The film revolves around a family of scam artists who are trying to get money to pay their rent as they bring in an outsider to take part of their schemes as it would bring chaos to this family including their 26-year old daughter who doesn’t know much about affection or social skills. It is a film that explore a family who live on the fringes of society as they spend much of their life grifting and doing whatever they can to make money though the home they live in is often leaking due to construction next door as they’re trying to get money to pay their rent. Miranda July’s screenplay is straightforward in its narrative yet it is more of a character study of this family often spend their time doing these scams with their daughter Old Dolio Dyne (Evan Rachel Wood) doing much of the work despite her lack of social skills.
Her parents in Robert (Richard Jenkins) and Theresa (Debra Winger) prefer to do scams as a way to live outside of society but things are getting tough until Old Dolio creates a scam involving contest tickets she won for a trip to NYC as it relates to a lost luggage and insurance money they can collect. Yet, things don’t go well until they meet Melanie (Gina Rodriguez) on the flight back as she befriends them and takes part of their schemes as a way to do something where she is able to get them some money and such in ways that Old Dolio isn’t able to do. While Melanie’s contributions do make the family thriving and money, it would also alienate Old Dolio as Melanie would take notice as she becomes aware of the way Robert and Theresa behave towards their daughter as it is filled with a lot of complications.
July’s direction is largely straightforward in terms of its compositions and setting as it is largely shot in California to play into this world where it is becoming harder to scheme and grift for anyone who doesn’t live in conventional society. While there are wide shots that July has created whether it is to capture the scope of a location or the space of a room where the characters are in. Much of her direction is intimate with a lot of usage of medium shots while there are close-ups used sparingly to play into some of the emotional moments in the film. There are some quirky elements in the film such as how the Dyne family would hide from their landlord (Mark Ivanir) as well as how Old Dolio would enter the local post office through some maneuvering in order to not be seen by a camera. July also showcases how the family live in this office building that is leaking soap as they owe $1,500 in rent as it what motivates the family to try and scrounge up some money. There’s a scene in the second act where the Dyne family and Melanie go to the home of an ailing old man as he’s lying on his bed dying where he asks everyone to just bring some life to the house as it is this moment where everyone is just trying to give this man some comfort yet Robert and Theresa become more concerned with just getting money and then do something that is unexpected that would only add more discord in their relationship with Old Dolio.
July’s direction also play up into the fear with earthquake as it would be this metaphor for a family’s dynamic shaking up with Melanie kind of being the source of this shake up. Notably in a scene in its third act where Melanie and Old Dolio are in a gas station bathroom where a big earthquake happen as it’s shot completely in the dark where Old Dolio goes on a monologue about the idea of life with images of stars emerging. The aftermath of that scene has July shooting everything in one-take on a Steadicam tracking shot as it showcases a moment that is about Old Dolio’s reaction to what just happened. It is a moment that does showcase not just a world that opens for Old Dolio but also some revelations for Melanie who realizes how troubled Old Dolio is as she is someone who has been sheltered for far too long. Even as they also have to deal with Robert and Theresa where July brings up that air of ambiguity into whether the things they do are genuine or are they’re continuously playing a role. Overall, July crafts a witty yet compelling film about a family of scam artists who take in an outsider that would disrupt their lives and lifestyle.
Cinematographer Sebastian Wintero does brilliant work with the film’s cinematography as its emphasis on natural and available lighting with some stylish lighting for some of the daytime/nighttime interior scenes. Editor Jennifer Vecchiarello does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the drama and humor. Production designer Sam Lisenco, with set decorator Devynne Lauchner and art director Jessica Shorten, does fantastic work with the look of the home that the Dyne family live as well as the home of the old man they steal from and Melanie’s home. Costume designer Jennifer Johnson does nice work with the costume from the green tracksuit jacket that Old Dolio wear along with her baggy clothes as well as the ragged look of Robert and Theresa and the more stylish clothing of Melanie.
Makeup artist Katalin Urszuly and hair stylist Cindy Welles do amazing work with the look of Old Dolio with her long hair as well as the ragged look of Theresa to make them look like a family. Visual effects supervisor John Stewart does terrific work with the film’s minimal visual effects in a few bits of set dressing for scenes in New York City as well as the darkened room scene where Old Dolio talks about the stars. Sound editor Bjorn Ole Schroeder and sound designer Kent Sparling do incredible work with the film’s sound in the way earthquakes tremble as well as other sounds from the construction next door to the sound of buses and other small moments as it is a highlight of the film. The film’s music by Emile Mosseri is wonderful for its piano-based score with elements of ambient as it play into some of the humor but also in the somber moments in the film while music supervisor Gabe Hilfer create a soundtrack that features some music ranging from indie, hip-hop, and country with Bobby Vinton’s Mr. Lonely being a prominent song as it play into Old Dolio’s emotional state.
The casting by Mark Bennett is superb as it feature some notable small roles and appearances in Adam Bartley as a hot tub salesman, Diana-Maria Riva in a dual role as the voice of Melanie’s mom and a birth teacher in Farida, Da’Vine Randolph as a masseuse whom Old Dolio tries to scam, Rachel Redleaf as a young pregnant woman passing flyers, Michael Twaine as a dying old man Melanie and the Dynes go to for a scam only to bring life to his house, Patricia Belcher and Kim Estes as a posh couple Old Dolio tries to scam, and Mark Ivanir in a terrific performance as the Dynes’ emotional landlord as a man who is trying to run construction of his soap factory who is just troubled by the Dynes’ inability to get him his money. Richard Jenkins and Debra Winger are incredible in their respective roles as Robert and Theresa Dyne as a married couple who are scam artists as they prefer to not live in conventional society with Robert being someone who is trying to plan things and Theresa often being the one to make sure things are executed well as they bring some humor but also in also someone who prefer to hide their emotions.
Gina Rodriguez is remarkable as Melanie as a young woman Robert and Theresa meet on a flight back to California who takes part in their scams and get things done for them but becomes concerned about their motivations as well as the growing schism involving them and their daughter whom she befriends. Finally, there’s Evan Rachel Wood in a magnificent performance as Old Dolio Dyne as this emotionally-stunted woman who talks in a weird way as it is this haunting performance of this woman who knows how to perform a scam but is unable to deal with emotions and other things as she lack social skills. Wood’s performance also has this physicality that play into someone who has trained herself to do scams but is often still when it comes to the world outside of scams as it is definitely a career-defining performance for Wood.
Kajillionaire is a sensational film from Miranda July that features an outstanding leading performance from Evan Rachel Wood. Along with its supporting cast, gorgeous visuals, and its exploration of family dynamics who live on the fringes of society. It is a film that is an unconventional heist film of sorts yet it is really a study of an emotionally-withdrawn family who use their daughter for scams only to bring an outsider to help them as it would bring a schism to the family dynamics. In the end, Kajillionaire is a spectacular film from Miranda July.
Miranda July Films: Me and You and Everyone We Know - The Future (2011 film)
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Set in the late 1930s/early 1940s, the film follows a man who starts off as a carny for a low-level circus where he learns the art of mind-reading that he uses to become a top mind-reader in big cities only to attract the attention of a devious psychiatrist who helps him take part on a big scheme. It is a film that explore this man who is ambitious as he believes he has something that can make him a lot of money but ends up meeting someone who is more ambitious but also far more sinister. The film’s screenplay by Guillermo del Toro and Kim Morgan is straightforward as it is more based on Gresham’s novel with elements of the 1947 film by Edmund Goulding that featured Jules Furthman’s screenplay as it relates to these ideas that the film’s protagonist in Stanton Carlisle (Bradley Cooper) as he finds himself in a circus after burning down a house with the body of his late father where he sees what it has and takes a job as a carney.
The first act is about Carlisle’s time as a carny where he meets the clairvoyant Zeena Krumbein (Toni Collette) and her alcoholic husband Pete (David Strathairn) where Carlisle learns from the latter about their act while he proves to be loyal to the group when he helps out its owner Clem Hoatley (Willem Dafoe) who would give Carlisle a job after helping to handle a troubled circus geek. Carlisle also befriends another performer in Molly (Rooney Mara) who would later join Carlisle in his own version of the clairvoyant act though Zeena and Pete warned him about going too far as the film’s second act takes place in late 1941 where Carlisle becomes successful in his act with Molly. The second act would also introduce the character of Dr. Lilith Ritter (Cate Blanchett) who is intrigued by his act after fooling an acquaintance of hers where she decides to collaborate with him on a scheme on the reclusive millionaire Ezra Grindle (Richard Jenkins) that makes Molly uneasy.
Guillermo del Toro’s direction definitely does pay homage to Goulding’s film in some bits but much of it is entrancing in his presentation of the late 1930s/early 1940s as it was shot on location in and around Toronto as well as additional locations in Buffalo, New York including its city hall. The direction has del Toro definitely emphasize a lot on tracking shots to get a look into the carnival while having Carlisle early in the film not say much as he just stumbles into the circus out of curiosity where he just looks at an act and then walks out to check what else is out there. The usage of wide and medium shots allows del Toro to showcase the scope of the carnival that Carlisle is in as well as a scene where Carlisle and Clem go after a geek inside a monster house as it is one of these great set pieces in the film. The scenes during the second act in these posh restaurants where Carlisle and Molly are doing their act also has a lot of space in the visuals while del Toro also knows when to use close-ups to play into the suspense and drama. The film also has del Toro play into the dangers of what Carlisle is doing as both Zeena and Pete had warned about going too far into people’s grief as it would be a key factor for the film’s third act.
Notably in a scene where Zeena, the strongman Bruno (Ron Perlman), and diminutive Major Mosquito (Mark Povinelli) visit Carlisle and Molly with prompting from the latter where Zeena uses her tarot cards and warned Carlisle of what he’s doing. The third act that is about Carlisle’s scheme with Dr. Ritter on Grindle as it involves Grindle’s own sense of loss and guilt as the scheme would involve Molly who realizes what is going on. It all plays into not just the downside of greed and manipulation but also how far people are willing to go get closure on their grief as it relates to news on someone Carlisle did a séance for. Its aftermath is dark into not just the fact that Carlisle went too far but also the fact that there’s people who are much worse than Carlisle who will do whatever to exploit people’s grief. Its ending is about the fate of those who are lost as it relates to the troubled geek that Carlisle tried to subdue early in the film as it relates to people and monsters. Overall, del Toro crafts a haunting yet evocative film about an ambitious carny whose ambition as false clairvoyant leads him into a path of darkness.
Cinematographer Dan Laustsen does incredible work with the film’s cinematography as its usage of lush colors and low-key natural lighting to emphasize on its dark tone but also in some of the beauty in the desolate locations they’re in that is a direct contrast to the more stylish look in the city and at Grindle’s home. Editor Cam McLauchlin does excellent work with the editing as its usage of jump-cuts, transition wipes, and other stylish cuts to play into the suspense and drama. Production designer Tamara Deverell, with set decorator Shane Vieau and supervising art director Brandt Gordon, does phenomenal work with the look of the carnival as well as Clem’s massive collection of fetuses in mason jars, some of the carnival attractions, and Dr. Ritter’s office as the attention to detail in the rooms is a major highlight of the film. Costume designer Luis Sequeira does amazing work with the costumes from the red coat and beret that Molly wears in the second/third act as well as some of her casual clothing to the more refined gowns that Dr. Ritter wears along with the ragged to refined suits the men wear.
Hair designer Cliona Furey and makeup designer Jo-Ann MacNeill, with special makeup effects supervisor Mike Hill, do excellent work with the look of the characters from the different hairstyles from the women to a few of the gory elements in some of the violence that Hill would create. Special effects supervisors Michael Innanen, Shane Mahan, Philippe Maurais, and Shane Million, with visual effects supervisor Dennis Berardi, do terrific work with the visual effects as it relates to a few bits involving fire as well as Molly’s act as a woman who works with electricity as it is largely minimal except in some of the film’s violent moments. Sound editors Jill Purdy and Nathan Robitaille do superb work with the sound as it play into the way certain machines sound as well as how police sirens sound from afar as well as Dr. Ritter’s own recording equipment as it add a lot of drama and suspense into the film. The film’s music by Nathan Johnson is brilliant for its low-key orchestral score with elements of big-band jazz in some bits as it play into the music of the times with its soundtrack also featuring a lot of the standards that were popular in that period.
The casting by Robin D. Cook is marvelous as it feature some notable small roles that includes a cameo appearance from Tyrone Powell’s daughter Romina as a viewer of one of Carlisle’s show at the posh dining hall as well as notable small roles from Dian Bachar as a carnival performer, Paul Anderson as the geek that Carlisle tries to subdue early in the film, Lara Jean Chorostecki as Clem’s wife Louise, Stephen McHattie as a hobo late in the film, Troy James as a carnival performer known as the Snake Man, Clifton Collins Jr. as the carnival barker/musician Funhouse Jack, Bill MacDonald as Carlisle’s ailing father who is seen in flashbacks, Jim Beaver as a local sheriff who is trying to stop the carnival because of the skimpy clothing Molly is wearing, Mark Povinelli as a dwarf-carny who helps out in various performances including Molly’s act, Tim Blake Nelson as a carnival owner that appears late in the film, Peter MacNeill as Judge Kimball who is intrigued by Carlisle’s gift as he seeks help in relation to his late son, Holt McCallany as Grindle’s bodyguard Anderson who is suspicious towards Carlisle as he is protective of Grindle, and Mary Steenburgen in a small yet superb role as Judge Kimball’s wife as a woman who is still reeling with loss over her son.
Ron Perlman is fantastic as the strongman Bruno who is like a father figure to Molly as he knew her father as he is unsure of Carlisle’s intention towards her. David Strathairn is excellent as Pete Krumbein as an alcoholic performer who was once a great clairvoyant with a system of his own as he teaches Carlisle what to do but also warns him on what not to do. Richard Jenkins is brilliant as Ezra Grindle as a reclusive millionaire who is fascinated by Carlisle’s gift as it relates to a former lover he mourns dearly as he was once a patient of Dr. Ritter as he is the target of a scheme they’ve created as he is also a man with a very dark past. Willem Dafoe is amazing as Clem as a carnival owner who hires Carlisle as he shows him the ropes of what goes on as he also sees potential in Carlisle while being the owner of a bunch of dead fetuses in mason jars. Toni Collette is incredible as the clairvoyant performer Zeena Krumbein who takes has Carlisle working for her in helping her act while is also intrigued by him while later warning him about what he’s doing as well as reveal that he is headed for serious trouble.
Rooney Mara is remarkable as Molly Cahill as a carnival performer who works with electrical currents as part of her act as she falls for Carlisle where she joins him as his assistant while becoming troubled by his ambitions as she reluctantly takes part of his scheme only to become homesick towards the carnival family who cared for her. Cate Blanchett is tremendous as Dr. Lilith Ritter as a devious yet charismatic psychiatrist who is fascinated by Carlisle’s gift as she would seduce him to team up but also know that she is able to outsmart him. Finally, there’s Bradley Cooper in a phenomenal performance as Stanton Carlisle as this man who starts off as a low-level carny to becoming this in-demand clairvoyant who eventually becomes greedy in his ambitions where Cooper does display a lot of quiet observation early in the film but also a man that is filled guilt in his climb only to try and do something big that would eventually be his downfall as it is a career-defining performance from Cooper.
Nightmare Alley is a sensational film from Guillermo del Toro that features great performances from Bradley Cooper, Cate Blanchett, and Rooney Mara. Along with its ensemble cast, ravishing visuals, evocative art direction, its exploration on the ideas of loss and greed, and its luscious music score. The film is definitely a fascinating suspense-drama that is a tribute of sorts to the 1947 Edmund Goulding film but also its own beast as it play into del Toro’s fascination with humanity and their monstrous elements. In the end, Nightmare Alley is a phenomenal film from Guillermo del Toro.
Guillermo del Toro Films: Cronos - Mimic - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - Crimson Peak - The Shape of Water - Pinocchio (2022 film)
Related: Nightmare Alley (1947 film) - The Auteurs #10: Guillermo del Toro
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Directed by Drew Goddard and written by Goddard and Joss Whedon, The Cabin in the Woods is the story of five college students who go into a cabin where horrible things are happening unaware that a couple of technicians are controlling things from the outside. The film is a satire on the horror genre in some respects as it play into the many tropes of the slasher film genre as well as what people expect in these films. Starring Kristen Connolly, Chris Hemsworth, Anna Hutchinson, Fran Kranz, Jesse Williams, Richard Jenkins, Amy Acker, Brian White, and Bradley Whitford. The Cabin in the Woods is a witty yet thrilling film from Drew Goddard.
Five college kids go to a cabin in the middle of the woods as they believe nothing goes wrong yet they find something in a basement and all hell breaks loose usually leaving one person to survive to tell the tale or that person just ends up dead. That is a premise that is so typical of what to expect in a horror film as it’s been done so many times but what happens if that premise is told all over again but there’s people behind the scenes that are controlling the fate of these five college kids with one person to possibly survive? The film’s screenplay by Drew Goddard and Joss Whedon play into these situations that is controlled by these two technicians in Gary Sitterson (Richard Jenkins) and Bradley Whitford (Steve Hadley). They would set up the scenario with small cameras and drones along with a few people that these students would encounter along the way.
Yet, the college students are the ones who unknowingly decide what they will face as they each bear every kind of stereotype expected in a slasher film such as the whore in Jules (Anna Hutchinson), the athlete in Curt (Chris Hemsworth), the scholar in Holden (Jesse Williams), the fool in Mary (Fran Kranz) and the virgin in Dana (Kristen Connolly) as she is the final girl in terms of what is expected in a slasher film. As the story goes on with these technicians and others watching with some making bets on what they will choose. However, a couple of these clichéd characters would break from what is expected in the genre as they would know that something is off as they encounter a far darker reality in the film’s third act.
Goddard’s direction does bear the many visual traits expected in a slasher film set in a cabin but he also would find ways to deviate from these ideas as well as play with the visual tropes. Shot largely on location near and around Vancouver in Canada, the film does play into the many ideas of what is expected on a trip to the woods though that narrative starts off at a small town where Dana is packing up as she is to meet her friends. While there are wide shots of the locations, Goddard’s direction mainly emphasizes on close-ups and medium shots to play into the intimacy inside the cabin as well as some of the things expected in and out of the cabin but also with some weird things. Particularly the scene at the cellar where there are these objects and whoever chooses an object and say something that is inscribed is the choice that these characters would unknowingly make as it is the fate they chose. Even as they would try to escape the cabin from what is attacking them would be even more complicated as it does play into a world where they are the puppets for something that is bigger than themselves.
Goddard’s direction for the scenes at this secret compound where a lot of people are observing and controlling the fate of these five students would have to embark on. It’s largely straightforward with some dark humor as well as some mysterious elements as it relates to what happens when someone gets killed as it’s a world bigger than anything as they’re trying to oversee everything in other parts of the world. The film’s third act is about the motivations of these technicians and who they work for as it adds to the intrigue of what these students are facing. Even as it would culminate into something extremely violent as well as play into the stakes of why these students are being killed as they wonder why they’re being puppets for this thing they’re in. Overall, Goddard crafts a chilling yet provocative film about five college students who go to a cabin in the woods where their fate is controlled by mysterious outsiders.
Cinematographer Peter Deming does brilliant work with the film’s cinematography from the usage of low-key colors and lighting for the scenes set in the woods including the cabin interiors and exteriors at night as well as the look of the control room. Editor Lisa Lassek does amazing work with the editing as it help play into the suspense and dark humor as well as playing with the conventional style of what is often expected in gory horror films. Production designer Martin Whist, with set decorator Hamish Purdy and supervising art director Tom Reta, does excellent work with the look of the cabin interiors as well as the scenes at the control room including a secret room that relates to something mysterious. Costume designer Shawna Trpcic does nice work with the costumes as it help play into the personality and expectation of what the college kids would wear as well as the more business-like look of the technicians.
Special makeup effects designer David LeRoy Anderson does incredible work with the look of the zombies as well as some of the gory effects used in the film that includes additional work from his wife in famed horror actress Heather Langekamp. Visual effects supervisor Todd Shifflett does terrific work with the visual effects such as a secret force field used for technicians to monitor as well as other things that lurk inside the compound. Sound designer Dane A. Davis does superb work with the sound as it help play into the atmosphere of the woods as well as the sound effects of what the students are facing including some of the noises that are made at the secret compound. The film’s music by David Julyan is wonderful for its low-key score that has some orchestral flourishes that play into the suspense and horror while music supervisor Dana Sano provide a soundtrack that mixes element of pop, indie, hip-hop, electronic music, and rock from acts like OK Go, REO Speedwagon, Ladyhawke, Asher Roth, Switchfoot, Eagles of Death Metal, Iggy Pop, the High Decibels, Motocade, Vassy, Soul River, and Nine Inch Nails.
The casting by Anya Colloff and Amy McIntyre Britt is marvelous as it include some notable small roles from Tom Lenk as Ronald the Intern who worships the technicians and wants to win money, Tim de Zarn as a creepy gas station manager, Brian J. White as the security officer Daniel Truman who watch over the technicians making sure nothing happens to them, and Amy Acker as a compound official in Wendy Lin who also watch over the technicians as well as realize things are going bad elsewhere. Richard Jenkins and Bradley Whitford are fantastic in their respective roles as Gary Sitterson and Steve Hadley as the two leading technicians who are the best at what they do as they’re watching over these five students and make sure things go well but also realize that there’s a few who are becoming suspicious as they try to figure out how to out-smart them.
Anna Hutchinson is excellent as Jules as the typical whore who always wear skimpy and sexy clothes while being all about fun yet she would do things that are wild stuff as she’s fun to watch. Jesse Williams is brilliant as the kind scholar Holden whom Dana is falling for as he’s a good looking guy that is trying to be a nice guy and help out for whatever situation is happening. Fran Kranz is hilarious as the stoner Marty who is the comic relief of the film as he smokes a lot of weed and does dumb shit yet he is one of the few characters in the film that breaks from that stereotype where he is aware that something isn’t right. Chris Hemsworth is amazing as Curt as the athlete who does play into many of the usual traits expected as someone strong and courageous but is actually a nice guy. Finally, there’s Kristen Connolly in an incredible performance as Dana who is the virgin that is sort of reluctant to go to the cabin as she does play into what is expected with the final girl stereotype but she would also notice something is off and would deviate from what is expected.
The Cabin in the Woods is a tremendous film from Drew Goddard. Featuring a great ensemble cast, eerie visuals, a killer soundtrack, and an inventive yet provocative premise. The film is definitely a top-tier horror film that plays with the conventions as well as deviate from what usually happens in horror films. In the end, The Cabin in the Woods is an outstanding film from Drew Goddard.
Related: Bad Times at the El Royale
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Written and directed by David O. Russell, Flirting with Disaster is the story of a man who goes on a road trip with his wife and newborn baby to find his biological parents with the help of an adoption agency employee as others join in on the search. The film is an offbeat comedy that plays into a man’s need to find his real parents as he copes with idea of parenthood as well as his own marriage as he becomes attracted towards the adoption agency employee. Starring Ben Stiller, Patricia Arquette, Tea Leoni, Josh Brolin, Richard Jenkins, Mary Tyler Moore, George Segal, Glenn Fitzgerald, Alan Alda, and Lily Tomlin. Flirting with Disaster is a witty and whimsical film from David O. Russell.
The film is the simple story of a neurotic man whose inability to name his newborn child forces him to try and find his biological parents to find out who he is as he is aided by an adopted agency employee whom he becomes attracted to. It plays into a man in his search for his own identity and roots where he is joined by his wife on a trip to find his real parents but bad information and incompetence lead to several setbacks with others joining this man’s adventure to find his real parents. David O. Russell’s screenplay has a unique narrative structure as it follows the journey of Mel Coplin (Ben Stiller) who is given news that the identity of his biological mother has been found. Mel’s wife Nancy (Patricia Arquette) joins Mel out of support as she takes their newborn baby with them despite the protests of Mel’s adoptive parents in Ed and Pearl Coplin (George Segal and Mary Tyler Moore, respectively) who feel unhappy by the news. Joining them is the adoptive agency employee Tina (Tea Leoni) who wants to record the event as she and Mel become attracted to each other.
Russell’s direction does have elements of style in the way he captures the journey of a neurotic man as it is shot on various locations in New York City as well as parts of San Diego, Arizona, and a couple of places in Michigan such as Kalamazoo and Battle Creek. While there are moments where Russell would use wide shots for some of the locations and scenes that play into the characters inside a home which includes a key moment in the first act that has Mel meeting a woman who could be his mother. Much of Russell’s compositions would rely on medium shots and close-ups in the way characters interact including scenes that include Nancy’s old high school friend Tony Kent (Josh Brolin) who is an ATF agent with a partner both at work and in life in Paul Harmon (Richard Jenkins) as they both join the trip during its second half.
The film’s third act doesn’t just play into absurd humor but also in light drama as it relates to the tension that is looming in Mel and Nancy’s marriage with the former being attracted to Tina and the latter being nurtured by Tony. It also play into the eventual meeting of another prospect of who could be Mel’s real parents in Richard and Mary Schlichting (Alan Alda and Lily Tomlin, respectively) who also have a younger son in Lonnie (Glenn Fitzgerald) who is angry about the idea of having an older brother. The meeting would be a mixture of humor and chaos as well as an aftermath that would later involve all sorts of shenanigans and drama that is happening. Overall, Russell creates a witty yet exhilarating film about a man trying to find his identity in his search for his biological parents with others joining him in a chaotic journey.
Cinematographer Eric Alan Edwards does excellent work with the film’s cinematography as it is largely straightforward to play into the different looks of the location including the scenes in Michigan with its snow and the sunnier look of New Mexico in the daytime. Editor Christopher Tellefsen does brilliant work with the editing with its usage of jump-cuts and other rhythmic cuts to play into the humor. Production designer Kevin Thompson, with art director Judy Rhee plus set decorators Susan Block and Ford Wheeler, does fantastic work with the look of the different homes that Mel and his entourage encounter from the home of a woman in San Diego with her glass figurines to the stylish home and art work of the couple he meets in New Mexico.
Costume designer Ellen Lutter does nice work with the costumes as it play into the personality of the characters from the casual look of Mel and Nancy to the sexy, business-like look of Tina and the more hippie look of the Schlichtings. Sound designer Wendy Hedin does terrific work with the sound as it play into the atmosphere of the different locations in the film. The film’s music by Stephen Endelman does wonderful work with the sound as it is largely low-key in its folk music presentation while music supervisor Bonnie Greenberg provides a fun soundtrack that mixes rock, pop, country, and alternative music from acts like Southern Culture on the Skids, Cake, Urge Overkill, Dr. John with Angela McCluskey, Dean Martin, Inch, Carl Perkins, and the Grateful Dead.
The casting by Risa Bramon Garcia and Ellen Parks is marvelous as it feature some notable small roles from Cynthia LaMontagne and Beth Stern as twin women who are the daughters of a woman in San Diego, David Patrick Kelly as a trucker in Michigan who might be Mel’s father, Celia Weston as Valerie Swaney as the woman from San Diego who might be Mel’s mother, and Glenn Fitzgerald as Lonnie Schlichting as a young man who might be Mel’s brother who doesn’t like Mel at all as he’s overly rude and jealous towards him. Alan Alda and Lily Tomlin are fantastic in their respective roles as Richard and Mary Schlichting as a couple from New Mexico who might be Mel’s biological parents as they’re hippie artists that are fascinated by Mel while being those who prefer to live a life of isolation away from the conventions of society. Richard Jenkins and Josh Brolin are superb in their respective roles as the ATF agents Paul Harmon and Tony Kent as a gay couple who join Mel and his entourage in the journey with Jenkins as the more reluctant of the duo as he would later have a bad encounter with drugs while Brolin is more carefree as he tries to renew his friendship with Nancy in odd ways.
Mary Tyler Moore and George Segal are excellent in their respective roles as Mel’s adoptive parents in Pearl and Ed Coplin with Moore being very funny in dealing with her son’s neuroses and wear some skimpy yet sexy underwear while Segal is more low-key as someone who is just as neurotic as Mel. Tea Leoni is brilliant as Tina Kalb as a recently-divorced adoption agency employee who wants to document Mel’s reunion with his biological parents as she becomes attracted to Mel only to realize that she’s hiding her own issues as it relates to her incompetence and failure in life. Patricia Arquette is amazing as Nancy Coplin as Mel’s wife who joins him on the journey as she finds herself neglected forcing her to turn to Tony for attention with weird results. Finally, there’s Ben Stiller in a remarkable performance as Mel Coplin as a man who is eager to find out who his parents are as it play into his anxiety over who he is and his inability to name his newborn son that would also prompt him to be attractive towards Tina that would become chaotic as it’s a witty performance from Stiller.
Flirting with Disaster is an incredible film from David O. Russell. Featuring a great cast, an offbeat yet funny premise, and its study of identity and anxiety. It’s a film that play into some of ideas of a man’s journey that would devolve into chaos as well as revelations about himself. In the end, Flirting with Disaster is a sensational film from David O. Russell.
David O. Russell Films: Spanking the Monkey – Three Kings - I Heart Huckabees – The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell
© thevoid99 2018
Directed by Guillermo del Toro and screenplay by del Toro and Vanessa Taylor from a story by del Toro, The Shape of Water is the story of a mute custodian at a secret lab run by the American government who falls for a mysterious creature whom the lab is experimenting on. Set in the early 1960s during the Cold War, the film is an exploration of a woman who meets this amphibious creature and sees him for what he really is where she and friends try to protect it from dark forces. Starring Sally Hawkins, Michael Shannon, Octavia Spencer, Richard Jenkins, Michael Stuhlbarg, and Doug Jones as the mysterious sea creature. The Shape of Water is a rapturous and intoxicating film from Guillermo del Toro.
The film is a simple story set in early 1960s Baltimore where a mysterious creature had been captured by the American government for experiments where a mute custodian at the lab befriends and later falls for the creature. It’s a film that bear a lot of elements of the fairy tale but it is presented in a world that is teetering on the brink of world dominance as this mute woman and mysterious creature from the sea in the middle. The film’s screenplay by Guillermo del Toro and Vanessa Taylor has an unusual approach in which the creature and the protagonist in Elisa Esposito (Sally Hawkins) never speak a word with the latter communicating through sign language. It’s the supporting characters such as Elisa’s co-worker Zelda (Octavia Spencer), her neighbor Giles (Richard Jenkins), a scientist named Dr. Robert Hoffsetler (Michael Stuhlbarg) who is a Soviet spy, and a government official in Colonel Richard Strickland (Michael Shannon) who captured the creature that do much of the talking in the film.
Elisa is a woman with a routine as she works at nights to clean up with Zelda as the reason she doesn’t speak is due to a neck injury she had when she was a baby. Giles is considered like a caretaker of her of sorts who is struggling to create ads for companies that are changing their ideas of what they want. Yet, Giles is also coping with aging and the fact that he’s gay where he shares his loneliness with Elisa who knows that he’s gay and has no problem with it. Zelda is an African-American who isn’t afraid to say what is on her mind as she also protects Elisa from the suspicion of Colonel Strickland whom she isn’t fond of. Colonel Strickland isn’t a traditional antagonist as he is eager to do his job but also has a family to provide for where he is also paranoid about the Soviet Union spying on what they captured. Then there’s Dr. Hoffsetler as he is a Soviet spy but his interest in the creature is more about science rather than give the Soviets an advantage where he becomes sympathetic for the creature as he knows what it can do and wants to help it.
The direction of del Toro has this mixture of old-Hollywood mixed in with elements of fantasy as well as a look of early 1960s consumerism and conformity despite the sense of unrest that is looming in those times. Shot largely in Hamilton, Ontario in Canada with some of it shot in Toronto, del Toro captures a time in America where the Cold War is looming and things are changing to keep up with people wanting things like Cadillacs or diners that are safe. Yet, there is still something off as it relates to what is really happening as it’s something Giles doesn’t want to see as he has enough reality to deal where he tries to make a pass at a waiter at the diner who he thought was gay who also refuses to serve an African-American couple. It’s among these tropes that del Toro would put in the film to establish the tone of the times which also feels real as the only pleasure for Giles and Elisa they have are through old films they watch on TV or at the cinema that is below their apartment.
While del Toro would use some wide shots of the locations as well as the scope of the lab and a few scenes inside the movie theater. Much of del Toro’s direction would involve more intimate shots in the close-ups and medium shots as it play into the interaction with the characters including the scenes of Elisa and the creature in how they communicate and how they bond. Even as del Toro isn’t afraid to display this air of sexuality early in the film as it relates to Elisa’s routine and her own feelings for the monster who feels like he understands her much better than a lot of human beings. That is something that Col. Strickland isn’t able to understand yet he is still a complex individual as del Toro would create some unique compositions to play into his determination to find what the monster is useful for in the advantage of the Cold War.
It adds to the sense of misunderstanding of what humanity can’t deal with whenever they encounter something that is different where del Toro sees the creature as a being with a soul that is there for the good of the world. It’s something Giles, Zelda, and Elisa would see as does Dr. Hoffsetler who becomes aware that the Soviets have no interest in what the creature can do as it play into this tug-of-war between two superpowers who just want an advantage in this dangerous conflict. Still, del Toro is focused on this unlikely love story between Elisa and the creature as it is about two beings in love and wanting to be with each other without any complications in relation to the real world. Overall, del Toro creates a ravishing and enchanting film about a mute woman who falls for a mysterious creature from the sea.
Cinematographer Dan Laustsen does brilliant work with the film’s cinematography with its usage of colorful lighting schemes and moods with the usage of green and teal-like colors for many of the film’s interior settings as well as some colorful lighting for some of the exterior scenes at night including the usage of low-key colors for the scenes in the water as well as a black-and-white dream sequence. Editor Sidney Wolinsky does excellent work with the editing as it has elements of style in some jump-cuts though much of it is straightforward with some rhythmic cuts to play into the suspense. Production designer Paul D. Austerberry, with set decorators Jeffrey A. Melvin and Shane Vieau plus art director Nigel Churcher, does amazing work with the look of the lab in all of its detail to the water tanks and electronic equipment to the look of the apartments that Giles and Elisa live in as well as the interior of Col. Strickland’s home. Costume designer Luis Sequeira does fantastic work with the costumes as it play into the period of the early 1960s with the way the suits look as well as some of the dresses that the women wore in those times.
Special makeup effects by Mike Hill and Shane Mahan do incredible work with the look of the creature in all of its intricate designs including body parts that light up as it one of the finest feats of creature design. Visual effects supervisors Dennis Berardi, Trey Harrell, and Kevin Scott do terrific work with the visual effects that’s set in the water as well as some set dressing for some of the exterior scenes in the film. Sound editor Nathan Robitaille does superb work with the sound as it play into the atmosphere of the locations including some of the sounds in the lab with Robitaille and del Toro providing some of the vocals sounds of the creature. The film’s music by Alexandre Desplat is marvelous for its enchanting orchestral score that is filled with lush string arrangements and tingling percussion textures as it adds to the sense of fantasy and the suspense in the film while its soundtrack features music from Madeleine Peyroux, Benny Goodman, Andy Williams, Alice Faye, Glenn Miller, and Roger Suen.
The casting by Robin D. Cook and Jonathan Oliveira is remarkable as it feature some notable small roles from John Kapelos as the cinema owner Mr. Arzoumanian, Morgan Kelly as the diner waiter who sells pies, Wendy Lyon as Col. Strickland’s secretary, Madison Ferguson and Jayden Grieg as Col. Strickland’s children, Stewart Arnott as an advertising executive friend of Giles, Nigel Bennett as a Soviet spy that Dr. Hoffstetler talks to, Lauren Lee Smith as Col. Strickland’s wife Elaine, David Hewlett as one of the military scientists in Fleming who is asked to spy on Dr. Hoffstetler, and Nick Searcy as Col. Strickland’s superior General Frank Hoyt who wants the monster be used as a tool for the Cold War.
Michael Stuhlbarg is fantastic as Dr. Robert Hoffstetler as a scientist who is really a Soviet spy that is studying the creature where he realizes that the creature offers so much more as he decides to help Elisa rather than answer to Col. Strickland and the Soviets. Octavia Spencer is excellent as Zelda Delilah Fuller as a talkative custodian who often speaks for Elisa as well as be a conscience of sorts in the film where she would protect Elisa and the creature in the hope that Elisa could find some happiness. Richard Jenkins is brilliant as Giles as Elisa’s neighbor and an aging advertising agent who often wears a toupee where he struggles with age and the need for companionship as well as changing times as he sees the creature as a beacon of hope where he sees what kind of magic it could do as well as be a great sense of hope for Elisa.
Michael Shannon is amazing as Colonel Richard Strickland as a government agent who captures the creature in the hopes he can extract something that could be useful for the human race in the Cold War as he’s a complex man that loves his family and knows a lot of literature where Shannon brings a chilling and scary performance of a man that is willing to kill. Doug Jones is great in his role as the creature where, despite not having any dialogue, he manages to provide a sense of soul and intelligence where it’s just a marvel to watch. Finally, there’s Sally Hawkins in a phenomenal performance as Elisa Esposito as a mute custodian worker who speaks through sign language as she is fascinated by this sea creature where it’s Hawkins’ charm, child-like innocence, and adult-like desires that is key to her performance as it is really a career-defining performance for Hawkins.
The Shape of Water is a magnificent film from Guillermo del Toro. Featuring a great cast, gorgeous visuals, a compelling story that mixes various genres, an eerie setting, and a sumptuous music score by Alexandre Desplat. It’s a film that captures the sense of wonderment in something that is extraordinary where a woman tries to protect it from those who have inhuman means of using the creature for their own reasons. In the end, The Shape of Water is a spectacular film from Guillermo del Toro.
Guillermo del Toro Films: Cronos - Mimic - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim
- Crimson Peak - Nightmare Alley (2021 film) - Pinocchio (2022 film)
The Auteurs #10: Guillermo del Toro
© thevoid99 2018
Directed by Adam McKay and screenplay by McKay and Will Ferrell from a story McKay, Ferrell, and John C. Reilly, Step Brothers is the story of two forty-year old men who reluctantly become step brothers after their parents marry as they start off as enemies only to become friends in their love of chaos and leading a slacker lifestyle. The film is an off-the-wall comedy with elements of anarchy in which two men refuse to grow up as they try to do their own thing while endure some strange situations. Starring Will Ferrell, John C. Reilly, Richard Jenkins, Mary Steenburgen, Adam Scott, Kathryn Hahn, Andrea Savage, and Rob Riggle. Step Brothers is a hilarious and confrontational film from Adam McKay.
A man and woman meet and fall in love at a convention where they both get married much to the dismay of their sons who are in their 40s as they’re forced to share a room together as they dislike each other believing they’re a detriment to their slacker lifestyle. That is pretty much the film in a nutshell as it revolve two guys who don’t want to grow up and refuse to get jobs as they start off as enemies only to realize how much they have in common as they create a lot of chaos much to the dismay of their parents. The film’s screenplay does follow a simple formula of these two men hating and then embracing each other while plotting to create their own business in order to get their parents off their back.
Yet, Brennan Huff (Will Ferrell) and Dale Doback (John C. Reilly) both share an equal sense of disdain towards Brennan’s younger brother Derek (Adam Scott) who often gloats his success as a helicopter licensing agent as well as do whatever it takes to humiliate Brennan. Though the script does follow a simple plot formula, there is a looseness to it in terms of its approach to dialogue and improvisation as well as the fact that it’s a story that doesn’t need a lot of plot schematics. It’s all about the idea of absolute and total chaos which does give the story something that can be described as an anarchist film of sorts.
Adam McKay’s direction may have simple ideas to compositions and creating moments that are light-hearted and funny yet it’s his approach to improvisation and total mayhem is what is key to the film. There is something confrontational about everything that is going on though it doesn’t start out like that first when Brennan’s mother Nancy (Mary Steenburgen) is at a convention watching Dale’s dad Robert (Richard Jenkins) give a speech as he look at her and all of a sudden the two fall in love and have sex though nothing gratuitous is shown. It’s when Brennan and Dale finally meet face-to-face is where the film starts to take shape immediately and building up slowly for this sense of unexpected and total sense of anarchy. Even as McKay knows where to shoot a scene to play into these moments of chaos such as Brennan and Dale’s first fight over the fact that Brennan touched Dale’s drum set and rubbed his testicles on them or the moment the two are sleepwalking and causing trouble. Then there’s these moments that push the envelope of good and bad taste such as a scene of Brennan and Dale being assaulted by middle school kids in which the former is forced to do something extremely awful.
The direction also showcase moments that are quite crazy which relate to a subplot in which Dale is having a reluctant affair with Derek’s wife Alice (Kathryn Hahn) who hates being married to Derek. There are also these moments that aren’t afraid to offend as it relate to Brennan and Dale trying to ruin Derek’s sale as McKay’s direction is very offbeat in those moments. The film’s climax at this event known as the Catalina Wine Mixer is definitely a culmination of everything Brennan and Dale have endured in their attempt to be free but also deal with expectations of conformity. What happens is this strange mixture of anarchy and beauty which is kind of indescribable but an absolute joy to watch and what better place to do than at the fucking Catalina Wine Mixer. Overall, McKay creates an outrageous and off-the-wall film about two immature men who become stepbrothers.
Cinematographer Oliver Wood does excellent work with the film’s cinematography from the colorful and sunny look of the locations in the day to the usage of lights for some of the interiors set at night. Editor Brent White does nice work with the editing as it has elements of style in the slow-motion cuts as well as some of the montages and other moments to play into the humor. Production designer Clayton Hartley, with set decorator Casey Hallenbeck and art director Virginia L. Randolph, does fantastic work with the look of the house the brothers live in as well as their bedroom and the look of the Cataline Wine Mixer. Costume designer Susan Matheson does terrific work with the costumes as much of its casual including the tuxedos the stepbrothers wear for their job interviews.
Visual effects supervisor Rocco Passionino does some good work with some of the minimal visual effects as it is mostly set-dressing including some funny scenes involving the stepbrothers dealing with some awful kids. Sound editor George H. Anderson does superb work with the sound in the way some of the chaotic moments in the film are presented via sound as well as some of the moments during the Catalina Wine Mixer. The film’s music by Jon Brion is brilliant for its mixture of jazz and kitsch to play into the funny moments of the film while music supervisor Hal Willner creates a fun soundtrack that feature music from Hall & Oates, LCD Soundsystem, Vampire Weekend, Vanilla Ice, Q-Tip, Dizzee Rascal, Dilated Peoples, KO & the Knockouts, Brenda Lee, the Mighty Bosstones, and the Kinks.
The casting by Allison Jones is great as it feature some small roles and appearances from Seth Rogen as a sporting goods manager, Matt Walsh as a heckler at the Catalina Wine Mixer, Horatio Sanz as a Billy Joel tribute band singer at the Catalina Wine Mixer, Gillian Vigman as a woman interviewing the stepbrothers for a job, Phil LaMarr as a man trying to buy the family home, Lurie Poston and Elizabeth Yozamp as Derek and Alice’s smug and spoiled asshole kids, Logan Manus as a co-worker of Derek, and Rob Riggle as another co-worker of Derek in Randy who wants to punch Brennan because of his ugly face. Andrea Savage is wonderful as Brennan’s therapist Denise who tries to help him only to deal with the fact that Brennan is in love with her. Kathryn Hahn is fantastic as Derek’s wife Alice who falls for Dale as she provides some of the funniest moments in the film about wanting to fuck Dale so hard in her hatred of Derek.
Adam Scott is excellent as Derek Huff as Brennan’s younger brother who is a total fucking asshole that thinks he’s better than everyone while rubbing his own success and ambitions on his brother as well as trying to make Dale’s father Robert as his best friend. Mary Steenburgen and Richard Jenkins are amazing in their respective roles as Nancy Doback and Robert Huff with Steenburgen as the more sensible of the two parents trying to understand them but also put her foot down with Jenkins as the more strict of the two as he tries to get them to conform but also reveal his own faults on the idea of growing up. Finally, there’s the duo of Will Ferrell and John C. Reilly in phenomenal performances in their respective roles as Brennan Doback and Dale Huff as the two just go all-out in terms of being outrageous and off-the-wall with Ferrell as the more childish of the two due to his trauma and Reilly as being more of the funny guy as they’re just a joy to watch.
Step Brothers is a fucking wild and tremendous film from Adam McKay that features hilarious performances from Will Ferrell and John C. Reilly. Along with a great supporting cast, a premise that goes way beyond its simple idea, and scenes that play from the profound to the absolute profane. It’s a film that doesn’t try to do anything to go for laughs but rather be insane and confrontational enough to see some of the humor of it in the most inventive way. In the end, Step Brothers is a magnificent film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - The Other Guys - Anchorman 2: The Legend Continues - The Big Short - (Backseat) - The Auteurs #63: Adam McKay
© thevoid99 2017
Written, directed and co-starring Stanley Tucci, The Impostors is the story of two struggling actors who accidentally stow away on a cruise to run from an egomaniacal actor while meeting with an array of offbeat passengers and crew members. The film is a farcical comedy where it involves many people who pretend to be someone else while dealing the need to act in order to save themselves. Also starring Oliver Platt, Alfred Molina, Lili Taylor, Campbell Scott, Hope Davis, Steve Buscemi, Michael Emerson, Billy Connolly, Dana Ivey, Allison Janney, Richard Jenkins, Tony Shalhoub, and Isabella Rosselini. The Impostors is a rip-roaring and exhilarating film from Stanley Tucci.
Set during the Great Depression in New York City, the film revolves around the misadventure of two struggling actors who receive tickets to a show starring an egomaniacal actor where they insult him at a bar only to go on the run and find themselves as stowaways on a cruise ship. It’s a film that play into two men who are trying to make it as actors but upon learning they’re on a cruise ship where they pretend to be stewards. Stanley Tucci’s screenplay is quite loose where it plays into these misadventures of Maurice (Oliver Platt) and Arthur (Stanley Tucci) to them trying to get food as they’re unemployed as well as what goes on in the ship as they encounter a series of offbeat passenger and crew members. Among them is a deposed queen (Isabella Rosselini), a heartbroken singer (Steve Buscemi), a once-rich-turned poor widow (Dana Ivey) with her grieving daughter (Hope Davis), a possibly gay tennis pro (Billy Connolly), and other oddball characters. Adding to the turmoil is the fact that the famed but arrogant actor Jeremy Burtom (Alfred Molina) is also on the ship.
Tucci’s direction is definitely stylish starting with an opening credits sequence where Maurice and Arthur cause trouble as a way to avoid paying for coffee and food as it’s presented like a silent movie. Then it becomes partially straightforward with elements of slapstick comedy where some of it is shot partially in New York City while much of it is shot on a soundstage for the scenes set on the cruise ship. While Tucci would create some amazing compositions with the wide and medium shots, much of it presented loosely where he allows his actors to just create performances that are exaggerated. While it does help to tell the story, there is an element where it feels self-indulgent at times but Tucci wants to create something where the actors are there to have fun and allow themselves to over-act at times. Overall, Tucci creates a silly yet extremely fun film about two actors who stowaway on a cruise and try to find a way to solve problems through the power of acting.
Cinematographer Ken Kelsch does excellent work with the film‘s cinematography from the colorful and sunny look of the daytime New York City exteriors to the look of the many interiors on the cruise ship as well as some of its exteriors. Editor Suzy Elmiger does brilliant work with the editing as its usage of jump-cuts and other rhythmic cuts play into its humor and lively tone. Production designer Andrew Jackness, with set decorator Catherine Davis and art director Chris Shriver does amazing work with the look of the cruise ship with its exteriors as well as some of the interiors of the rooms and ballroom in the ship. Costume designer Juliet Polcsa does fantastic work with the design of the clothes from the clothes of the men including the lavish look of Burtom and the dresses that the women wear.
Hair stylists Victor DeNicola and Carla White do nice work with the hairstyles the women wore in those times along with some of the wigs that some of the characters wear. Sound editor Robert Hein does terrific work with the sound in the way some of the sound effects are presented as well as the sparse moment in the play scene. The film’s music by Gary DeMichele is wonderful for its ragtime/jazz-based score that played into the period of the times while music supervisor Margot Core creates a soundtrack that play into that period including some old music in French as it relates to the destination of where the ship is going to.
The casting by Ellen Lewis is incredible for the ensemble that is created as it feature some notable small roles from David Lipman as a baker Arthur harasses and gives Maurice tickets to a show, Matt Malloy as a fellow actor that Maurice and Arthur knows who had been humiliated by Burtom, Lewis J. Stadlen as a band leader, Elizabeth Bracco as an entertainment director for the cruise, Allan Corduner as the ship’s captain, Michael Emerson as Burtom’s assistant, Teagle F. Bougere as a sheik who has a fondness for a certain French song, Matt McGrath as an Italian detective named Marco who is afraid to kill as he has feelings for one of the ship’s directors in Lily, and Woody Allen in an un-credited yet funny performance as a neurotic stage director Maurice and Arthur audition for. Richard Jenkins and Allison Janney are superb in their respective roles as the con artists Johnny and Maxine as Americans who pretend to be French as they both try to woo Mrs. Essendine and the sheik. Tony Shalhoub is stellar as the ship’s first mate Voltri as a man who runs the ship but also has some very dark motives of his own.
Dana Ivey is wonderful as the widowed Mrs. Essendine who is upset that her late husband didn’t leave her a cent while Hope Davis is terrific as her daughter Emily who grieves for her father and acts melancholy until she notices the heartbroken singer. Isabella Rossellini is fantastic as the veiled queen who laments over being deposed and not want to be seen as she is fun to watch while Campbell Scott is hilarious as the German cruise director Meistrich who has a thing for Lily where he is just a hoot. Billy Connolly is excellent as the tennis pro Sparks who definitely bear some homosexual tendencies as he is fond of Maurice while Steve Buscemi is amazing as the suicidal and heartbroken singer Happy Franks.
Lili Taylor is brilliant as a cruise director in Lily who befriends Maurice and Arthur as she tries to help them hide as well as deal with Meistrich. Alfred Molina is phenomenal as the egomaniacal actor Jeremy Burtom as a man who is quite full of himself and isn’t aware that he’s just a hack. Finally, there’s the duo of Stanley Tucci and Oliver Platt in remarkable performances in their respective roles as Arthur and Maurice as two unemployed struggling actors trying to get work where an awkward moment with Burtom leads them to accidentally stow away on a cruise where they do whatever they can to hide as they use their acting skills to save them.
The Impostors is a sensational film from Stanley Tucci. Featuring a great cast, amazing set pieces, lively music, and a willingness to just let loose and have fun. It’s a film that is aware that it’s being indulgent while giving the actors a chance to just act out and be funny. In the end, The Impostors is a spectacular film from Stanley Tucci.
Stanley Tucci Films: (Big Night) - (Joe Gould’s Secret) - (Blind Date (2007 film))
© thevoid99 2016
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 David O. Russell and written by Russell and Jeff Baena, I Heart Huckabees is the story of an environmental activist who finds himself dealing with coincidences and such as he hires two existential detectives to help him as others also seek the help of the detectives. The film is an exploration into the world of existentialism as it’s told in a humorous manner as it also features a corporate executive who is the antagonist to the activist. Starring Jason Schwartzman, Jude Law, Mark Wahlberg, Naomi Watts, Isabelle Huppert, Lily Tomlin, and Dustin Hoffman. I Heart Huckabees is a truly hilarious and captivating film from David O. Russell.
The film explores the struggles of an environmental activist who is trying to save some marshes from being destroyed in favor of a new department store as he battles a corporate executive who lied to him. Yet, the activist Albert Markovski (Jason Schwartzman) finds himself encountering a tall Sudanese bellboy which prompts him to get the help of two existential detectives in Bernard & Vivian Jaffe (Dustin Hoffman & Lily Tomlin, respectively) where things get complicated as he finds himself in a bigger battle with Huckabees executive Brad Stand (Jude Law) who also hires the Jaffes. With a disgruntled client of the Jaffes in fireman Tommy Corn (Mark Wahlberg) leaning towards the nihilistic views of the Jaffes’ former protégé Caterine Vauban (Isabelle Huppert) as Albert would join Tommy. Things get complicated when the Jaffes’ presence starts to ruin Brad’s life as his girlfriend/Huckabees’ spokeswoman Dawn Campbell (Naomi Watts) starts to rebel against her own image. All of which plays into a group of people questioning themselves as well as their ambitions and roles in life in a very humorous fashion.
The film’s screenplay by David O. Russell and Jeff Baena has an offbeat structure where the first act is about Albert’s frustrations to save the marshes and deal with Brad who constantly bullshits everyone including the people he works for about a story involving country-pop singer Shania Twain and a tuna sandwich. While the Jaffes claim that both Albert and Brad are the same due to their ambitions and the need to make a difference. It’s something Albert refuses to believe as his encounter with Tommy would have him see a much darker view. Tommy is a fireman who despises petroleum as he sees Albert as a man who believes in something where a series of events would have Albert lose the trust of the people trying to save the marshes who go to Brad who is bullshitting them. The second act is about Albert and Tommy turning to Vauban for help as well as revelations for Albert about his own life where Tommy would often combat the Jaffes about their views on how everything is connected while Tommy refutes that.
Then comes this third act where it is about Brad and his own ambitions where his own life would unravel. Even as his relationship with Dawn comes into question as Dawn is often seen wearing skimpy clothes to promote Huckabees as she begins to ask questions about herself and her own relationship. Especially as she would threaten the future of Huckabees and Brad getting into some trouble which would then lead to a major epiphany for all of those involved. Especially the Jaffes and Vauban whose opposing views on the ways of the world would suddenly come together.
Russell’s direction is simple in the way he would shoot some scenes but there’s also something that is very offbeat in the way he plays into many of the film’s humorous moments. Notably the way it opens with Albert cursing at himself for all of the problems he is having where his encounters with this Sudanese bellboy are comical. It plays to the tone of the film where a lot of the humor is absurd as the scene where Albert and Tommy are in a room with the other clients of the Jaffes to showcase a world that is chaotic. The scenes with Vauban doing her own teaches are also absurd as it tries to play into this comical idea of nihilism. There’s also some very offbeat fantasy scenes that play into Albert’s own struggles and his hatred for Brad.
The opposing views of the Jaffes and Vauban would add to the offbeat tone of the direction where Russell would showcase their views through minimal visual effects. The Jaffes present their ideas in dots and such to say that everything is connected in a variation of transcendentalism while Vauban is more grounded in reality where there aren’t any visual effects but one that is still darkly comic. It would all culminate in a scene where it plays into these two diverge forces finally coming together in a moment of enlightenment. Overall, Russell crafts a very witty yet engaging comedy about a young man dealing with the ways of the world and his place in the world.
Cinematographer Peter Deming does excellent work with the film‘s colorful cinematography to capture the naturalistic of the locations in California as well as some of its interiors where a lot of the film is shot on daytime. Editor Robert K. Lambert does brilliant work with the editing with its unique approach to montages and jump-cuts as it plays to the film‘s offbeat style. Production designer K.K. Barrett, with set decorator Gene Serdena and art director Seth Reed, does amazing work with the look of the Huckabees corporate building as well as the home office of the Jaffes to display their eccentric approach of transcendental philosophy.
Costume designer Mark Bridges does nice work with the costumes from the skimpy clothes that Dawn wears in her job to the different array of clothes that Vivian Jaffe and Caterine Vauban would wear. Visual effects supervisor Robert Barrett does fantastic work with the visual effects that play into the ideas of the Jaffes about connection and such as it‘s very playful. Sound editor Kelly Oxford does terrific work with the sound work to play into some of the sounds in the fantasy scenes as well as some of the moments in the location. The film’s music by Jon Brion is an absolute delight with its playful approach to the Chamberlin instrument as well as some folk-based pieces that he brings in to the film.
The casting by Mary Vernieu is incredible as it features some notable appearances from Shania Twain as herself, Richard Jenkins and Jean Smart as a couple who let the Sudanese bellboy live with them, Jonah Hill in his film debut as that couple’s son, Talia Shire as Albert’s mother, Bob Gunton as Albert’s stepfather, Tippi Hedren as a coalition leader who tries to save the marshes where she aligns herself with Brad, Isla Fisher as Dawn’s replacement later in the film, Ger Duany as the tall Sudanese bellboy in Stephen, and Kevin Dunn as the Huckabees executive manager Marty. Naomi Watts is excellent as Dawn Campbell as the Huckabees’ spokeswoman who is often in their commercials and is Brad’s girlfriend as her encounter with existentialism showcases Watts at her funniest as she questions her own image and such.
Isabelle Huppert is amazing as Caterine Vauban as this absurd nihilist who tries to show Albert and Tommy a world where there is nothingness as she proves to be quite extreme and convincing in her views. Dustin Hoffman is brilliant as Bernard Jaffe as this oddball existential detective who is trying to get people on board with his own ideas while Lily Tomlin is fantastic as Bernard’s wife Vivian who also expresses the same views while being more analytical about the people she’s working with. Mark Wahlberg is phenomenal as Tommy Corn as this fireman who rides a bike as he becomes lost in his own despair as he tries to find meaning as it’s Wahlberg in one of his funniest and most vulnerable performances.
Jude Law is superb as Brad Stand as this corporate executive who likes to tell a story about Shania Twain to win over people and such as he’s a man that is quite vain in his ambitions only to realize how empty they can be. Finally, there’s Jason Schwartzman in a marvelous performance as Albert Markovski as this frustrated environmental activist who tries to make a difference as he deals with the different ideas of existentialism and his own issues with Brad as it’s Schwartzman in one of his funniest roles.
I Heart Huckabees is a smart and compelling film from David O. Russell. Armed with a great ensemble cast and very witty ideas about existentialism, the film is certainly a comedy that doesn’t play to any conventions. Especially as it showcases the idea of existentialism in its most absurd. In the end, I Heart Huckabees is a remarkable film from David O. Russell.
David O. Russell Films: Spanking the Monkey - Flirting with Disaster - Three Kings - The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell
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