The Brothers Bloom

Originally Written and Posted at Epinions.com on 6/20/09 w/ Additional Edits.

Written and directed by Rian Johnson, The Brothers Bloom tells the story of two brothers reuniting for one last con game on a heiress to steal some money. Instead, one of the brothers fall for the heiress who takes part in the con with help from a Japanese explosion artist. A traditional con film of sorts, The Brothers Bloom is more about characters than the actual con as Johnson also chooses to play tricks on everyone including the audience. Starring Adrien Brody, Mark Ruffalo, Rachel Weisz, Rinko Kikuchi, Robbie Coltrane, Maximilian Schell, and narration by Ricky Jay. The Brothers Bloom is a witty, character-driven con film from Rian Johnson and company.

Ever since they were orphans going from house to house, the Bloom brothers in 13-year old Stephen (Max Records) and 10-year old Bloom (Zachary Gordon) were just kids who didn't fit in until Stephen found a way to make a scheme out of the wonderment and innocence of other kids. Therefore, a con was executed as it would be the first of many for the Bloom brothers. 20 years later in Berlin, another successful con was executed as Stephen (Mark Ruffalo), Bloom (Adrien Brody), and their Japanese explosion technician Bang-Bang (Rinko Kikuchi). A party was thrown in the honor of the brothers where a young woman named Rose (Nora Zehetner) tried to flirt with Bloom but Bloom believes it's another con as he could no longer distinguish with what's real and what's a con.

Leaving the con business for good, Bloom disappears to Montenegro where three-months later, he's found by Stephen. Stephen asks him for one last con in New Jersey which involves a rich, eccentric heiress named Penelope (Rachel Weisz). Bloom takes a liking to her as he reluctantly joins the con with Stephen and Bang-Bang. Yet, after a plan to be hit by her car on his bike that went well. It also doesn't go well after Penelope crashes her car near a cliff where she survived. Bloom masquerades as an antique dealer where he befriends Penelope who likes to collect hobbies and do weird things. Bloom reveals that his brother are going to Prague to retrieve an old book as he asks if she would want to go. Bloom isn't sure if she would go but she does in style as she befriends the quiet Bang-Bang while she also meets a mysterious antiques curator (Robbie Coltrane).

While the curator claims that the Bloom brothers are smugglers, Penelope gets excited as they land in Greece on their way to Prague. With an elaborate plan to steal the book, the presence of their old mentor Diamond Dog (Maximilian Schell) troubles the Bloom brothers because of an incident where Stephen wounded Dog's left eye. After a con where the curator ends up getting a huge sum of money from Penelope, the Bloom brothers seemed to have succeed but Penelope wants to go for the book. The brothers and Bang-Bang don't believe she could do it but through some improvisation and sweet talk, Penelope succeeds. Bloom and Penelope start to fall for each other as they go to Mexico for their final destination of the con as Bloom becomes unsure if he wants to con Penelope as Stephen realizes that his brother is about to ruin the entire plan. Instead, another con in St. Petersburg occurs that Bloom reluctantly joins in but with some unexpected help.

Con films are often about a plan for a big con and such. Yet, it's always approached with a level of cleverness and wit as it's about the big scheme and such. What makes this film a bit different is the fact that it is more about characters and how they're invested into playing a con with one of them becoming less enthused as he falls for his mark. The first seven-minutes of the film is narrated by Ricky Jay that explores the history of the brothers and how they managed to score their first con scheme. Now that first seven minutes along with aspects of the films in its look might have audiences thinking that writer-director Rian Johnson is channeling the work of Wes Anderson. Well, there's a major difference between Anderson and Johnson in their approach to visuals and storytelling.

Anderson is an artist who shoots films in certain angles and has his own quirks and shooting styles with a look that is very colorful. At the same time, Anderson is known for creating characters that are very eccentric though they're relatable. Yet, part of the flaw with Anderson's films is that sometimes, the characters are eccentric for their own good while Anderson also has a tendency to employ gimmicks whether it's some kind of pop music or the slow-motion edits to end the films. Though it's an interesting style that has worked for Anderson. It often works too well.

Johnson is very different where he doesn't go for that kind of cinematic style. Instead, he's more invested in characters and their flaws. In Bloom, he's the reluctant player who will fake his death for the con and be the guy who will dig deep into a con where he has trouble distinguishing between fiction and reality. The Bloom character is a character filled with conflict as he falls for his mark while has a hard time doing the job with his brother. Stephen, is the organizer and brains of the con as he's all about the big payday and not really into the emotional aspects of hurting people. Still, Stephen is just as interesting as Bloom in reveling the idea of the con while being impressed by his mark Penelope for just going along with it.

Penelope is really the heart of the film as she is just a woman looking for some kind of adventure. Living in a house by herself, the arrival of Bloom, Stephen, and Bang-Bang gets her to interact with people she wouldn't have interacted in her dull, lonely life. Money doesn't mean anything to her as her relationship with Bloom becomes more romantic while finding a close friend in Bang-Bang. Though the Bang-Bang character only has a couple of lines, she is truly the film's most quirky and enjoyable character of the film. She is the balance of the three main characters where she is Stephen's close ally while grounding Bloom and being the friend to Penelope.

Johnson's exploration of characters is what makes the film different in its screenplay while he also goes into the organization of the con. While audiences might be baffled by its approach in the deconstruction of the con film. It allows Johnson to be invested in the relationship of the characters and the organization of the con. For the direction of the film itself. Johnson does go for a style that includes hand-drawn drawings of locations and bubbles of the cons to structure the story. Yet, he does it in a subtle way while does give the audience insight into various locations including Prague, Montenegro, and St. Petersburg as it's all shot in Europe.

There's a richness to the location though its not all filled with flashy colors like some of Wes Anderson's films which are very colorful in its set designs and cinematography. Johnson is more engaging into the characters where there's a great shot of Penelope playing cards as her mouth is being reflected through some form of silverware. Johnson's long shots of the locations are very beautiful as it relates to Bloom's state of mind where the compositions and shots are more about what is going on in the con and such. While it's not a perfect film, what Rian Johnson does with his sophomore feature is phenomenal as he is truly becoming a director to keep an eye.

Johnson's regular cinematographer Steve Yedlin does excellent work with the film's camera work with beautiful shots of the locations including sunset shots of the scenes on the sea. Yedlin's best work in the film are scenes in the wood with lights striking towards the woods which is reminiscent of the legendary work that Vittorio Storaro did in Bernardo Bertolucci's 1970 film Il Conformista. Editor Gabriel Wyre does some fantastic work with the film's editing which is a balance between straightforward transitions, jump-cuts, rhythmic timing, and other stylized transitions including wipes and such to give the film a nice pacing that truly works.

Production designer Jim Clay plus set decorator Sophie Newman and art director Paul Kirby do some very good work in the look of Penelope's home and other objects plus the boat and the party that the Bloom brothers celebrate at Berlin. Costume designer Beatrix Aruna Pasztor brings a lot of amazing costumes to the set, notably the clothes that Rinko Kikuchi wear from her fur coat, airplane goggles, and hat while Rachel Weisz manages to look great with a green coat, some shoes, and most of all, the bowler hat that complements the suits the men wear in the film. Sound editor Jonathan Miller does some fantastic work with the film's sound in its location settings, explosions, gun shots, and other things that add to the film's exciting, quirky humor, notably Bang-Bang's love for explosions.

The film's soundtrack supervised by Brian Reitzell features a collection of music including cuts by Cat Stevens and from Nashville Skyline, the song Tell Me That It Isn't True by Bob Dylan that is in a great scene with Adrien Brody and Rachel Weisz talking. Yet, it's the score by Rian's cousin Nathan Johnson that is really one of the film's technical highlights. Filled with wonderful arrangements from orchestral, folk, and blues. It plays up to the film's quirky sense of humor as well as its drama with acoustic pieces that are truly memorable and with lots of hook. Whereas Nathan Johnson's score in Brick had a unique feel to the film, his score for this film is just as potent which marks the arrival of fantastic music composer in film.

The casting by Shannon Makhanian is excellent with Esme Tyler as a young girl the young Bloom falls for, Andy Nyman as a man conned in Berlin, and as the young Bloom brothers, Zachary Gordon as the young Bloom and Max Records as the young Stephen, both of whom deliver fantastic performances. Making cameos from the film Brick are Noah Segan as a Duke, Nora Zehetner as a girl trying to flirt with Bloom named Rose, and a one-second cameo from its star Joseph Gordon-Levitt. Maximilian Schell is excellent as Diamond Dog, a former mentor wanting to seek some kind of vengeance against the brothers for destroying his left eye while wanting to make deals with them. Robbie Coltrane is great as the curator, a man who knows what the brothers are while trying to be charming towards Penelope as Coltrane does some solid work in his brief appearances.

Stealing the film from practically all of her co-stars is young Japanese actress Rinko Kikuchi of Babel fame as the explosive technician Bang-Bang. Though she only has a couple of lines and the performance is mostly silent, Kikuchi steals the show with her quirky sense of humor in making faces, hand gestures, and her ability to do explosives. There's something that is quite adorable about Kikuchi where in every scene she's in, there's something that brings a smile to the face of the viewer as it's truly a role that is extremely memorable. This performance really tops her Oscar-nominated performance in Babel. Mark Ruffalo is brilliant as Stephen, the organizer of the con who tries to get his brother into it while maintaining its integrity and hopes for the pay-day. Ruffalo is a bit understated but also witty as he is also engaging and complex in his emotions in his scenes with Adrien Brody as the two have great banter together.

Rachel Weisz is phenomenal in what is truly the best role of her career. Playing the eccentric heiress Penelope, there's something exciting about her performance as she is someone that does many things. Weisz actually does the skateboarding, rapping, juggling, and all sorts of things while showing depth of a woman who is lonely and in need of some kind of connection. For the famed British actress, this is easily the most accessible and entertaining performance of her career. Adrien Brody is truly in top form as Bloom, the melancholic protagonist in need of change after being in one too many cons. Brody hits all of the right notes while not delving into melodrama while showing that he can also bring humor as it's definitely the most fulfilling performance he gave since his 2002 Oscar-winning performance in Roman Polanski's The Pianist. Brody's chemistry with Weisz is truly engaging as it's based on two people who feel out of place only to realize how they enjoy each other.

While it may not have the atmospheric, dark tone of Brick, The Brothers Bloom is truly a smart, funny, and thrilling film from Rian Johnson. Fans of Brick will rejoice that Johnson can deliver another hit as he is clearly a director that will be one to watch. Fans of con films might be put off by its unconventional approach though will be invested in its emphasis on character study instead of clever plot devices. With top-notch performances from Adrien Brody, Rachel Weisz, Mark Ruffalo, and Rinko Kikuchi. The Brothers Bloom is definitely a fun, witty con-comedy film from Rian Johnson.

Rian Johnson Films: Brick - Looper - The Last Jedi - Knives Out - Glass Onion: A Knives Out Mystery - (Knives Out 3)

© thevoid99 2012

007 James Bond Marathon: Tomorrow Never Dies

Based on the stories by Ian Fleming, Tomorrow Never Dies is the story of James Bond facing off against a media mogul who is intent on destroying the world and profiting from it with his false news. Directed by Roger Spottiswoode and screenplay by Bruce Feirstein, the film is another adventure in which Bond tries to save the world as he gets help from a Chinese spy who is proven to be an equal to Bond. With Pierce Brosnan playing Agent 007 for the second of his four outings. The film also stars Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Ricky Jay, Gotz Otto, Joe Don Baker, Vincent Schiavelli, Samantha Bond, Desmond Llewelyn, and Judi Dench as M. Tomorrow Never Dies is a fun and captivating film from Roger Spottiswoode.

After a British frigate was sent off course where it nearly went into Chinese waters, the frigate was mysteriously sank by a drill while a Chinese fighter jet was shot down. The incident makes the news as M asks James Bond to investigate the matter before the British Navy sends its ships to China to recover and maybe retaliate for what happened. Bond goes to Hamburg to attend an event at the news headquarters of media mogul Elliot Carver (Jonathan Pryce) whose wife Paris (Teri Hatcher) is a former flame of Bond’s. Also attending is a Chinese spy named Wai Lin (Michelle Yeoh) who masquerades as a reporter to get into the event as Bond chats with Paris who later reveals to Bond about what her husband is doing.

Bond goes into Carver’s secret base to retrieve a secret GPS encoder that he saw at a previous mission that was in the possession of a techno-terrorist named Henry Gupta (Ricky Jay). Bond gets the encoder but encounters trouble as he also sees Lin at the building trying to investigate as well. Bond makes his escape only to be confronted by a professional assassin in Dr. Kaufman (Vincent Schiavelli) who is trying to kill Bond so that Carver can make a headline to reveal that Bond is dead. Instead, Bond fights his way out as he travels to the East Vietnam Seas to meet with Jack Wade (Joe Don Baker) to reveal the GPS encoder as they learn about how the British frigate went off course. Bond goes to the wreck where he also sees Wai Lin where they make a discovery until they’re captured by Carver’s henchman Stamper (Gotz Otto).


The film is another story of James Bond trying to stop World War III from happening. However, in this post-Cold War world, the opponents are different as the situations to create World War III is much more complicated as it’s driven by this psychotic media mogul who wants to profit from World War III and become the top man of the media. For Bond, it’s a mission that has him trying to save the world once again as he would team up with a Chinese spy who is more of an equal to him as she is able to get things done and get out of tense situations.

Bruce Feirstein’s screenplay does have a lot of the attributes and plot schematics that is expected in a Bond film. Yet, it does manage to create something new in the way Bond has to deal with this new world order that wants to take control of the world events and prosper from it. Elliot Carver is an interesting villain as he’s just this man that is intent on wanting to get huge ratings and control the media for the sake of power as he is willing to do anything to achieve that. This would allow Bond to do something as he teams up with a Chinese agent in Wai Lin who is aware that Carver wants to have China be part of a war that they all know could be catastrophic. Lin is a unique character as she is someone who has her own tricks to get out of a situation as she and Bond become a team that can really do a lot of damage for Carver.

Roger Spottiswoode’s direction is definitely big in terms of its ambition and the action sequences that is created. Yet, he takes the time to let the mystery unfold as it is about Bond trying to see what Carver is up to before the Royal Navy can retaliate against the Chinese. With lots of amazing shots set in Hamburg, London, and Bangkok, it’s definitely a film that bears a lot of the hallmarks of the Bond films while Spottiswoode does create interesting shots to play out its suspense and drama. Notably the moments between Bond and Carver where the camera angles to establish these two men trying to outsmart one another and figure out how to outwit them. Overall, Spottiswoode crafts a very solid and engaging film that has all the hallmarks of a Bond film while making sure that it’s also exciting.

Cinematographer Robert Elswit does excellent work with the photography for many of the film‘s exteriors including Carver‘s event and the lights inside his secret stealth ship. Editors Michel Arcand and Dominique Fortin do nice work with the editing by creating fast yet steady cuts for the film‘s action scenes while slowing things down for its suspenseful moments. Production designer Allan Cameron and set decorator Peter Young do fantastic work with the set pieces such as the MI6 video room, the look of the stealth ship, and Carver’s home base. Costume designer Lindy Hemming does very good work with the costumes from the clothes the men wear to the glamorous dresses that Paris Carver and Wai Lin wear at Carver‘s presentation event.

Special effects supervisor Chris Corbould does terrific work with the special effects for many of the film‘s action scenes including the sinking of the British frigate. Sound editor Martin Evans does superb work with the sound to capture the chaos of the action scenes as well as the layers of sound in the Carver‘s presentation event. The film’s music by David Arnold is brilliant for its mix of lush orchestration and low-key electronic music arrangements to create a modern soundtrack that captures the spirit of the Bond music of the past. The soundtrack features the power-ballad title track sung by Sheryl Crow as well as the closing ballad Surrender by k.d. lang as well as sped-up, electronic take on the James Bond theme by Moby.

The casting by Debbie McWilliams is wonderful for the ensemble that is created as it features appearances from Julian Fellowes as the defense minister, Geoffrey Palmer as Admiral Roebuck, Vincent Schiavelli as Carver’s assassin Dr. Kaufman, and Joe Don Baker as Bond’s CIA friend Jack Wade. Bond regulars in Samantha Bond as the always witty Miss Moneypenny while Desmond Llewelyn is superb as the inventive Q who has a great moment with Bond in presenting a new car. Ricky Jay is terrific as the brainy cyber-terrorist Henry Gupta while Gotz Otto is very good as the very intimidating henchman Stamper. Teri Hatcher is stellar in a small role as Carver’s wife Paris who has a past with Bond as she would give Bond crucial information that would help drive the plot forward.

Jonathan Pryce is brilliant as the very ambitious Elliot Carver as Pryce gets a chance to be very calm and cool while also very dark in the way he wants to control the media. Michelle Yeoh is great as Chinese agent Wai Lin as she is someone who is very smart and charming but also manages to be a total badass in the way she deals with her foes as she proves to be a formidable equal for Bond. Finally, there’s Pierce Brosnan as James Bond where Brosnan maintains a mix of low-key wit and charm with a sense of grit as he makes Bond more relaxed but also captivating in the way he goes on about with his mission while being someone who does have rules. It’s Brosnan giving a very fine performance that allows Bond to be the professional but also display a bit of humanity in the way he deals with loss.

Tomorrow Never Dies is an excellent film from Roger Spottiswoode that features a superb performance from Pierce Brosnan as James Bond. Along with top-notch supporting work from Michelle Yeoh and Jonathan Pryce, it’s a film that has a lot of the elements of a James Bond film that audiences can enjoy while bringing something different to keep it fresh. In the end, Tomorrow Never Dies is a remarkable film from Roger Spottiswoode.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Magnolia

Originally Written and Posted at Epinions.com on 10/8/05 w/ Additional Edits & Revisions.

Written and directed by Paul Thomas Anderson, Magnolia is a multi-layered story that chronicles a day in the life of various people in Los Angeles. Among them is a loser salesman, a cop, a gold-digging wife who realizes her love for her husband while his estranged son is a conflicted self-help guru. Other stories include a child in a game show while its host is dealing with personal problems that include his daughter's self-destructive behavior. The film explores the world of coincidences, chance, redemption, and failure that connects these characters in this very fascinating drama. With an all-star cast that includes P.T. Anderson regulars like Julianne Moore, Philip Seymour Hoffman, Ricky Jay, Philip Baker Hall, John C. Reilly, Melora Walters, William H. Macy, Luis Guzman, and Alfred Molina plus Jason Robards, Felicity Huffman, Melinda Dillon, Michael Bowen, April Grace, Michael Murphy, Jeremy Blackman, and Tom Cruise. Magnolia is an ambitious yet engrossing drama from P.T. Anderson.

Jimmy Gator (Philip Baker Hall) is a TV game show host who is about to reach 12,000 hours of broadcasting while his daughter Claudia (Melora Walters) is binging on sex and drugs in another part of Los Angeles. Set to be on Gator's TV show is a kid named Stanley Spector (Jeremy Blackman) who is intent to study while his father Rick (Michael Bowen) is doing auditions. A man named Donnie Smith (William H. Macy) is about to get corrective teeth surgery as he reflects on his time back in 1968 when he won Gator's show back in 1968 at the age of 10. Meanwhile, Earl Partridge (Jason Robards) is dying as he's in the care of nurse named Phil (Philip Seymour Hoffman) while Earl's wife Linda (Julianne Moore) run errands. Jim (John C. Reilly) is a police officer whose day starts off strange due to a disturbance by a woman named Marcie (Cleo King) over a dead body as he later meets a young rapping boy named Dixon (Emmanuel Johnson).

With Earl on his deathbed, he ponders about his life as he asks Phil to find his estranged son Frank (Tom Cruise), who has re-invented himself as seminar guru Frank T.J. Mackey as he's being interviewed by a reporter named Gwenovier (April Grace). Jimmy makes an unexpected visit to Claudia's apartment to reveal some startling news as the meeting doesn't go well as he hoped to be as he later calls his wife Rose (Melinda Dillon) about what happened. Claudia would react badly to the news as she causes a disturbance where she attracts the attention of Jim as the two fall for each other where they later see each other for a date. After visiting a doctor and her lawyer Alan Kligman Esq., Linda would make a confession of her own as she asks to be removed from Earl's will. After being fired by his boss Solomon (Alfred Molina) over lateness and incompetence, Donnie goes to a bar to cope with failure where he reveals some stories of his own as he tries to profess his love to the bartender Brad (Craig Kvinsland) while talking to a man named Thurston Howell (Henry Gibson).

Later that night on Jimmy's show, Stanley shows up to the studio nearly late as he gets ready to play the game. Yet, Jimmy starts to feel sick during the show while Stanley also succumbs to pressure leaving the show in trouble. Frank's meeting with Gwenovier starts off fine until she starts to press questions about his past as he gets a call from his assistant about Phil. Frank reluctantly talks to Phil as he hears the news while Linda comes home to learn that Phil contacted Frank. Just before his date with Claudia, Jim has a run-in with a supposed killer as he loses his gun as it would be a horrible moment for him as he later talks to Claudia about it during their date. After the show, Jimmy makes a confession to rose about a dark family secret while Donnie decides to do something about his job as everyone starts to face their own conscious in one big moment.

While the film and its overlapping storylines might include many influences from Robert Altman, P.T. Anderson definitely goes for that style to bring something that is very ambitious while using that to make a film about one simple theme, love. Some might call this an existential film of sorts or a psychological drama or an epic drama or anything yet it's definitely one of the most original films of the decade. Particularly the way the film carries so many stories without losing track of its theme and major characters. Every character in that film is connected to another, one way or later on.

What makes the film so interesting is its epic-length structure where none of the subplots lose itself or becomes a distraction. Anderson carefully constructs each scene and each act into what the film's theme is about. The first six minutes has an eerie prologue that returns later on in the third act with a narrator (the voice of Ricky Jay) talking about coincidences. Then, eight minutes go by into the first act where Anderson introduces all of the major characters in the film. The first act is really about all of those characters, their troubles, and what kind of people they are. The second act is them exposing themselves, trying to hide from reality or deal with simple problems like Stanley wanting to go to the bathroom or Phil trying to reach Frank. The dialogue throughout the film, though stylized is very real once it comes to an emotional breaking point which leads to the film's third act.

The third act of the film is those characters dealing with confrontation, guilt, failure, and desperation while the emotions and situations become more complex. With the rain being a part of the second act of the film, the rain dies down and we see every character stripped-down to their real selves no matter what the audience thinks of them, it's the payoff that matters in the end. This would lead to one of these moments that can be described as What the fuck? There, the film shifts into something that is really mind boggling and then talking about it afterwards into an understanding, particularly with the film's prologue.

If Anderson's ambitions as a writer reaches new heights, so does his directing as he continues to create long, running steadicam shots that would go on for a few minutes in one take. His presentation is very linear though it shifts back and forth into one story and into another where in the second act, it creates all sorts of tension that definitely sets up a classic moment in terms of its emotions. Even in the some scenes, he creates tense atmosphere for the characters that would lead to them reaching some emotional breaking point. It's some of the finest directing that has been captured onto a film.

Helping Anderson in his vision is longtime cinematographer Robert Elswit. Elswit's cinematography is filled with amazing lighting, notably in the exterior night sequences that is filled with a lot of atmosphere with a bit of grainy yet dreamy imagery that complements Los Angeles in its beauty. In interior scenes, the film is well-lit which helps create the tension of the film. Editor Dylan Tichenor helps create the multiple storyline of Anderson's script, notably the second act where the film is cut very swiftly but is given enough time for each character to tell their story. Production designers William Arnold and Mark Bridges help create atmosphere in the film's look including the bar scene that is filled with an intimacy and tension to the film. Mark Bridges also brings in some great costume, notably the loser clothing for William H. Macy, and the posh clothing of Julianne Moore.

The film's soundtrack even helps to tell the story whether its Emmanuel Johnson rapping or Gabrielle playing in Donnie Smith's car. Even Supertramp appears in a couple of songs in the bar that Donnie goes to. Yet the score is dominated by the score of Jon Brion that brings a lot of atmosphere and tension to the film with additional contributions from P.T. Anderson's then-girlfriend Fiona Apple who adds a lot of piano flourishes to Brion's score. Then there's the music of Aimee Mann who dominates many of the film's music including a cover of Harry Nilsson's One as well as a few cuts including the Oscar-nominated Save Me and the song Wise Up where each major character gets to sing a verse in one of the film's most emotional scene.

Then there's the film's amazingly glorious ensemble cast that includes great small performances from Anderson regulars like Luis Guzman, Alfred Molina, and Ricky Jay who also does a fine job in the narration of the prologue. Also noted for small performances are the kids Emmanuel Johnson, Natalie Marston and Bobby Brewer as Stanley's partners in the game, plus pre-Desperate Housewife maiden Felicity Huffman in a small role as a production assistant, Henry Gibson as a rival for Donnie for the affections of a bartender, Michael Bowen as Stanley's greedy father, and Michael Murphy as Linda's attorney. In smaller but very important roles, April Grace does an excellent job in her performance as Frank Mackey's interviewer who doesn't get herself intimidated by Mackey's presence. Cleo King is also wonderful as Marcie, the woman who is suspected of a murder in the film's first major scene. Melinda Dillon is amazing as Jimmy Gator's wife who has her moment in the scene when Jimmy confesses about his secrets as she brings her best dramatic moment.

Phillip Baker Hall gives a great performance as the dying, regret-filled Jimmy Gator who starts off with an iconic status but his exterior is stripped down as Hall brings a performance that is nothing short of brilliance. Another veteran actor who shines in one of his final performances is Jason Robards as the dying Earl Partridge who is filled with regret and anger in a way that only Robards can do as he gives a performance that goes out in a graceful, masterful way. Melora Walters is also excellent as the troubled, lonely Claudia with her desire to self-destruct and not be with anyone until John C. Reilly comes and gives her a bit of hope as Walters shines in her performance. Reilly is also amazing as the lonely cop Jim who tries to do the right thing but one mental mistake brings him to an emotional breakdown as he leans to Claudia for support. William H. Macy gives another great performance in playing another loser as Macy brings a lot of angst and heartbreak into his performance as a lonely man who is filled with a lot of conflict and his desire to bring love.

Jeremy Blackman gives a riveting performance as Stanley who is smart but once the pressure to continue comes in, all he wants to do is go to the bathroom. Blackman brings a lot of sympathy and angst to his role as a kid whose simple desire is ignored as he realizes that he's become a puppet of sorts with only one man sympathizing with him. Phillip Seymour Hoffman gives a great supporting performance as Phil who nurses Earl and is always at his side. Hoffman has great scenes with Robards as he desperately takes care of him, no matter how bad he is as Hoffman brings a character who doesn't go into a change but it's his heart and role that shows a true example of a true supporting character.

Julianne Moore gives another amazing performance in a P.T. Anderson film as a guilt-ridden woman who is desperately realizing her sins. Moore brings a lot of theatrics to her role as well as a lot of emotions as she plays a character whose actions are unforgivable as she asks to be punished for her sins. It's truly one of her more remarkable performances that leads to a troubling aftermath as Moore's desperation truly gives her character something that she really needed in the film's theme. Tom Cruise gives one of the best performances of his career as Frank T.J. Mackey. Cruise early brings in a lot of intensity with a winning personality and presence with one great line. "Respect the cock and tame the cunt!" Cruise goes for intimidation and fire early on but once his true character is revealed, he brings a lot of restraint to his role until the third act when he gives out some great, fiery emotions in his scene with Jason Robards.

Magnolia is a sprawling yet magnificent film from Paul Thomas Anderson. Armed with an outstanding ensemble cast, great technical work, and a captivating story, the film is definitely unlike anything out there in terms of the themes it presents and what it wanted to say. It's a very smart and ambitious ensemble-driven film with multiple storylines that manages to not lose sight of what it wants to say while giving characters that audiences can be engaged by. In the end, Magnolia is a phenomenal film from Paul Thomas Anderson.

Paul Thomas Anderson Films: Sydney/Hard Eight - Boogie Nights - Punch-Drunk Love - There Will Be Blood - The Master - Inherent Vice - Junun - Phantom Thread - Licorice Pizza - One Battle After Another

The Short Films & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson

© thevoid99 2012

Last Days

Originally Written and Posted at Epinions.com on 12/10/05 w/ Extensive Revisions & Additional Edits.

April 5, 1994 was a day that many rock fans would remember as Nirvana leader Kurt Cobain committed suicide only to be found three days later. 11 years since his death, many people still wondered why the gifted and tortured songwriter had done such a deed. In 1998, documentary filmmaker Nick Broomsfield tried to find answers in which he feels part of the reason he killed himself was his overbearing wife and Hole singer Courtney Love. Still, questions remained unanswered while some try to find a sense of understanding into Cobain's death. In 2005, one director chose to figure out that understanding through a fictional account about a young rock singer, similar to Kurt Cobain, who is spending his final days of his young life entitled Last Days.

Written and directed by Gus Van Sant, Last Days is the third and final part of his elliptical trilogy of death. Using the same minimalist style and improvisation that preceded the last two films, Gerry and Elephant, Van Sant chooses to explore one man's psyche as he is detaching himself from the world around him. Starring Michael Pitt, Asia Argento, Ricky Jay, Lukas Haas, Sonic Youth bassist Kim Gordon, Nicole Vicius, Scott Green, Ryan Orion, and Harmony Korine. Last Days is a harrowing, eerie portrait of a downward spiral captured by the brilliant Gus Van Sant.

Wandering around in the middle of the woods, a young man named Blake (Michael Pitt) treks across the woods to detach himself from the world. After spending the night at a campfire, he returns home as the only people at his house are those who claim to be his friends. After retrieving a box that he had dug up while doing some domestic activities, a man named Thadeus (Thadeus A. Thomas) arrives to sell phone books that ends up being being awkward due to Blake's distracted behavior. Preying around his house, he locks himself where a young woman named Asia (Asia Argento) finds him. With her boyfriend Scott (Scott Green) and friend Lukas (Lukas Haas) also around, they deal with a couple of Mormon missionaries (Adam & Adam Friberg) as the two men with Asia and Lukas' girlfriend Nicole (Nicole Vicius) leave the house. Later that day, a private investigator (Ricky Jay) and a friend of Blake named Donovan (Ryan Orion) tries to find him unaware that Blake is hiding somewhere in the woods.

After Donovan and the investigator leave, Blake returns home where a record executive (Kim Gordon) visits to get him back into rehab. Blake instead, chooses to wallow around as his four friends return listening to music and doing all sorts of things prompting Blake to leave. Walking to town, he goes to a club where he talks with a club goer (Harmony Korine) and later returning home with an intent on what he wants to do.

Other directors would've either take an issue on suicide as something honorable or to attack the person committing it. Since the film is inspired by Kurt Cobain's suicide, like the previous films of Gus Van Sant's Death Trilogy, it brings more questions than answers. Yet, it's the right approach since Van Sant neither condemns nor praises Blake's final actions. Plus, Van Sant goes into that approach where the audience is aware of what this young man has accomplished yet everything that comes around it only troubles him to the point that he has a desire to kill himself. It's really about a man who is in the final moments of his life as he ponders what he's trying to live for.

Now the writing of the film is really more of an outline where Van Sant leaves more room for improvisation. In terms of its structure, the first act is really about Blake wandering around in his own torment and to the world around him. The second act is a bit more non-linear in which its where the directing and editing becomes very idiosyncratic. Where in one scene, we have Lukas and Scott talking to religious counselors while Asia is trying to find Blake, who is in his room watching a Boyz II Men video. It starts off with Asia trying to find Blake where we see the sense of perspectives. That style of Van Sant's editing, writing, and directing really comes into the forefront for entire second act where everything is happening to the Lukas and Scotts's conversations with Blake where it originally starts off with the two and their girlfriends partying. Even the investigation scene is where Blake leaves only to hide on a bench to watch the river while Donovan and the private investigator are trying to find him at the same time.

Though it's obvious what's going to happen in the third act, it's really more of a winding down to what's to come with an even more eerie aftermath. Particularly with the friends of Blake who feel that they could be in trouble since they were in his house. It's really more disturbing in the end since Van Sant doesn’t try to make the audience feel overly empathetic towards Blake. Another thing about Van Sant's writing in this film is the lack of dialogue since its often improvised for a sense of authenticity while Blake barely talks. It's that improvisation and minimalism that gives Van Sant's film an eerie quality, especially in one scene of the second act where Blake is performing and the camera on a dolly track is moving back to see Blake playing with his music. It's one of the scariest and most troubling scenes of the film. Van Sant on the directing front is as potent and observant than ever while on the editing, he gives the film a slow but deliberate pacing that works in its observation and study of the protagonist the audience is seeing.

Helping Van Sant in his minimalist, wandering vision includes two important collaborators who worked in his trilogy, cinematographer Harris Savides and sound designer Leslie Shatz. Savides brings a harrowing yet colorful cinematography to many of the film's interior, wooden scenes with little lighting that gives the film an evocative tone while many of the film's exterior scenes, especially at night where the lighting is often filled with available light or fire. The compositions Savides brings is beautiful while channeling the ghostly quality of what's to come. Leslie Shatz also brings that ghostly, ethereal quality to her sound design with its use of bells and choirs singing in the background that suggest something spiritual that's to come for Blake in his final moments. Shatz also conveys the use of music and the surroundings Blake is in away from the outside world with sounds of trains, waterfalls, airplanes, and everything else. It helps tells the story as Shatz, who won a Grand Technical Prize at this year's Cannes Film Festival, does amazing work.

While art director Tim Grimes brings a lot of detail to the look of Blake’s house including its dingy kitchen and wooden house design, costume designer Michelle Matland also brings the right kind of clothing from the sunglasses and sweaters that brings a nice reference to Kurt Cobain. Consulting a lot of the film's music is Sonic Youth leader Thurston Moore who brings not just a lot of alternative rock to the forefront along with a cut from the Velvet Underground but also some original music from Lukas Haas and Michael Pitt who really conveys the eerie, disconcerting sound of the music of the times. One of the best pieces of music that brings humor to the film in a movie that lacks humor is Boyz II Men's On Bended Knee that shows that time of the 1990s. The film still retains the classical sense that Van Sant got in his previous parts of his trilogy while opening and closing the film with a mournful opera piece.

The film's small cast includes some fine performances including a few unknowns who are either local actors like the Friberg brothers who are really local actors while the Thadeus A. Thomas is in real life a phone-book salesman. These performances are done realistically and give the film a sense of realism. Cameos from Harmony Korine as a Dungeons & Dragons fan talking to Blake and Kim Gordon who brings a mysterious quality into her performance where the audience isn't sure what she’s playing though from an interpretive view, it could be an angel in disguise as a record executive. It's a fine performance while Ricky Jay brings a lot of humor to his character as he talks about Chinese circus acts while Ryan Orion is excellent as Blake's friend trying to find him while talking a lot of stuff to the detective. The performances of Asia Argento, Nicole Vicius, Lukas Haas, and Scott Green are well done since they do have their moments to stand out when really, they do great background work as Blake's patrons who are unaware of what he's going to do while look at him as a real person instead of a rock star.

Finally, there's Michael Pitt who gives the performance of his career as the troubled yet brilliant Blake. With very little dialogue, Pitt does a lot of muttering, mumbling, and talking to himself yet it sells within each moment of the film. Pitt manages to convey the torment and fragility of a young rock star who has simply has had enough. Often tripping on things, stumbling around, or just wandering off through sense of paranoia, there's never a moment in which Pitt wants empathy or sympathy since he knows what he's about to do is wrong and he can't escape it. It's a selfish character but it's a very human one as Pitt brings all of the qualities that is needed for this troubled young man. Still in his early 20s and with film roles in movies like Bully by Larry Clark, Hedwig & the Angry Inch by John Cameron Mitchell, The Dreamers for Bernardo Bertolucci, and The Village for M. Night Shylaman, Michael Pitt is truly becoming one of the most daring and risk-taking actors of his generation and he's just getting started on his path towards greatness.

The HBO Films Regional 1 DVD of Last Days includes the 5.1 Dolby Digital audio in English, Spanish, and French along with English and Spanish subtitles. The DVD comes in two different sides and two different cinematic formats for the film on the first side. The film does the 16:9 widescreen format that is loved by most film buffs while Van Sant also chooses to bring the 4:3 fullscreen format which he preferred for this film since it was the original theatrical presentation he wanted. The special features on the DVD is very minimal but worth watching. One is a making-of 20-minute featurette where Van Sant, producer Dany Wolf, Harris Savides, and the film's cast talk about the improvisation and creativity that goes on behind the film and how inspiring it was to have a sort of freedom.

The second featurette is a making-of scene where it's the dolly shot track where Lukas Haas shoots the crew trying to get this long dolly shot with crew members trying to remove the railing so the camera wouldn't get that while balancing it. It's a great featurette for any aspiring film director. Only one deleted scene makes it to the DVD and it's the scene where Blake is performing from a ceiling view and it's the scene that was shot in the final cut in that long dolly track shot. Here, we see Blake performing with guitars, fuzz boxes, and everything as he destroys it in the end of the 8-minute scene. The final part of the special features is music video by the band Pagoda led by Michael Pitt which is an alt-rock song of the band performing with his co-star Nicole Vicius dancing around with tapes on her breasts while the band eat while talking. It's a fun video to watch.

While it's a film not for everyone and certainly for those who hadn't enjoyed Van Sant's recent work, Last Days is still an incredible, poignant film from Gus Van Sant led by Michael Pitt's entrancing performance. Though for those who didn't enjoy the elliptical approach of his previous films in the trilogy will sure hate this film. Fans of Nirvana obviously will have mixed feelings though its observant approach makes the film very interesting. While it's nowhere near the brilliance of earlier films like My Own Private Idaho, Drugstore Cowboy, or To Die For, Last Days does remain one of Gus Van Sant's more intoxicating and provocative films of his career. In the end, Last Days is a superb yet melancholic film from Gus Van Sant.

Gus Van Sant Films: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - To Die For - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Paranoid Park - Milk - Restless - Promised Land

The Shorts & Videos of Gus Van Sant - The Auteurs #4: Gus Van Sant

(C) thevoid99 2011

The Prestige

Originally Written and Posted at Epinions.com on 10/28/06 w/ Additional Edits.

Following the success of 2005's Batman Begins, Christopher Nolan has proved himself that he can do a big-budget blockbuster while reinventing the Batman film franchise after the campiness it suffered in the mid-90s. While Nolan is considered to be one of the finest directors after his 2000 film Memento and the 2002 remake of Insomnia made him an established director. While he still continues to work on the Batman film series, Nolan decides to go back to smaller territory by going into a film about dueling magicians based on a novel by Christopher Priest entitled The Prestige.

Adapted into a script by Christopher and Jonathan Nolan, The Prestige is about two 19th Century magicians whose friendly rivalry turns deadly when a magician performs the ultimate magic trick that led his friend to try to discover his secrets. Directed by Christopher Nolan, the film is a study of friendship and rivalry while weaving into the world of magic in its good and bad side. Starring recent Nolan regulars Christian Bale and Michael Caine plus Hugh Jackman, Scarlett Johansson, Andy Serkis, Ricky Jay, Rebecca Hall, Piper Perabo, Roger Rees, and music legend David Bowie. The Prestige is an entertaining, thrilling film from Christopher Nolan.

On a trip to the Colorado Springs, an American magician named Robert Angier (Hugh Jackman) takes a trip to try and find a discovery that he hopes would become the greatest magic trick. He hopes to find a man who has done wonders for electricity in the name of Nikola Tesla (David Bowie) only to meet his assistant Alley (Andy Serkis) first. Angier's motives to finding Tesla is far more complex as his story begins. Years ago in London, Angier and a fellow magician named Alfred Borden (Christian Bale) were part of a magic troupe performing tricks with Angier's wife Julia (Piper Perabo) and a veteran magician named Milton (Ricky Jay). The trick often consists of Julia escape a tank full of water by untying herself through a knot. Often assisting and watching things go right is a inventive expert named Cutter (Michael Caine). The trick is a success though Borden wants to push the boundaries of magic as he and Angier watch an old Chinese man (Chao Li Chi) perform a trick where Borden knows the secret behind everything.

When Angier, Julia, Borden, and Milton chose to do the same trick the next night, Borden decides to make things more complicated with tragic results. Angier's friendship with Borden has officially become troubled as Borden goes at alone where he charms a young woman named Sarah (Rebecca Hall). Hoping to make it as a magician, Borden struggles to make his tricks seem beyond the ordinary expectations but one night, in an attempt to do the catching bullet trick, it goes wrong thanks to Angier. Hoping to rebound from his wife's death, Angier with the help of Cutter decides to start his own career as a magician with the name "The Great Danton" given by his wife. Joining along is a new assistant named Olivia Wenscombe (Scarlett Johansson) who helps along being his assistant in the help of performing tricks. During a night to before another of his tricks, Borden comes along, in disguise, and takes revenge. Learning that Borden now has a family with Sarah that includes a little girl named Jessica (Samantha Mahurin), Angier hopes to outperform Borden, who has now made a small sensation with his own trick known as the transporting door.

Trying to figure things out with Olivia thinking that there's a double, Angier decides to do the same trick with the help of a double and more showmanship that Borden seems to lack. Olivia finds one in a drunk who looks exactly like Angier with a beard. Angier's new version of the transporting door trick becomes a total success yet he remains obsessed in how Borden did his trick by having Olivia become a spy to find out how Borden did it. When Olivia is sent, things go wrong as she ends up falling for Borden which makes his relationship with Sarah become complicated. When Borden decides to make things worse for Angier that involved Angier's double, Angier decides to go to Colorado Springs in order, to outdo Borden. What he finds is how Tesla created a machine that would make everything seem magical. With Borden's own world starting to fall apart due to his ability in keeping secrets, Angier finally returns to perform his trick where the rivalry becomes deadly.

Taking the same, non-linear approach of Memento but in a more conventional way, the Nolan brothers take Priest's novel and turn it into a thrilling yet psychological puzzle that dazzles the audience while making them confused. Still, the film plays to the structure in a way that reveals the three-act structure of magic which starts with the pledge, then the turn, and finally, the prestige. The result is a film that reveals its secrets right in the end but leaving the audience to figure out what's going on. The result is a film that plays more in figuring out how two magicians try to outdo one another and how they're willing to do anything at all cost, even to get attention. The film's plot about dueling magicians is simple but when the story develops, it becomes far more complex.

With the script that he co-wrote with his brother Jonathan, Christopher Nolan definitely brings a sense of mystique to the film where it's all told in not one but in two perspectives of its protagonists. Nolan's observant yet mystical direction does play like magic in not wanting to reveal something though he does use tricks where the audience might know about something but does something very unexpected. Overall, Nolan brings a very strong approach to his directing that plays like a magician in the fact that he wants to create an entertaining puzzle that the audience can figure out.

Helping Nolan with his presentation of the late 19th Century is cinematographer Wally Pfister whose photography of intimate, interior settings are wonderful with sepia-like colors and dark tones while the exterior, notably a sequence with light bulbs are amazing to watch. Production designer Nathan Crowley with art director Kevin Kavanaugh do great work in the film's look of the late 19th Century including the areas and most of all, the work of Tesla with help from visual effects supervisor Stephane Ceretti. The costume design of Joan Bergin also excellent in not just the suits for the men as magicians but for the women in their roles. Editor Lee Smith did great work in playing to the film's non-linear structure and dazzling approach for the characters in the perspective cutting. Music composer David Julyan creates an ominous, yet epic-like score that plays to the emotions of the characters and everything to create some suspense for the film with an additional track from Radiohead's Thom Yorke in the film's final credits from his album The Eraser.

The film's cast is superb with small performances from Roger Rees as a man named Owens, who wants to know Borden's secrets plus William Morgan Sheppard as a promoter, Chao Li Chi as the Chinese magician, Samantha Mahurin as Jessica, and noted magician Ricky Jay who also serves as a consultant in magic tricks. In a small yet wonderful role, Piper Perabo is great in her brief appearance as Angier's wife Julia who inspires her husband into taking a name while being a great assistant. Andy Serkis is also great as Tesla's assistant Alley, who brings some humor and morals to a man who is aware of what Angier is seeking. While Scarlett Johansson is fine in her role as Olivia, who is a bit complex in her role as a double, her character in some ways feels unnecessary to the plot since nothing new is brought. Yet, it's confusing to see why she has a top billing when her role isn't that big or that important since she ends up playing a love interest to both Jackman and Bale.

The film's real breakthrough comes in the form of Rebecca Hall as the innocent Sarah who falls for Bale with as she is amazed by his ability to play and be magical while being his biggest supporter. Her character goes through the great development from a loving wife to a woman being kept in the dark as Hall is really amazing in her role. In his first major film role since 1996's Basquiat (1999's Mr. Rice's Secret and the cameo in 2001's Zoolander don't count), the legendary David Bowie makes a grand impression in his small yet memorable role as Nikola Tesla. With his knowledge of science and illusion, Bowie gives Tesla a broad personality whose morals about games and magic is a man who gives warnings while making a machine that reveals to be something more. Bowie's performance is amazing in every way where one hopes he can do more acting roles. Michael Caine is also great as the inventive mentor Cutter with his moral judgement and guidance as a man who enjoys magic but knows when things go to far while he plays a supporter for Angier. Caine is the film's real moral guide and sense of wisdom who knows what good magic can do but goes his way into not exactly revealing its trick.

Hugh Jackman delivers an amazing performance as Robert Angier with his obsessive, determined personality as Jackman delivers all the right notes. Known to people more as Wolverine in the X-Men movies, Jackman gets to be a bit more charming and complex as man who seems to have everything only to have his obsessions become more troubling. Jackman also gets to play in disguises including his role as a drunk double that reveals his humor. It's a great performance from Jackman who also has great chemistry and tension with his co-star Christian Bale. Bale delivers a knockout role as Alfred Borden. Using his charm and wit, Bale's character is truly a multi-dimensional man who can be sweet and charming while being totally driven and arrogant at the same time. Bale proves his worth in this character while also noting that he has become one of the finest actors of his generation.

While The Prestige is a bit flawed in its puzzle-like approach, it's still a fantastic film from Christopher Nolan highlighted by a superb cast led by Christian Bale, Hugh Jackman, Michael Caine, Rebecca Hall, and David Bowie. Fans of Nolan's work will indeed find the director returning to some old-school tricks while conventional audiences will be entertained by its mystical, magical approach. For a movie where Batman battles Wolverine in a game of one-upmanship, The Prestige is the film to see.

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

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