lane’s interview with Superman where Kent would have trouble answering questions. There is also this air of dread and extreme that Luthor would bring when he confronts Superman as he has no problem killing ordinary people or those who are close to Superman to get a win over him. Even as Ultraman is controlled by Luthor’s people who would predict every move Superman makes in a fight as it highlights Luthor’s own desire for power above his own wealth. Gunn also knows when to slow things down and ground them into reality as it plays into Kent’s own identity as he wonders what his biological parents really want from him, yet it would be his adoptive parents in Jonathan and Martha Kent (Pruitt Taylor Vince and Neva Howell, respectively) that would give him the guidance that he needs to just be himself. Flaws and all as superheroes are imperfect as Gardiner is a bit of a dick while Mr. Terrific takes himself a bit seriously at times. Its climax has Gunn going all-out where Superman does what he can to be the savior that Metropolis and the world needs while also knowing he could not do this alone where Lane would also play a role in stopping Luthor. Overall, Gunn crafts an enthralling yet rapturous film about an alien superhero who fights evil to make the world a better place for everyone.

Cinematographer Henry Braham does incredible work with the film’s cinematography with its emphasis on vibrant colors in some of the daytime exterior scenes while using some harsh lighting for the interiors of Luthor’s pocket universe to bring that air of darkness while the nighttime interior/exterior scenes help play into the tense atmosphere of what Luthor’s goons will do for their master. Editors William Hoy and Craig Alpert do excellent work with the editing as it does utilize fast cuts for some of the action scenes and big set pieces while also knowing when to slow things down to let shots linger and knowing when to cut. Production designer Beth Mickle, with set decorator Rosemary Brandenberg plus supervising art directors Drew Monahan and David Scott, does amazing work with the look of the sets from the interiors of the Fortress of Solitude, the Luthorcorp building, and other places in and around Metropolis. Costume designer Judianna Makovsky does fantastic work with the costumes in the look of Superman’s suit with its vibrant colors to some of the clothing that Lane wears that is casual but more business-like with pants.

Makeup designer Alexei Dmitriew and hair designer Peter Swords King do terrific work with the look of some of the characters including Mr. Terrific, Metamorpho, and that awful haircut that Gardner has. Visual effects supervisor Stephane Ceretti does brilliant work with the visual effects in some of the visual backdrops for some of Superman’s flying scenes as well as the look of the pocket universe and some of the creatures that Superman and other metahumans deal with. Sound editors David Acord and Katy Wood do superb work with the sound in the way Superman lifts off from the ground as well the layer of sounds in the action scenes as well as some eerie scenes at the pocket universe. The film’s music by John Murphy and David Fleming is wonderful for its bombastic orchestral score that features elements of heavy string arrangements and brass arrangements as well as create variations of John Williams’ theme from the 1978 Richard Donner film while its music soundtrack also include pieces by Noah and the Whale, Teddybears with Iggy Pop, and a fictional band known as the Mighty Crabjoys that Kent is a fan of.

The casting by John Papsidera is marvelous as it feature some notable small roles and appearances such as Michael Ian Black as the talk show host Cleavis Thornwaite, Will Reeves as a news reporter on the ground, Terence Rosemore and Stephen Blackehart as a couple of associates of Luthor respectively in Otis and Sydney, Frank Grillo as U.S. military official General Rick Flag Sr., and in the voices of the Superman robots at the Fortress of Solitude are Jennifer Holland, Michael Rooker, Pom Klementieff, Alan Tudyk, and Grace Chan. Other notable small roles as staff members at the Daily Planet in Beck Bennett as the sports columnist Steve Lombard, Christopher McDonald as reporter Ron Troupe, and Mikaela Hoover as the columnist Cat Grant. Wendell Pierce is terrific as Daily Planet editor-in-chief Perry White who is trying to run the paper while he has his own issues with Luthor. Sara Sampaio is fantastic as Luthor’s girlfriend Eve Teschmacher as this bimbo who often does selfies only to be smarter than people think she is. Maria Gabriela de Faria is superb as Angela Spica/the Engineer, as one of Luthor’s henchpersons whose body is filled with nanotech as she can access things while doing what she can to cause trouble for Superman.

Zlato Buric is excellent as Boravian president Vasil Ghurkos who is secretly aligned with Luthor as he hopes to profit from Luthor’s plans as well as get one over Superman. Skyler Gisondo is brilliant as Jimmy Olsen as a photojournalist for the Daily Planet who has his own secret sources about the pocket universe while is also a flirt of sorts as he attracts all sorts of beautiful women. Pruitt Taylor Vince and Neva Howell are amazing in their respective roles as Jonathan and Martha Kent as Clark’s adoptive parents who help him find himself after his own trials and tribulations including his own views on his biological parents. The dog Jolene is great as a stand-in model for the dog Krypto who has superpowers where he would help Clark anyway, he can while also being aggressive in his need for attention. Anthony Carrigan is incredible as Rex Mason/Metamorpho as an alien figure who can change his body into anything as he is forced to torture Superman by turning his hand into Kryptonite only for Luthor’s inhumanity to finally push him to the edge where he helps Superman.

In the roles as the members of the Justice Gang, Isabela Merced, Nathan Fillion, and Edi Gathegi are great in their respective roles as Kendra Saunders/Hawkgirl, Guy Gardner/Green Lantern, and Michael Holt/Mr. Terrific. Merced’s performance as the reserved Saunders is low-key in someone who is the youngest person in the group as she often deals with Gardner’s arrogance as well as being someone who will do the kind of things Superman would not do. Fillion’s performance as Gardner is full of wit as someone with a horrible bowl haircut that can create things with a ring while also believing that he is a leader despite his many flaws. Gathegi’s performance as Mr. Terrific is the major standout of the three as he has the funniest lines as an inventor who makes unique tech while is the smartest guy in the room as Gathegi brings a lot of humor to his performance. Rachel Brosnahan is remarkable as Lois Lane as a journalist for the Daily Planet who is also in a relationship with Kent/Superman knowing his true identity as she is not sure if this is a relationship that would work until she makes discoveries about what Luthor is doing with Boravia where Brosnahan brings a no-nonsense approach to Lane while also bringing nuances to a character that who is often cynical yet finds hope in what Superman does.

Nicholas Hoult is phenomenal as Lex Luthor as a wealthy businessman who is seeking to be revered and feared by many as he is also ruthlessly doing whatever he can to defeat Superman through social media and other things to discredit him. Hoult also has this menacing quality that makes Luthor a villain that everyone loves to hate as he is also extreme in what he does while he does not care who gets killed as it is a career-defining performance from Hoult. Finally, there’s David Corenswet in a tremendous breakout performance as the titular character/Clark Kent/Kal-El. Corenswet brings in that sense of humility of an alien trying to do good for the world as he deals with getting his ass kicked in a fight as well as constant criticism about his actions. Corenswet also has this charm to his character as well as knowing that he is flawed where he brings a lot of nuances as both Superman and Clark Kent as there is also an element of Superman being a bit of an asshole though not intentionally. Corenswet’s performance is a major revelation as he understands what makes Superman unique as well as bringing elements that feels fresh while retaining the nuances that makes Superman so beloved.

Superman is an outstanding film by James Gunn that features a great break-out leading performance from David Corenswet as the titular character. Along with its ensemble cast, colorful visuals, an exhilarating music score, sprawling action set pieces, and a riveting story of identity and the need for hope in dark times. It is a film that exudes all the elements expected in a superhero film, but it is also a film that knows when to not take itself too seriously as well as bring something that is hopeful in a hero who represents truth, justice, and a better tomorrow in tumultuous times. In the end, Superman is a magnificent film by James Gunn.

DC Universe: (Supergirl (2026 film)) – (Clayface)

Related: (Superman) – (Superman II) – (Superman III) – (Superman IV: The Quest for Peace) – (Superman Returns) – (Superman II: The Richard Donner’s Cut) – Man of Steel - The Death of "Superman Lives": What Happened? - Batman v Superman: Dawn of Justice - (The Auteurs #76: James Gunn)

James Gunn Films: (Slither) – (Super (2010 film)) – Guardians of the Galaxy - Guardians of the Galaxy Vol. 2 - The Suicide Squad (2021 film) - The Guardians of the Galaxy Holiday Special - Guardians of the Galaxy Vol. 3

© thevoid99 2025

Nosferatu (2024 film)

 

Based on Bram Stoker’s novel Dracula and the 1922 silent film Nosferatu by F.W. Murnau and screenplay by Henrik Galeen, Nosferatu is a remake of the 1922 film in which a man travels for work where he meets a mysterious count who would haunt the man’s wife. Written and directed for the screen by Robert Eggers, the film is a different take on the vampire story as it explores a vampire fascinated and obsessed with this man’s wife as she would also endure her own exploration of herself and sexual desires. Starring Bill Skarsgard, Lily-Rose Depp, Nicholas Hoult, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and Willem Dafoe. Nosferatu is an intoxicating and terrifying film by Robert Eggers.

Set in 1838, the film revolves around a young woman who has been haunted by a mysterious demon as he would make his presence known after meeting her husband who traveled from Wisborg, Germany to the Carpathian Mountains over a real estate deal. It is a film that does follow many of the schematics told in previous adaptations of the story that is based on Bram Stoker’s novel about a vampire yet Robert Eggers creates a story that is more about a young woman’s trauma and the anguish she deals with about herself and her own sexual repression that she is dealing with in a society that doesn’t allow women to be more expressive. Even as they must deal with something darker that is lurking and threatening the happiness that they have gained through marriage or even family. Eggers’ screenplay is straightforward in its narrative though it opens with a young Ellen Hutter (Lily-Rose Depp) being hypnotized by a mysterious figure as it would be a nightmare that she would deal with for much of her life as she had just gotten married to the real estate agent Thomas Hutter (Nicholas Hoult).

Sent by his boss in Herr Knock (Simon McBurney) to the Carpathian Mountains, Thomas travels while Ellen stays with Thomas’ friend Friedrich Harding (Aaron Taylor-Johnson) and his wife Anna (Emma Corrin). Thomas would travel further despite warnings from Romani people and locals living near Transylvania to not enter the castle that is inhabited by the mysterious Count Orlok (Bill Skarsgard) as he is a figure that is monstrous with a face that that is odd. His intention in buying a house in Wisborg is to wreak havoc and bring a plague until he sees a picture of Ellen where he hopes to seduce her and have her become his companion. Even as he would eventually meet Ellen upon his own arrival where he makes her an offer to spare those she cares about as well as the town if she gives herself to him. Her mysterious behavior would get the attention of Dr. Wilhem Sievers (Ralph Ineson) who at first thinks Ellen is going through some form of hysteria where he later turns to his mentor in the eccentric occult expert in Professor Albin Eberhart Von Franz (Willem Dafoe) who knows what is happening to Ellen.

Eggers’ direction is stylish in not just paying tribute to the previous adaptations but also in maintaining a tone that is unsettling as well as intense in its physicality. Shot on location in the Czech Republic with interiors shot at the Barrandov Studios in Prague and a few exteriors of the Corvin Castle in Romania. Eggers creates a film that plays into a period before the emergence of the industrial age as people still believed in myths and superstitions though the idea of a plague has been long in the past. Eggers’ usage of wide and medium shots does not just capture the scope of the environment that the characters encounter but also the atmosphere of a room in a castle or at a house where Eggers adds a lot of personality to these environments. Eggers’ direction also emphasizes on close-ups as it plays into Ellen’s own spasms and seizures that she would endure including the film’s opening scene where she prays for the horror to end.

Eggers’ direction also plays into the severity of Count Orlok’s cruelty as the scene where Thomas explores the castle and finds his coffin as it is among the scariest scenes in the film. There are also some surreal moments that are nightmarish as it relates to Ellen’s own behavior where there is a lot of physicality involved as it is a key element in the film’s second act. Upon Thomas’ return in the film’s third act, there is this sense of dread that looms with the sight of rats roaming around the town bringing on this plague. The violence becomes more severe with characters going mad, yet it is Ellen who becomes sane as she realizes what she must do with Professor Von Franz who also understands what must be done. It has Ellen taking control of what must be done to Count Orlok as well as unleashing a side of herself that she has been repressing. Overall, Eggers crafts a gripping yet evocative film about a woman being haunted by a mysterious vampire.

Cinematographer Jarin Blaschke does brilliant work with the film’s cinematography with its stylish usage of blue and low-key lights for some of the nighttime exterior scenes along with a grey-like look for some of the daytime exteriors and the usage of fire as available light as it is a highlight of the film. Editor Louise Ford does excellent work with the editing in using rhythmic and jump-cuts to play into the suspense as well as know when to allow shots to linger for an amount of time to build up the suspense. Production designer Craig Lathrop, along with set decorator Beatrice Brentnerova plus senior art director Robert Cowper and supervising art director Paul Ghirardani, does amazing work with the look of the interiors of Count Orlok’s castle as well as the homes of the Hardings and the small apartment that Professor Von Franz lives in. Costume designer Linda Muir does fantastic work with the costumes in the design of the suits that the men wear from the refined look of Friedrich to the ragged look of Professor Von Franz while the dresses that the women wear are also stylish to the period as it would express the personalities of both Ellen and Anna Harding.

Makeup designer Traci Loader, along with special effects makeup supervisor Sacha Carter and prosthetics makeup effects designer David White, does tremendous work with the makeup with the special effects makeup work being a major highlight in the look of Count Orlok. Special effects supervisors Pavel Sagner and Jiri Vater, along with visual effects supervisor Angela Barson, do terrific work with the visual effects with the usage of practical effects for some of the scenes involving Orlok as well as a scene that is a homage to the 1922 film by Murnau when Orlok uses his shadow to wreak havoc on Wisborg. Sound designer Damian Volpe does superb work with sound in creating an atmosphere into the locations with the usage of natural sound and textures to help build up the sense of horror and suspense. The film’s music by Robin Carolan is incredible for its bombastic orchestral score that is filled with soaring themes in its usage of strings and percussions along with some offbeat folk-based instruments to add to the sense of folklore. Even with pieces that play into the atmosphere of a scene as well as help build up suspense and terror as it is a major highlight of the film.

The casting by Kharmel Cochrane is marvelous as it feature some notable small roles from Adele Hesova and Milena Konstantinova as the Hardings’ daughters with Ella Bernstein and Meredith Diggs providing the voices for the girls, Claudiu Trandafir as the innkeeper who lives near Transylvania, Karel Dobry as a ship captain, Liana Navrot as an Orthodox nun, Mihai Verbintschi as an Orthodox priest, and Stacy Thunes as a head nurse who helps run the hospital with Dr. Sievers. Simon McBurney is superb as Herr Knock as an estate firm broker boss who sends Thomas to Transylvania as well as being a disciple of Count Orlok where he has this crazed energy as this unhinged man that is willing to do anything for his master. Ralph Ineson is fantastic as Dr. Wilhelm Sievers as a doctor who is asked to treat Ellen where he is baffled by what is happening to her while also dealing with a plague where he realizes this is beyond his own expertise.

Emma Corrin is excellent as Anna Harding as Friedrich’s pregnant wife who expresses concern for Ellen’s illness while also sympathetic towards her where she does what she can to be her friend. Aaron Taylor-Johnson is brilliant as Friedrich Harding as a rich friend of Thomas who invites Ellen to stay at his home where he is baffled by what is happening to Ellen as he later becomes frustrated with Professor Von Franz’s theories and methods. Willem Dafoe is incredible as Professor Albin Eberhart Von Franz as an occult expert who is Dr. Sievers’ mentor as he makes a discovery of what is happening to Ellen with theories about the plague where Dafoe has this air of eccentricity to his performance but also a man who has a better understanding of evil. Nicholas Hoult is remarkable as Ellen’s husband Thomas Hutter as a real estate agent who is sent by Herr Knock to Transylvania where he deals with his encounter with Count Orlok as well as the things he had seen where he is desperate to save Ellen and be there for her.

Bill Skarsgard is great as Count Orlok as this monstrous vampire who has a large figure and a mustache as he is this eerie creature that wants to wreak havoc on Wisborg as well as have Ellen as his companion where Skarsgard uses a low register in his voice and a physicality to play into the terror that he brings as it is a career-defining performance for Skarsgard. Finally, there’s Lily-Rose Depp in a phenomenal break-out performance as Ellen Hutter as this young woman haunted by her own encounter with a demon as she copes with Thomas being away as well as some unexpected behaviors to emerge. Depp brings a physicality and anguish to her performance that is scary in the way she gets possessed as well as scenes where she is aware of what Ellen must do to stop Count Orlok as it is a true revelatory performance from Depp.

Nosferatu is a tremendous film by Robert Eggers that features great leading performances from Bill Skarsgard and Lily-Rose Depp. Along with its supporting cast, ravishing visuals, study of fear and repression, and an intense music score. It is a horror film that doesn’t just pay tribute to its past adaptations but also find new ways to tell an old story and maintain its fear. Even as it explores the horrors of within with its emphasis on what women deal with in those times and how they had to confront that horror. In the end, Nosferatu is an outstanding film by Robert Eggers.

Related: Nosferatu (1922 film) - Nosferatu, the Vampyre - Bram Stoker's Dracula - (The Auteurs #75: Robert Eggers)

Robert Eggers Films: The VVitch - The Lighthouse (2019 film) - The Northman

© thevoid99 2025

The Favourite

Directed by Yorgos Lanthimos and written by Deborah Davis and Tony McNamara, The Favourite is the story of two cousins who compete against one another to become the favorite and counsel for Queen Anne during the early 18th Century. The film is a study of two women trying to be the closest confidant to Queen Anne who is suffering from depression as she is also coping with events in her palace unaware of what is happening in England. Starring Olivia Colman, Rachel Weisz, Emma Stone, Joe Alwyn, Mark Gatiss, James Smith, and Nicholas Hoult. The Favourite is a rapturous and outrageous film from Yorgos Lanthimos.

Set in the early 18th Century during the War of the Spanish Succession in 1701 to 1714, the film follows the life of Queen Anne of England (Olivia Colman) who is dealing with depression and various issues in and out of her palace as she is suddenly pulled in an emotional tug of war in who can be her closest confidant between two cousins. It’s a film that plays into a woman who is leading a country but is incapable of running things where her adviser and lover Sarah Churchill (Rachel Weisz) would be the queen’s spokeswoman. Along the way, she would take in her impoverished cousin Abigail (Emma Stone) who is given a job to work at the palace and later be Sarah’s assistant only to gain favor from the queen. The film’s screenplay by Deborah Davis and Tony McNamara does take some dramatic liberties with some of the personal events in Queen Anne’s life in favor of some of the legendary rumors about her. Yet, they do maintain this air of disconnect of the queen as it relates to what is happening in her country.

Notably as there’s a conflict within Parliament as Tory party member Robert Harley (Nicholas Hoult) is against the queen’s idea of doubling property taxes to further fund the war as it was suggested by Sarah and Sidney Godolphin (James Smith). Harley would use Abigail to try and influence the queen as she would become attracted towards a young baron in Samuel Masham (Joe Alwyn) only for Abigail to do small things to win the queen over leading to problems with Sarah. The script doesn’t just play into this tension of favoritism between these two women but it also this dialogue that is biting and also crass in its delivery. Especially in the usage of profanity in how they refer to certain characters in the film as it would intensify during the course of the film as the rivalry between Sarah and Abigail over the queen’s affections become more dangerous.

Yorgos Lanthimos’ direction definitely has an element of style in not just its compositions but the overall presentation of the film. Shot mainly on location at the Hatfield House in Hertfordshire in Britain, the film does play into this period of turmoil with the queen trying to distract herself with food, 17 bunny rabbits, and all sorts of things but it’s not enough as she’s constantly crying over pain in her body and other things. While there are some wide shots in the film, Lanthimos would use fish-eye lenses to get coverage of some of the locations including Parliament, the kitchen, and other things as a way to not rely on tracking shots or hand-held cameras with the exception of a few moments with the usage of dolly to follow a character. Still, Lanthimos maintains an intimacy into his direction in the way he would show these three women interacting with one another as well as put them in a shot at a certain position for some unique compositions and framing.

Lanthimos’ usage of close-ups play into some of the reaction of the characters including Sarah and Abigail in their game of one-upmanship that intensifies as the story progresses. With Sarah being a master and a woman of control, Abigail would slowly learn how to scheme as it would play into her development of someone who was an innocent and impoverished woman with a knowledge of herbs and other small things into someone who gets loss through the usage of power. Lanthimos uses this idea of power-play as two women trying to win over the queen’s favor where Abigail is a woman that is constantly thinking of the bigger picture for England as she has to deal with someone like Harley who has his own ideas that Abigail believes would hurt the country and make Queen Anne look bad in front of the world.

Lanthimos would up the ante during the film’s third act where it is about the reversal of fortunes for Sarah and Abigail with the two both enduring a change in favoritism. Yet, it would also reveal some harsh realities for both women as it relates to the queen. Lanthimos’ direction would become less stylish and more eerie in its compositions with Queen Anne being roped in the middle and becoming disconnected with what is happening with her country. It also play into the idea of human nature and what some will do to maintain a certain position in the palace but also think about the fact that Queen Anne is a woman that has to make the final decisions for her country and these decisions would have an impact on the country. Overall, Lanthimos crafts an intoxicating yet darkly comical film about two women of the court trying to become the favorite for Queen Anne.

Cinematographer Robbie Ryan does incredible work with the film’s cinematography in its usage of candlelight and natural lighting for many of the film’s nighttime interior scenes as well as providing some naturalistic colors for some of the film’s daytime interior/exterior scenes. Editor Yorgos Mavropsaridis does amazing work with the film’s editing with its stylish usage of dissolves and superimposed images as well as some jump-cuts and rhythmic cuts to play into the drama and humor. Production designer Fiona Crombie, with set decorator Alice Felton and supervising art director Lynne Huitson, does excellent work with the look of the many interiors of the house including the queen’s bedroom, the main hall, and the room where Parliament meets. Costume designer Sandy Powell does brilliant work with the costumes in the design of the dresses that the women wear including some of the lavish ones Queen Anne wears as well as some of the clothes that the men wear.

Hair/makeup designer Nadia Stacey does fantastic work with the look of the wigs the men wore including the makeup that is sported by both men and women in parties as well as the look of the queen. Special effects supervisor Bob Thorne and visual effects supervisor Ed Bruce do terrific work with some of the film’s minimal visual effects as it relates to scenes of Abigail and Sarah shooting birds in the sky. Sound designer Johnnie Burn does superb work with the sound in maintaining an atmosphere in the locations and the way sounds are heard from another room and other elements that help play into the drama while Burn also provide some low-key ambient-like music pieces that pop up occasionally.

Music supervisors Sarah Giles and Nick Payne do nice work with the film’s soundtrack as it mainly feature an array of classical and experimental music pieces from the likes of Johann Sebastian Bach, W.F. Bach, George Frideric Handel, Henry Purcell, Franz Schubert, Robert Schumann, Antonio Vivaldi, Olivier Messiaen, Luc Ferrari, Anna Meredith, and a contemporary piece by Elton John in the film’s final credits.

The casting by Dixie Chassay is wonderful as it feature some notable small roles from Jenny Rainsford as a tavern owner in Mae, James Smith as the 1st Earl of Godolphin in Sidney Godolphin who is often on Sarah’s side of things relating to politics, and Mark Gatiss as Sarah’s husband in the 1st Duke of Marlborough in John Churchill who leads a regiment as he’s trying to help England win the war. Joe Alwyn is superb as 1st Baron Masham in Samuel Masham as a young baron who falls for Abigail though he’s hired by Harley to woo her as he is essentially a cuckold that is used by everyone. Nicholas Hoult is fantastic as the 1st Earl of Oxford and Earl Mortimer in Robert Harley as a political figure and landowner who is opposed to the ideas that Sarah is trying to have to fund the war as he is someone that wants the war to end as he’s slimy and full of devilish charm.

Emma Stone is incredible as Abigail as a young woman who was once a lady and is forced to work as a servant where her knowledge of herbal medicine would help the ailing queen as she later becomes Sarah’s assistant and become a close confidant of the queen where she displays a dark demeanor who becomes enamored with the decadence of palace life. Rachel Weisz is phenomenal as the Duchess of Marlborough in Sarah Churchill who is the queen’s closest advisor and lover as she tries to handle the many things that queen needs to decide on as she is very protective of her while she becomes threatened by Abigail whom she’s forced to compete with as well as deal with the severity of Abigail’s own plotting. Finally, there’s Olivia Colman in a tremendous performance as Anne, Queen of Great Britain as a woman filled with self-doubt, grief, and insecurities that are key to her depression as someone that is needed and to be loved while trying to run a country unaware of what is really going on despite Sarah’s counseling where she turns to Abigail for comfort as she would unknowingly play into the chaos in her own palace as it’s a career-defining performance for Colman.

The Favourite is a spectacular film from Yorgos Lanthimos that features great performances from Olivia Colman, Rachel Weisz, and Emma Stone. Along with its ensemble cast, its whimsical script, gorgeous look, intricate sound work, and its offbeat approach to music. It’s a period drama that doesn’t play by the rules while being a study of favoritism, grief, and power told in a strange love triangle between three women. In the end, The Favourite is a magnificent film from Yorgos Lanthimos.

Yorgos Lanthimos Films: (My Best Friend (2001 film)) – (Kinetta) – Dogtooth - (The Alps (2011 film)) – The Lobster - (The Killing of a Sacred Deer) - Poor Things - Kinds of Kindness - (Bugonia)

© thevoid99 2019

X-Men: Apocalypse

Based on the Marvel Comics series, X-Men: Apocalypse is about a group of mutants who deal with an ancient being who has been awaken for many years wanting to wipe out civilization prompting members of the original X-Men to band together with new students. Directed by Bryan Singer and screenplay by Simon Kinberg from a screen story by Singer, Kinberg, Michael Dougherty, and Dan Harris, the film is a continuation of the origins story of the X-Men in which Charles Xavier/Professor X, Erik Lehnsherr/Magneto, Raven Darkholme/Mystique, and old friends guide their newer students who would become part of the new generation of X-Men. Starring James McAvoy, Michael Fassbender, Jennifer Lawrence, Rose Byrne, Nicholas Hoult, Sophie Turner, Tye Sheridan, Kodi Smit-McPhee, Lucas Till, Evan Peters, Olivia Munn, Ben Hardy, Alexandra Shipp, and Oscar Isaac as Apocalypse. X-Men: Apocalypse is an extravagant though flawed film from Bryan Singer.

Set a decade after events where mutants would help save the world and prevent from the creation of sentinel robots, the film is about its aftermath where the founders of the X-Men each take on different paths once again only to unite by a new threat in a figure known as En Sabah Nur/Apocalypse is reawaken since the time of ancient Egypt where he had been betrayed by his followers. Upon his reawakening, Apocalypse sees what the world has become in 1983 as he decides to wipe out civilization and create a new one as he would take four powerful mutants including a grief-stricken Erik Lehnsherr as part of his new army. It’s a film that has a simple plot but with so much going on in Simon Kinberg’s screenplay where it is quite messy but does establish who the characters are and their part in this new adventure. Charles Xavier is still running with his school with friend Hank McCoy/Beast (Nicholas Hoult) while Raven Darkholme has gone into hiding due to events of the past as she would eventually discover a young mutant who can teleport in Kurt Wagner/Nightcrawler (Kodi Smit-McPhee) whom she would take him to Xavier’s school.

Kurt would be one of two new students arrive at the school as original X-Men Alex Summers/Havok (Lucas Till) would bring in his younger brother Scott/Cyclops (Tye Sheridan) who has just gotten his new powers of shooting optic beams from his eyes. The two would meet a young telepath/telekinetic student in Jean Grey (Sophie Turner) whom Scott falls for as well as Jubilee (Lana Candor) who can create psionic energy plasmoids. Yet, Raven’s arrival back to Xavier’s school isn’t just for Kurt but also about Erik who had been in hiding in Poland with a wife and daughter until an accident at work exposed him as things become tragic leading him to lose all hope and reluctantly join Apocalypse as part of the Four Horsemen of the Apocalypse. It is in CIA agent Moira Taggart is where Xavier learns about Apocalypse as she would join him in trying to stop Apocalypse and his army that would include Ororo Munroe/Storm (Alexandra Shipp), Angel (Ben Hardy), and Psylocke (Olivia Munn). While Kinberg’s script would give some introduction to characters like Scott, Jean, Storm, and Wagner, they’re not given more to do as Storm is just an orphan who reluctantly becomes part of the Four Horseman once she meets Apocalypse who would enhance her powers.

It’s not just that the script feature so many characters, including Peter Maximoff/Quicksilver (Evan Peters) who would reveal something about his own connection with Lehnsherr that makes the story hard to keep up with. It’s just that it tries to be so many things and have all of these subplots whether it’s Xavier reuniting with McTaggart who has no recollection of their previous meetings or Raven reluctantly wanting to get back home and be an idol to the students who look up to her as an inspiration. None of it are really fleshed out while the tone of the story often ranges from being very serious to comical at times where some of the humor feels forced.

Bryan Singer’s direction is quite extravagant as it’s expected to be as it opens with this sequence about Apocalypse and the betrayal that would put him into a long sleep for many centuries. Shot largely in Montreal, Canada, the film does play into this world of 1980s culture at the time when the Cold War was still raging and there is this obsession with pop culture for a scene where Scott, Jean, Kurt, and Jubilee go to the mall as it is Kurt’s introduction into American culture. Much of the direction is quite stylish at times in terms of some of the camera angles that Singer goes for in some of the action and dramatic sequence. Yet, he keep things very straightforward when it comes to focusing on the characters as he would use close-ups and medium shots for those scenes as well as some wide shots.

While there are moments in the film such as Quicksilver’s arrival to the school in this very spectacular and fun sequence as well as a few action scenes including an appearance from a legendary X-Men character. The rest of the film is an absolute mess as it’s about trying to do so many things with the results being very underwhelming. Notably the film’s climax which features a battle between the old and new members of the X-Men against the Four Horsemen of Apocalypse in this massive battle as it is over-the-top in terms of the visual effects and the attempts to make it extremely huge. Yet, it becomes a little too much as it has Xavier battle Apocalypse in a battle of the minds while the X-Men try to deal with Apocalypse and his minions in Cairo as it’s just a mess. Overall, Singer makes a worthwhile though very bloated film about a group of mutants who try to save the world once again and defeat an ancient being who claims to be their father.

Cinematographer Newton Thomas Siegel does excellent work with the cinematography from the colorful and sunnier look of the scenes in Westchester where Xavier’s mansion is to the very sunny world of Cairo and the usage of dark and colored lights for the scenes set in Eastern Europe. Editors John Ottman and Michael Louis Hill do some nice work with the editing as it is stylish in its usage of jump-cuts and other fast-cutting styles but also know when to slow down for the non-action scenes. Production designer Grant Major, with supervising art director Michele Laliberte plus set decorators Geoffroy Gosselin and Anne Kuljian, does fantastic work with the interior of Xavier’s home as well as his Cerebro machine plus the look of the pyramid where Apocalypse did some of his greatest work in the past. Costume designer Louise Mingenbach does terrific work with the costumes from the new X-Men suits that some of the students would wear as well as the clothes that Apocalypse and his Four Horsemen would wear.

The makeup work of Charles Carter, Rita Ciccozzi, and Rosalina Da Silva do brilliant work with the look of Nightcrawler as well as Raven’s look when she’s Mystique though it’s the look of Apocalypse that is just underwhelming. The visual effects work of John Dykstra, Tim Crosbie, and Dennis Jones is quite fine in the look of some of the powers of the characters including Quicksilver’s light-speed as well as the sequence where he arrives to Xavier’s school but the look of Apocalypse as well as the film’s climax is a bit clunky visually. Sound designers Craig Berkey, Lee Gilmore, and Chuck Michael, with sound editor John A. Larsen, do superb work with the sound in the way some of the machines and powers are presented by sound as well as some of the moments in the film’s climax. The film’s music by John Ottman is wonderful for its sense of orchestral bombast in some of the action and suspense while being low-key in the dramatic moments while the soundtrack feature a lot of the music of the 80s from acts such as the Eurythmics, Venom, and Metallica.

The casting by Roger Mussenden is marvelous as it feature some notable small roles from Zeljko Ivanek as a Pentagon scientist, Tomas Lemarquis as a mutant black markets dealer in Caliban, Ally Sheedy as Scott’s teacher before his powers emerged, Berdj Garabedian as the old Apocalypse before his attempt to transfer into another being, Carolina Bartczack as Erik’s wife Magda, T.J. McGibbon as their daughter Nina, Zehra Leverman as Quicksilver’s mother, Josh Helman as the evil military official Col. Stryker, and Lana Condor as one of Xavier’s students in Jubilee who befriends Kurt and gets him to fit in. Other noteworthy small roles include Lucas Till as Alex Summers who would take Scott to Xavier’s school in the hopes his younger brother finds a place to fit in while Ben Hardy is alright as Angel as a mutant with big wings who would join the Horsemen as he wants to go after Nightcrawler for nearly wounding him. Olivia Munn’s performance as Psylocke is bland where it’s not that she’s given much to do but she doesn’t really do anything to give a compelling performance other than say lines and wield a sword. Alexandra Shipp’s performance as Ororo Munroe/Storm is alright as someone who can control the weather though her African accent at times is quite spotty.

Kodi Smit-McPhee is superb as Kurt Wagner/Nightcrawler as a teleporting mutant who is the comic relief of the new students while Evan Peters is also funny as Peter Maximoff/Quicksilver as a young mutant who arrives to the school needing some answers as he would help out the team in dealing with Apocalypse. Sophie Turner is pretty good as the young Jean Grey as a telekinetic/telepathic student who is dealing with her powers as well as being afraid of them while Tye Sheridan is terrific as Scott Summer/Cyclops as a mutant who can shoot beams from his eyes as someone new to the school as he’s learning to control his powers as well as be a leader for the next generation of X-Men. Rose Byrne is wonderful as Moira McTaggert as a CIA agent who is an old ally of the original X-Men as she helps Xavier and McCoy in her discovery on Apocalypse. Nicholas Hoult is alright as Hank McCoy/Beast as one of the original X-Men who help run the school with Xavier as well as re-establish his friendship with Raven though he is kind of underwritten in his role.

Jennifer Lawrence is fantastic as Raven Darkholme/Mystique as a shape-shifting mutant who is dealing with her role as a heroine as she reluctantly returns home only to take control when she and Xavier’s students become threatened. Oscar Isaac’s performance as En Sabah Nur/Apocalypse is definitely one of the film’s lowlights as Isaac definitely suffered through the lackluster material he’s given as well as be covered up by makeup and visual effects as it’s really a terrible performance from Isaac. Michael Fassbender is excellent as Erik Lehnsherr/Magneto as a co-founder of the X-Men who tries to start over with a family only to succumb to tragedy as he becomes consume by grief and anger where he reluctantly helps out Apocalypse. Finally, there’s James McAvoy in a brilliant performance as Charles Xavier/Professor X as a powerful telepath who tries to run a school as well as deal with Apocalypse whom he sees as a false god that has done nothing but bring fear to the people prompting him to try and stop Apocalypse from taking over his body.

X-Men: Apocalypse is a good but very flawed film from Bryan Singer. While it does have an amazing cast and some exciting moments, it’s a film that falls short due to a bland antagonist as well as its over-emphasis on visual effects for the film’s very bloated climax. In the end, X-Men: Apocalypse is a fine but underwhelming film from Bryan Singer.

X-Men Films: X-Men - X2: X-Men United - X-Men 3: The Last Stand - X-Men Origins: Wolverine - X-Men: First Class - The Wolverine - X-Men: Days of Future Past - Deadpool - Logan (2017 film) - Deadpool 2 – (X-Men: Dark Phoenix) - (New Mutants)

© thevoid99 2017

Mad Max: Fury Road

Directed by George Miller and written by Miller, Brendan McCarthy, and Nico Lathouris, Mad Max: Fury Road is the story of a drifter in a desert wasteland as he helps a woman flee from a cult leader who is trying to retrieve his wives. The film is another post-apocalyptic film where it is set in a desert world as Max Rockatansky is in another adventure as he is joined by a mysterious woman in a world that is completely chaotic. Starring Tom Hardy, Charlize Theron, Nicholas Hoult, Rosie Huntington-Whiteley, Riley Keough, Zoe Kravitz, Abbey Lee Kershaw, Courtney Eaton, and Hugh Keays-Byrne. Mad Max: Fury Road is an astonishing grand and enthralling film from George Miller.

Set in a post-apocalyptic wasteland where civilization is on the bring of extinction, the film revolves around a survivor who is captured by a cult as he finds himself in a chase after a truck driver steals a cult leader’s group of wives as he would later help them find freedom. It’s a film that where the character of Max Rockatansky (Tom Hardy) is once again trying to find something in his life as he remains haunted by failures and loss. All of that sense of encounter of terror and chaos forces him to fend for himself and go on his own where he eventually finds a reason to do something in helping this rogue truck driver named Imperator Furiosa (Charlize Theron) who is trying to drive to her old homeland with the wives of the cult leader Immortan Joe (Hugh Keays-Byrne).

The film’s screenplay doesn’t carry a lot of exposition nor does it have a lot of dialogue though it does open with some bits of exposition of where Max had been through for so many years as he is just a survivor. He is constantly haunted by the image of a child he was unable to save as he is first seen captured by a sickly group of young men in white known as War Boys who are part of Joe’s cult. Since Max has blood that can help some of these boys, he is attached to one of them in Nux (Nicholas Hoult) who wants to impress Joe as he joins them on the chase with Max in tow. Yet, the screenplay showcases exactly what the world has come to where Joe has complete control of the water where the people could only get as little as possible while gasoline and milk. Joe also treats people as slaves including women which is a big reason why his five brides are fleeing him and ask Furiosa to drive them away from Joe. Once Max learns what Furiosa is doing, he isn’t sure if he should trust her but realizes what is at stake.

Part of the script’s success isn’t in the fact that there’s an element of feminism that isn’t heavy handed but also reveals that these five wives of Joe are real characters that all have something to say as they’re sick and tired of being objectified and used as slaves. Most notably in a shot where one of the brides is trying to get a chastity underwear out as another one is using bolt-cutters to unchain her. During this chase where Max and Furiosa are taking turns in driving this massive war rig, the script allows these women to be fleshed out as they all want something where they are able to live good lives. The film’s third act isn’t just about these characters trying to reach the destination but also wonder if there is a world where there is hope as Max would be the one to give Furiosa an idea and help her as if they are partners without the need to make out or have sex.

George Miller’s direction is very grand not just for the setting he creates for the film but also in the way he stages the chase scenes and the sense of chaos that surrounds it. Shot on location in Namibia as well as parts of Australia, the locations set in the deserts, swamps, canyons, and mountains do serve a purpose as it establishes a world that is very unforgiving and with a sense of the unknown. Since it is largely a chase film that goes throughout the desert, Miller does use a lot of wide shots to capture the vast look of the locations where it does play into something that feels like a post-apocalyptic world where civilization doesn’t exist. Even as Miller knows how to put his actors in a frame and be part of this vast location where they feel like they’re lost and trying to find something.

The direction also has an element of realism in the way the chase scenes are presented as well as the cars and trucks that are used where Miller definitely goes for an old-school approach of using actual effects rather than heavily rely on computer-based visual effects with the exception of a few scenes. Miller’s usage of close-ups and medium shots do play into the sense of a community trying to come together and help each other as well as stand up for something in a world where order has ceased to exist. Even as it would lead into this extravagant climax where so much is at stake while it is not afraid to delve into moments that are scary but also engaging. Overall, Miller creates an intense yet monstrous film about a drifter who aid a group of women to find hope in a post-apocalyptic wasteland.

Cinematographer John Seale does brilliant work with the film‘s very exotic and vibrant cinematography with its emphasis on the sunny desert look to play into its location along with some usage of blue-filters for some scenes at night with some inspiring lighting cues in the film as it among one of the film‘s technical highlights. Editor Margaret Sixel does amazing work with the editing by not just playing into the sense of chaos that occurs with some fast-cutting but also know when to slow it down for the non-action scenes and using fade-outs to help structure the story. Production designer Colin Gibson, with art directors Shira Hockman and Jacinta Leong and set decorators Katie Sharrock, Lisa Thompson, and Gena Vazquez, does incredible work with the set design from the look of the Citadel canyons where Joe runs his cult as well as the design of the trucks and cars that occurs through the chases.

Costume designer Jenny Beaven does excellent work with the clothes from the look of Joe and his gang as well as the other cults to the bridal-look of Joe’s wives. Hair/makeup designer Lesley Vanderwalt does fantastic work with the look of the characters from the war boys to the look of Joe as well as the hair and makeup of their cult. Visual effects supervisors Andrew Jackson and David Nelson do superb work with the look of the grand winds and tornados along with creatures as they keep things to a minimum in order to play into more practical effects. Sound designers Christopher S. Aud, Julian Slater, and David White, along with sound editors Scott Hecker, Mark A. Mangini, and Wayne Pashley, do phenomenal work with the sound to play into the sense of terror that looms over the film as well as some of the music that is played on location from Joe‘s cult including a guitarist with a guitar that is also a flamethrower. The film’s music by Junkie XL is spectacular with its mix of bombastic beats and orchestral flourishes along with elements of guitars and electronics to play into the chaos and thrill of the chases.

The casting by Nikki Barrett and Ronna Kress is wonderful as it features some notable small roles from Joy Smithers, Gillian Jones, Megan Gale, and Jennifer Hagan as a group of women Furiosa knows, Melissa Jaffer as a woman who has provided a source for the future that one of the wives befriends, John Howard and Richard Carter as a couple of ruthless gang leaders, Nathan Jones as Joe’s strongman son Rictus Erectus, and Josh Helman as Nux’s fellow war boy Slit. In the roles of the five wives, Courtney Eaton is terrific as the more scared Cheedo the Fragile who often thinks about going back to Joe for safety while Abbey Lee Kershaw is superb as the Dag who connects with one of the old women in its third act as she would also start to yearn for something that might bring some hope.

Zoe Kravitz is excellent as Toast the Knowing as a wife who aids Max in reloading the weapons and often observes everything Riley Keough is fantastic as Capable who would befriend Nux while being the one who can help fix the truck. Rosie Huntington-Whiteley is amazing as The Splendid Angharad as a wife of Joe who is pregnant as she is the one in most danger as she is eager to not have a child that would become a slave or a warlord like her husband. Hugh Keays-Byrne is brilliant as Immortan Joe as this cult leader who rules the wasteland as he goes on a chase to retrieve his wives and ensure his legacy.

Nicholas Hoult is marvelous as a sick war boy named Nux who is trying to prove his loyalty to Joe as he endures many situations where he proves to be a reliable person for Max and Furiosa. Charlize Theron is phenomenal as Imperator Furiosa as this rig truck driver with a prosthetic left arm that decides to defy Joe and do what is right without the need to explain herself as it’s a very chilling yet enthralling performance that has Theron be a full-on badass. Finally, there’s Tom Hardy in a remarkable performance as Max Rockatansky as a drifter who finds himself in a troubling situation as he struggles to find some good and meaning in his life as Hardy largely gives a silent performance with few words while not afraid to be overshadowed as he and Theron act as total equals that deliver and more.

Mad Max: Fury Road is an outstanding film from George Miller that features top-of-the-line performances from Tom Hardy and Charlize Theron. Along with a great supporting cast, spectacular stunts and special effects, enthralling music, and dazzling visual effects. It is a film that doesn’t just act as a full-on action blockbuster that entertains but does so much more as it manages to be a feminist film without the need to say anything big. In the end, Mad Max: Fury Road is an astounding and rapturous film from George Miller.

George Miller Films: Mad Max - Mad Max 2: The Road Warrior - (Twilight Zone: The Movie-Nightmare at 20,000 Feet) - (Mad Max Beyond Thunderdome) - (The Witches of Eastwick) - (Lorenzo’s Oil) - (40,000 Years of Dreaming) - (Babe: Pig in the City) - (Happy Feet) - (Happy Feet Two) - (Three Thousand Years of Longing) - Furiosa: A Mad Max Saga - (Mad Max: The Wasteland)

© thevoid99 2015

About a Boy

Based on the novel by Nick Hornby, About a Boy is the story of a rich and unemployed man who becomes a father-figure to a young boy whose mother had tried to kill herself. Directed by Chris and Paul Weitz and screenplay by the Weitz Brothers with Peter Hedges, the film is an exploration into a man who finds himself being attached to a troubled young boy as it would move him away from the carefree lifestyle that he’s become accustomed to. Starring Hugh Grant, Toni Collette, Rachel Weisz, and Nicholas Hoult. About a Boy is a touching and charming film from the Weitz Brothers.

In a world that is often complicated, there is the need of a back-up so that someone can turn to that person whenever a parent is unable to do that. That’s what the film is sort of about where it explores the lives of a rich slacker and a 12-year old boy who come together through troubling circumstances when the latter’s depressed mother attempted suicide. For the mid-30s slacker Will Freeman (Hugh Grant), the presence of the 12-year old Marcus (Nicholas Hoult) gives him something to do to get away from the already very comfortable slacker lifestyle that he has where he basically collects royalties from a popular Christmas song his father wrote. For Marcus, going to Will’s house would give him the escape he needs not just from his troubled mother but also bullies and such that’s plaguing his adolescence. There, the two help each other in their lives where they also realize how much they need each other.

The film’s screenplay has a unique narrative where it follows the lives of both Will and Marcus as the first act showcases the two living very different lives where both of them narrate their own stories. For Will, being a rich slacker with no sense of responsibility and getting a kick out of dating single mothers where the relationships can end amicably makes him feel fulfilled as he claims to be an island. Marcus’ life in the first is anything but good as he’s an oddball kid who will unknowingly sing a song in class, be bullied, and deal with his mother Fiona (Toni Collette) who has become severely depressed. The two would meet on a day in the park where Will goes out with a single mother who happens to be a friend of Fiona as Marcus joins them where they come home finding Fiona passed out from a suicide attempt. The event would affect Marcus as he would turn to Will for companionship as the two not only become friends but also something more as Will would find some fulfillment in Marcus’ presence.

One aspect of the narrative that helps the film is how the relationship between Will and Marcus helps them as it comes to their love life where Will would meet a single mother named Rachel (Rachel Weisz) while Marcus falls for an older classmate named Ellie (Natalia Tena). Things would seem to go well but for Will, who has constantly lied to win women over, finds himself facing the emptiness of his life while things for Marcus also gets more problematic when it comes to his mother. All of which would provide the catalyst for the two to help each other.

The direction of Chris and Paul Weitz is very simple where they definitely choose to shoot the film in London as opposed to setting in America which is quite daring for a mainstream American film. Notably as they use the locations to get a sense of a world that is unique but also universal where a man and a boy deal with their own growing pains. Many of the compositions in the film are very simple and to the point while there’s also some scenes that has some nice humor but also some drama where it isn’t too heavy nor understated. At the same time, there’s elements of style in the use of freeze-frames and slow-motion to play into the kinds of humiliation Will and Marcus endure as it would presented in moments of humor and drama. Overall, Chris and Paul Weitz creates a very engaging and extraordinary film about a unique relationship between a man and a young boy.

Cinematographer Remi Adefarasin does excellent work with the cinematography to play up the different exterior looks of the locations in London from its sunny look at the park to some of the lights in the New Years Eve party scene where Will meets Rachel. Editor Nick Moore does fantastic work with the editing with its usage of freeze-frames and some stylish cuts to play into some of the film‘s humor and drama. Production designer Jim Clay, with set decorator John Bush and supervising art director Rod McLean, does amazing work with the look of Will‘s home with all sorts of cool things to the more quaint home that Fiona and Marcus live in.

Costume designer Joanna Johnston does nice work with the costumes to play into the personalities of the characters with Fiona wearing some very hippie-inspired clothing. Sound editor Richard LeGrand Jr. does terrific work with the sound from some of the sound textures in some of the locations to some of the moments that would add to the drama such as Will hearing his father’s Christmas song. The film’s music by Damon Gough, under his Badly Drawn Boy moniker, is brilliant for its somber, folk-based score with a mixture of acoustic guitars and pianos with a few orchestral arrangements in the background where it would also include some original songs plus a soundtrack by music supervisor Nick Angel who brings in a mix of music ranging from Roberta Flack, Mystikal, U2, the Carpenters, and all sorts of music ranging from hip-hop to pop.

The casting by Priscilla John is great for the ensemble that is featured as it includes some notable small roles from Augustus Prew as Rachel’s teenage son Ali, Sharon Small and Nicholas Hutchinson as friends of Will who ask him to be a godparent of their child, Isabel Brook as a single mother that Will dates early in the film, and Victoria Smurft as another single mother in Suzie that Will dates as she’s a friend of Fiona. Natalia Tena is excellent as the classmate Ellie that Will likes as she takes a liking to him due to his awkwardness which makes for an unusual relationship. Rachel Weisz is wonderful as the single mother Rachel that Will falls for as she would become the one person that would get him away from other women though she is taken aback by the sudden honesty and guilt that he’s been carrying.

Toni Collette is brilliant as Fiona as Marcus’ troubled mother who is dealing with severe depression as she tries to deal with her son’s friendship with Will as well as her own issues where she sometimes unknowingly embarrasses her son. Hugh Grant is amazing as Will Freeman as this carefree slacker who claims to live in his own metaphorical island as he befriends Marcus and starts to care for him while facing the existence of his empty lifestyle. Finally, there’s Nicholas Hoult in a remarkable performance as Marcus where he not only has great rapport with Grant and Collette but also manages to create a very engaging character that deals with being a boy bullied and such as well as feeling like an oddball as it’s a truly astonishing breakthrough for the young actor.

About a Boy is a marvelous film from Chris and Paul Weitz that features top-notch performances from Hugh Grant and Nicholas Hoult. The film is definitely not just an engaging coming-of-age film that features some humor and very realistic drama but also a film in which a man starts to grow up into an adult. In the end, About a Boy is an extraordinary film from Chris and Paul Weitz.

© thevoid99 2014

Warm Bodies

Based on the novel by Isaac Marion, Warm Bodies is the story of a zombie who falls in love with the daughter of a zombie-resistance leader as he starts to regain semblance of humanity. Written for the screen and directed by Jonathan Levine, the film is a genre-bending film that takes place during a zombie apocalypse where it’s a mixture of the zombie-thriller meets the romantic-comedy. Starring Nicholas Hoult, Teresa Palmer, Rob Corddry, Dave Franco, Analeigh Tipton, and John Malkovich. Warm Bodies is an extraordinary yet witty film from Jonathan Levine.

The film is set during a zombie apocalypse in which humans are fighting against zombies and skeleton-like creatures called boneys who are hungry for human flesh. Yet, it is a story about one particular zombie whose encounter with the daughter of zombie-resistance leader not only has him falling for her but also regain aspects of his humanity. It’s a strange premise for a film the bends various genres yet manages to work as it’s largely told from the perspective of this zombie named R (Nicholas Hoult) who often narrates the film as he deals with his life as a zombie as he also collects things including vinyl records and such. Notably as R reveals a lot of his own feelings and confusion about being a zombie as he is hungry for human flesh and brains where an encounter with a young resistance group has him eating the brains of someone where he sees memories and such that also features the young woman he captures in Julie (Teresa Palmer) whom he falls for.

Jonathan Levine’s screenplay does have a conventional structure that plays into R and Julie’s eventual romance though it takes its time to build that up where Julie is immediately frightened and confused by R and his kind actions. Especially for the fact that he killed and ate the brains of her boyfriend Perry (Dave Franco) where R sees Perry’s memories to know a lot about Julie as she’s the daughter of resistance leader Colonel Grigio (John Malkovich). With Julie staying at an airplane where R lives, she realizes that R is acting human as he starts to say words as it would rub off on the other zombies including his friend M (Rob Corddry). Yet, the zombies’ reintroduction with their humanity causes a conflict with the more-deadly boneys who not only feed on human flesh but anything that has a beating heart. Levine’s script uses R’s voice-over narration to express his feelings as well as his fascination to humanity where he also reveal the sense of loss that Julie had faced in her life as he becomes confused on whether to remain a zombie or to become human again.

Levine’s direction is pretty straightforward for the most part while he also adds some style into the film. Notably as he maintains some different looks to play into the different world of the zombies and human where the zombie world is a bit discolored whereas the human world and the dream sequences have more color. Levine’s use of close-ups, medium shots, and wide shots does manage to help create some unique images as well as play into the developing relationship between R and Julie. Levine does stick to convention as far as the action is concerned while not straying too far into fast-paced cutting for the action while infusing it with bits of humor in the story. Notably the early scenes of R and M grunting to each other as they’re having a zombie conversation as well as a scene where R goes into the human world and Julie’s home that includes a funny homage to a great romantic comedy. Overall, Levine creates a very stylish yet enjoyable genre-bending film about a zombie who falls for a human girl and regains his humanity.

Cinematographer Javier Aguirresarobe does amazing work with the film‘s very stylish cinematography by infusing a mostly discolored look for the scenes set in the airport and most of the locations in Montreal to the more colorful dream sequences that R experiences as well as the scenes involving the humans. Editor Nancy Richardson does excellent work with the editing as it‘s very stylized to play with some of action scenes involving the zombies, boneys, and humans as well as a few montages to play into R and Julie‘s developing romance. Production designer Martin Whist, along with set decorator Suzanne Cloutier and supervising art director Gilles Aird, does superb work with the set pieces from the decayed look of the airport as well as the look of the buildings where there‘s little technology and some places are abandoned. Costume designer George L. Little does nice work with the costumes from the red hoodie that R wears to the flannel shirt that Julie wears as it‘s mostly casual.

Special effects makeup designer Dave Elsey does brilliant work with the makeup design in the way the zombies look. Visual effects supervisor Dan Schrecker does fantastic work with some of the visual effects for the shots inside the bodies of the zombies as they regain their humanity as well as the look of the boneys. Sound editor Martyn Zub does terrific work with the sound from the way gunfire sounds to the growl of the boneys and the locations the characters encounter. The film’s music by Marco Beltrami and Buck Sanders is wonderful for its mixture of folk, rock, and orchestral music to play up the action as well as the romance while music supervisor Alexandra Patsavas create a superb collection of music that includes pieces by John Waite, Jimmy Cliff, the National, Guns N’ Roses, Bob Dylan, Bruce Springsteen, Feist, Bon Iver, the Scorpions, Roy Orbison, and M83.

The casting by Joanna Colbert and Richard Mento is incredible as it features some noteworthy small performances from Cory Hardrict as a subordinate of Colonel Grigio and Dave Franco as Julie’s unfortunate boyfriend Perry who starts to act more like Julie’s father. Analeigh Tipton is wonderful as Julie’s friend Nora who survives the zombie raid while trying to figure out R’s growing transformation into becoming human as she brings some humor to the film. Rob Corddry is excellent as R’s friend M as a zombie who also regains his humanity as he helps lead a group of zombies to deal with the boneys as Corddry also brings in some humor to the film. John Malkovich is superb as Colonel Grigio who is hell-bent on killing zombies after losing his wife to the apocalypse while trying to protect his daughter as it’s Malkovich being a badass but also being funny.

Finally, there’s the performances of Nicholas Hoult and Teresa Palmer as both of them do amazing work in their respective roles as R and Julie. Palmer brings a quality that allows her character to be engaging as well as funny as this young woman who is fascinated by this zombie she meets while dealing with the fact that he is becoming human again. Hoult is great as this young zombie who laments over his being while suddenly becoming human again as he brings the hope that the human-zombie war might come to an end. Hoult and Palmer have some wonderful chemistry together in the way they interact as well as being their for each other as they’re the highlight of the film.

Warm Bodies is a sensational film from Jonathan Levine that features winning performances from Nicholas Hoult and Teresa Palmer. The film isn’t just a creative genre-bender that is funny, romantic, exciting, and full of some cool action scenes. It’s also a film that takes the zombie film and infuse it with some heart where even zombies have feelings to. In the end, Warm Bodies is a marvelous film from Jonathan Levine.

Jonathan Levine Films: (All the Boys Love Mandy Lane) - (The Wackness) - 50/50 - The Night Before (2015 film) - (Snatched) - Long Shot (2019 film)

© thevoid99 2013

A Single Man

Based on the novel by Christopher Isherwood, A Single Man is the story about a gay British professor who loses his lover in an accident as he decides to kill himself. Directed by Tom Ford and adapted by Ford and David Scearce, the film is an exploration of a man in mourning while pondering about his own existence in early 1960s Southern California. Starring Colin Firth, Matthew Goode, Nicholas Hoult, Ginnifer Goodwin, and Julianne Moore. A Single Man is a gorgeous yet compelling drama from Tom Ford.

Following the death of his lover Jim (Matthew Goode) several months earlier, British professor George Falconer (Colin Firth) has remain haunted by Jim’s death as he reflects on memories of his life with Jim and the day he got the call about Jim’s death. With only his longtime friend Charlotte (Julianne Moore) around nearby, George’s grief continues to surround him as he decides to kill himself later in the day. Working at a university in nearby Los Angeles, George spends the day teaching as he manages to catch the interest of his young student Kenny (Nicholas Hoult). Later in the day, George goes to the bank where he runs into his neighbor Mrs. Strunk (Ginnifer Goodwin) and her daughter Jennifer (Ryan Simpkin) while stopping at a liquor store to buy alcohol where he chats with a Spanish male hooker named Carlos (Jon Kortajarena).

Still despondent over Jim, George had also bought bullets for a pistol in his intent to kill himself. He then chooses to eat dinner with Charlotte as the two talk about their old life in Britain as Charlotte admits to feeling envious towards George and his relationship with Jim. Particularly as Charlotte couldn’t do enough to save her own marriage as George’s memories of Jim about how they first met has him going back to the bar where they met. He runs into Kenny at the bar where the two chat while George ponders about his possible final moments of his life.

What happens when someone loses the love of their life and is unable to find something else afterwards? For a man like George Falconer, he couldn’t deal with a life without his lover Jim as the film is an exploration of a man trying to come to terms with his lover’s death as he seeks to end his own life in the span of an entire day. Throughout the film, George is reflecting on memories of his life with Jim from how they met to the moment he got a call about Jim’s death while meeting various people he knows in his life or those he barely know that are very interesting to him.

The script that Tom Ford and David Scearce create is a character study of a man in what could be the last day of his life as the film both opens and ends with voice-over narration on George reflecting on what he might do. The script also allows to go very depth in not just George’s relationship with Jim but also Charlotte whom he’s known a lot longer since they’re both British who are very close friends and were lovers for a brief time. Charlotte is a woman who is just as lonely as she has been divorced and her own child has already left leaving with not really much to do at all as she hopes to have George around so neither of them wouldn’t be lonely. Still, it’s not enough for George as he finds himself catching the attention of a young student who just wants to offer some form of companionship as the two talk about age and experience which prompts George to think that there could be life after Jim.

Tom Ford’s direction is truly entrancing in the way he presents the film with lots of style to complement the mood of George Falconer. Ford, who is known as a fashion designer, definitely goes for a film that is like a fashion presentation but with a deeper context due to its narrative. Part of Ford’s unique presentation is the way the film looks with this heightened yet de-colored photography that exemplify Falconer’s detached mood. Yet, it would go into full color for emotional reasons to express his yearning to possibly reconnect or see something that he likes. Ford also has this engaging eye for the way objects are presented as if there is something very meticulous to the way an object like pencil sharpener might look or how an object is placed on a desk. It’s all part of who George Falconer is as Ford creates what is truly a mesmerizing and hypnotic film.

Cinematographer Eduard Grau does a brilliant job with the film‘s cinematography from a gorgeous black-and-white flashback scene to the way the film looks throughout the film from its de-saturated yet heightened feel to a much broader look where the coloring intensifies to complement George‘s mood. Editor Joan Sobel does a terrific job with the editing to play up the intensity of the drama while utilizing jump-cuts to play with some of the rhythm in George’s flashbacks as well as straight cuts to help move the transitions in a very leisured, methodical approach.

Production designer Dan Bishop, along with set decorator Amy Wells and art director Ian Phillips, does a spectacular job with the set pieces created such as George‘s home and the objects created to exemplify the world of early 1960s America. Costume designer Ariane Phillips does a superb job with the costumes from the suits that George wears to the very stylish dress that Charlotte wears during the dinner. Sound designer Leslie Shatz and sound editor Robert Jackson do an amazing job with the sound work to complement some of the distorted feelings that George is going through in what he’s hearing to the sparse intimacy in some of the locations that he is present in.

The film’s score by Abel Korzeniowski is great for its low-key yet somber piano to play up the melancholia that surrounds the film. Additional music by Shigeru Umebayashi features heavier orchestral pieces that soars throughout the film as it plays up the more melodramatic elements of the film. Music supervisor Julia Michels does an excellent job with selecting some of the music that is played in the film like Etta James, Bernard Herrmann, Jo Stafford, and Booker T. & the M.G.s to play up the world of the 1960s.

The casting by Joseph Middleton is outstanding for the ensemble that is created as it includes Elisabeth Harnois as a young woman with a dog that George meets, Lee Pace as a fellow professor, Keri Lynn Pratt as a young secretary George notices, Aline Weber as a friend of Kenny’s, Erin Daniels as a bank teller, Jon Kortajarena as the male Spanish prostitute Carlos that George chats with, and Jon Hamm in an un-credited voice cameo as a man on the phone who tells George the horrible news. Other notable small roles include Ginnifer Goodwin as George’s kindly neighbor Mrs. Strunk along with Ryan Simpkin as her daughter and Paul Butler as her toy-gun playing son.

Nicholas Hoult is excellent as the very handsome Kenny who wants to get to know George while wondering why he’s been reluctant to be around people lately. Matthew Goode is wonderful as Jim, a charming yet delightful man who would be George’s lover as Goode makes a fantastic impression in the flashback scenes. Julianne Moore is great as Charlotte, a lonely yet lavish woman as Moore brings a wonderful sense of charm and an over-the-top persona to a woman desperate to not be alone as it’s a radiant role for Moore. Finally, there’s Colin Firth in a magnificent yet haunting performance as George Falconer. Firth’s performance is entrancing for the way he deals with death and his determination to end it while going through all of the turmoil and anguish of what he’s dealing with. It is truly a performance for the ages from Colin Firth.

A Single Man is an extraordinary yet rapturous film from Tom Ford that features a heartbreaking performance from Colin Firth. The film is definitely a wonderful directorial debut for Ford that truly exemplifies his idea of style that is all over the place but very engaging in its presentation. Particularly as it presents itself like a period piece that exudes itself with exquisite beauty that is rarely seen in a lot of films in recent years. In the end, A Single Man is a stunning yet beautiful film from Tom Ford.

Nocturnal Animals

© thevoid99 2011