Wonder Woman 1984

 

Based on the DC Comics series by William Moulton Marston, Wonder Woman 1984 is the sequel to the 2017 film that has the titular character deal with an oil baron who gains the power of a mysterious object that allows him to grant wishes to everyone but with a price as the Amazonian princess deals with a wish that she made where she is reunited with her true love in Steve Trevor. Directed by Patty Jenkins and screenplay by Jenkins, Dave Callahan, and Geoff Johns from a story by Jenkins and Johns, the film explores the idea of truth and the fallacies of wishes where Diana Prince deals with her choices and its costs but also in unexpected foes including a woman who wanted to be like her as Gal Gadot reprises her role as Prince/Wonder Woman and Chris Pine also returns as Steve Trevor. Also starring Pedro Pascal, Kristen Wiig, Connie Nielsen, and Robin Wright. Wonder Woman 1984 is a wondrous and exhilarating film from Patty Jenkins.

Set in 1984 during the Cold War, the film revolves around Diana Prince who works at the Smithsonian as an anthropologist while doing hero work as Wonder Woman in secrecy as she and a gemologist discover a mysterious gem that grants wishes as a failing oil baron gains access to the stone and becomes the stone to gain power prompting Prince to stop him. It’s a film with a simple premise of sorts yet it explores the idea of wishes but also the lesson about the cost of a wish. Patty Jenkins and co-screenwriters Dave Callahan and Geoff Johns do explore the themes of wishes in the form of this object though there are some spotty moments in exploring that theme but also in some of the character development for a few characters. The film begins with a brief sequence of a young Prince (Lilly Aspell) who takes part in a multi-stage athletic competition that plays into lessons she would have to learn from both her mother Queen Hippolyta (Connie Nielsen) and her aunt Antiope (Robin Wright) as it would play into everything Diana would have to face.

The antagonist in Maxwell Lord (Pedro Pascal) is an oil baron who is also a TV personality who wants to present this idea of success as a way to improve the life of himself and everyone else but is already in debt as he hopes to obtain this ancient stone to make himself rich and powerful. Lord isn’t an evil person as he has a son in Alistair (Lucian Perez) he cares about but his desire for greed and power makes him lose sight of things. Another person who becomes entranced by that stone’s power is a gemologist in Barbara Minerva (Kristen Wiig) whom Diana befriends as Minerva is this shy and awkward woman that wants to be like Diana yet the wish she makes has her becoming a stronger, confident, and sexier person but there’s some flaws into the development into how she sides with Lord. The story about this stone is a strange MacGuffin of sorts as Trevor, who returns because of Diana’s wish, believes that the stone is a variation of a Monkey’s Paw where whoever grants the wish is forced to sacrifice something and the only way it can be stopped if that person renounces its wish. For Diana, she is forced to make some difficult decisions just as she copes with what she has lost upon the wish that she made.

Jenkins’ direction has these elements of something grand in its opening sequence of a young Diana to this weird sense of nostalgia set in Washington D.C. in 1984. Shot on various locations at the Warner Brothers Studio at Leavesden, England as well as location shoots in Washington D.C. and its nearby areas as well as parts of London, the Canary Islands, and Almeria, Spain. The film does play into this air of 1980s Cold War but also what the 80s was like in America as one of its early sequences involve a robbery at a jewelry store that is foiled by Prince as Wonder Woman as it has this element of humor but also nostalgia for those times. Jenkins does use a lot of wide shots to establish these locations but also in the world that Prince ventures into including Egypt and other parts of the world in some broad action set pieces. Still, the film is grounded by some close-ups and medium shots to play on this sense of loss that still looms over Prince as it relates to Trevor as her wish, that she unknowingly did, to have him back would come true but it also plays into the fact that she’s had trouble moving on and still holding a torch for him as he’s inhabiting another man’s body as it does play into some of the humor with Trevor being the fish out of water as it relates to 1980s culture.

While the film does have some humor as well as light-hearted moments in the action, there are still this air of suspense and danger that Prince does encounter as it relates to what she sacrifices upon making her wish. Especially during the film’s second half where Lord gets more powerful to great extremes though some of the execution relating to his development does get spotty as well as the development in Minerva who would make another wish that leads to the film’s climax. The climax is grand though it has some clunky moments as it relates to what Minerva has become where the visual effects don’t really do justice despite the stakes of what Prince has to do. Her confrontation with Lord in that scene does say a lot about the fallacy of wishes and the need for truth though its execution is clunky despite its good intentions. Overall, Jenkins crafts a compelling and thrilling film about an Amazonian princess battling an oil baron and an unexpected foe to save the world from greed and lies.

Cinematographer Matthew Jensen does excellent work with the film’s cinematography with its usage of vibrant colors for some of the daytime exterior scenes in Washington D.C. and Cairo as well as the usage of low-key lights for some of the interior/exterior scenes set at night. Editor Richard Pearson does terrific work with the editing as it has some stylish rhythmic and jump-cuts to play into the action as well as some of the suspense and drama. Production designer Aline Bonetto, with set decorator Anna Lynch-Robinson plus supervising art directors Alex Baily and Peter Russell, does amazing work with the look at some of the places that Prince goes to including her own apartment in Washington D.C., the interiors of the Smithsonian, and at a communications base for the film’s climax. Costume designer Lindy Hemming is brilliant for not just the design of the 80s clothes of the times that feature some funny and awkward moments but also in some of the designer dresses that Prince and Minerva wear as well as a legendary costume that Prince wears for the film’s climax.

Hair/makeup designer Jan Sewell does fantastic work with the look of the characters including the look of Minerva from her nerdy look to being this confident yet dangerous woman. Special effects supervisor Mark Holt and visual effects supervisor John Moffatt do some superb work in the visual effects in some of the set dressing and action set pieces though the design of Minerva’s final evolution as Cheetah is one of the clunky aspects of the visual effects where it doesn’t feel like it’s finished. Sound designer Michael Babcock, along with sound editors Jimmy Boyle and Richard King, does fine work with the sound in creating some sound effects as well as maintaining a raucous atmosphere for some of the big scenes in the film. The film’s music by Hans Zimmer is wonderful for its bombastic music score as it play into the action along with serene orchestral textures for some of the dramatic moments of the film while music supervisor Carmen Murlaner provides a soundtrack that largely features the music of the 1980s from Frankie Goes to Hollywood, Duran Duran, Gary Numan, Clinton Shorter, and John Murphy doing a piece by Wolfgang Amadeus Mozart.

The casting by Kristy Carlson, Pat Moran, and Lucinda Syson is marvelous as it feature some notable small roles from Gabriella Wilde as Lord’s secretary, Natasha Rothwell as Minerva’s boss, Kristoffer Polaha as the man Trevor inhabits, Amr Waked as an Egyptian oil baron that Lord makes a deal with, Stuart Milligan as the U.S. president, Oliver Cotton as Lord’s frustrated investor Simon Stagg, Kelvin Yu as a colleague of Minerva at the Smithsonian, Ravi Patel as a mysterious man who knows about the history of the stone that Lord wants, and Lucian Perez in a grating performance as Lord’s son Alistair as a kid who just whines all because he wants to be with his dad. Lilly Aspell, Connie Nielsen, and Robin Wright are excellent in their respective roles as the young Diana, Queen Hippolyta, and Antiope with Aspell reprising her brief role as the young Diana for the film’s opening sequence while Nielsen and Wright’s sole scenes in the opening sequence do provide some gravitas to the lessons that Diana would instill on her journey.

Kristen Wiig is alright as Barbara Minerva as a geologist/gemologist who admires and wants to be like Prince as the wish she makes would have her go from awkward geek to a strong yet cold woman as its development is hindered by the fact that Minerva is underwritten in how she loses some of her humanity and how she would become the villainous figure that is Cheetah. Pedro Pascal is amazing as Maxwell Lord as a TV personality/oil baron that wants to succeed as he believes that this ancient stone would give him everything he wants as Pascal displays some charm but also a man who loses his own humanity that makes him a complex villain of sorts. Chris Pine is incredible as Steve Trevor as Diana’s former lover who returns mysteriously due to a wish as Pine gets to show a lot of humor in his interaction with 1980s culture but also some truth about why he is back as it is a grounded performance that allows Pine to be someone that has to remind Diana about some of the darkest realities of the world but also the good aspects.

Finally, there’s Gal Gadot in a phenomenal performance as Diana Prince/Wonder Woman as the Amazonian princess warrior who moonlights as an anthropologist at the Smithsonian while secretly being a superheroine as Gadot brings some charm but also some vulnerability as a woman still driven by loss and the reluctance to let go. Notably in her scenes with Pine as it plays into a woman that still carries a torch for Trevor as she does come to terms with this loss as Gadot brings in these somber moments in another defining performance for the famed superheroine.

Wonder Woman 1984 is a remarkable film from Patty Jenkins that features a towering performance from Gal Gadot. Along with the strong supporting performances of Chris Pine and Pedro Pascal as well as grand action set pieces, some humorous moments involving 1980s nostalgia, and its exploration of greed, wishes, and truth despite a few spotty moments. The film is still a heartfelt superhero film that does bring in a lot of adventure but also wonderment and the need to accept what people have instead of what they want. In the end, Wonder Woman 1984 is an incredible film from Patty Jenkins.

DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)

© thevoid99 2020

Andre the Giant (2018 film)

Directed by Jason Hehir and written by Simon Pummell, Andre the Giant is a documentary film about the legendary pro wrestler who was born with gigantism which would make him a beloved figure in the world of pro wrestling yet would deal with the prejudices of being gigantic. The film follows the man’s life from his early upbringing in France to being one of the most popular pro wrestlers in the world as well as being in movies like The Princess Bride. With interviews from wrestlers Hulk Hogan, Jerry “The King” Lawler, Pat Patterson, and Ric Flair as well as actors Billy Crystal, Robin Wright, Arnold Schwarzenegger, and filmmaker Rob Reiner. The result is a somber yet extravagant film about a man who was indeed larger than life.

Andre Rene Roussimoff was a man from a small French town just 40 miles away from Paris as he unexpectedly was growing very rapidly as a teenager where he would become a professional wrestler around the age of 17. Yet, this gigantic growth which he didn’t know where it was from would make him a major celebrity as well as a mythical figure in the world of professional wrestling. The film follows the man’s life from his beginnings in the small French town of Moliens where he lived with his two brothers who are interviewed in the film along with sister-in-law as they talk about Andre’s life in the small town and the difficulty he had with his growth. Yet, it would contribute to his love of athletics including rugby which would get him the attention of a local wrestling coach who saw what he could do.

Aside from pro wrestling writer Dave Meltzer, historians talk about Andre’s early wrestling career as it showed his athleticism early on but as his gigantism grew. He would become this special attraction upon his arrival in the early 1970s in Montreal where he got the attention of many promoters in North America. He would work in many territories in America as wrestlers such as Hulk Hogan, Jerry “The King” Lawler, Pat Patterson, and Ric Flair along with wrestling announcer “Mean” Gene Okerlund would talk about not just Andre’s work method but also how he would run the locker rooms as he would protect and sell other wrestlers who are good to him but then there’s those he didn’t like such as Big John Studd and “Macho Man” Randy Savage. The latter of which was revealed by Hogan about Savage using baby oil to make himself look good but it pissed Andre off really bad who really slapped the shit out of Savage.

There are also these mythological stories that are told such as the consumption of alcohol that Andre had drank where Flair claimed he saw him drank 106 cans of beer in one night. It adds to the mythology and legend of Andre as another WWE personnel that talks about Andre is referee Tim White who was Andre’s handler for much of his career. There were also discussions of Andre’s life outside the ring where he did struggle with his condition and learned about it much later in his life though he didn’t seek treatment as he felt it would threaten his career. There was also the fact that he had a daughter named Robin Christensen Roussimoff, who is interviewed in the film, as she shows pictures of her time with her father at his farm in Erbelle, North Carolina. The people who lived in Erbelle talked about Andre who felt at home in the town as his times traveling would often make him feel lonely and sensitive where he found a surrogate family in the people who looked after his ranch.

Actors such as Arnold Schwarzenegger, Cary Elwes, Robin Wright, and Billy Crystal talk about their time with him as Schwarzenegger knew him during the 1970s as he was often in awe of him. Elwes, Wright, and Crystal along with filmmaker Rob Reiner talked about working with him on The Princess Bride as they revealed some tidbits about the film as well as the pain that Andre was feeling as it relates to his back. With the help of editor Daniel Goddard, director Jason Hehir wouldn’t just compile the many footage of his matches but also some rare pictures including a few from Elwes and Andre’s daughter Robin as it shows someone who wanted to be like everyone else. WWE chairman Vince McMahon does dwell into Andre’s final years as he admitted that resentment from Andre over having to retire while WWE would continue without him as he felt sad that he is unable to wrestle. It was in early 1993 when Andre returned to France to visit his ailing father and then be at his funeral where he unexpectedly died on January 27, 1993 at the age of 46.

Hehir’s direction would have many of the people interviewed in a straightforward manner with Hogan being the one to talk about Andre’s impact as well as how he had been able to play a major part of the 1980s wrestling boom. The film’s music by Thomas Caffey is terrific for its triumphant score that play into the larger-than-life persona of Andre while music supervisor Rudy Chung helping to bring in an array of music that lives up to who Andre is.

Andre the Giant is a marvelous film from Jason Hehir and HBO Sports. It’s a documentary that wrestling fans will definitely enjoy as they would get a look at one of the sport’s most beloved figures while audiences familiar with the world of popular culture will see a man who was human like everyone but also had a heart that was as big as he was where all he wanted to do was make people smile. In the end, Andre the Giant is a remarkable film from Jason Hehir.

© thevoid99 2018

Blade Runner 2049

Based on the characters from the novel Do Androids Dream of Electric Sleep? by Philip K. Dick, Blade Runner 2049 is the sequel to the 1982 film Blade Runner by Ridley Scott as it involves a police officer who makes a chilling discovery that would lead to the end of humanity as he turns to a man who had disappeared thirty years ago who had his own experience with replicants. Directed by Denis Villeneuve and screenplay by Hampton Fancher and Michael Green from a story by Fancher, the film is a futuristic sci-fi film set in Los Angeles where a cop tries to save humanity as he also cope with what is at stake as the role of Officer K is played by Ryan Gosling with Harrison Ford reprising his role as Rick Deckard. Also starring Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista, Barkhad Abdi, Wood Harris, Carla Juri, and Robin Wright. Blade Runner 2049 is a sprawling yet intoxicating film from Denis Villeneuve.

Following a blackout just a few years after the events in 2019, an LAPD cop who hunts older replicants in order to rid of them for society where he makes a discovery that would change humanity. It’s a film that follows up what Rick Deckard had discovered years ago that eventually lead to his disappearance and what cop in Officer K is trying to find upon this discovery he made when he was trying to arrest an older replicant in Sapper Morton (Dave Bautista). In this discovery, K is dealing with what he’s found as he wonders if there is more to him than just being a cop who lives alone with a hologram AI named Joi (Ana de Armas) as his companion. The film’s screenplay by Hampton Fancher and Michael Green isn’t just about this sense of identity that K is dealing with but also in this discovery that everyone wants to know including a replicant manufacturer in Niander Wallace (Jared Leto) who sees it as the next big step into his creation.

The first act revolves around what K has discovered as he would meet with Wallace’s enforcer Luv (Sylvia Hoeks) who gives him some information about his discovery as it involves Deckard. Yet, K’s journey would lead him to try and find something as he would report to Lt. Joshi (Robin Wright) who believes that something is off as she wants K to find out what is going on but in secrecy as he’s later pursued by Luv. The second act isn’t just about what K is discovering but also more about his identity as he turns to Joi for help with that identity as it relates to a toy horse he believed he had when he was a child. Upon finding this toy horse and numbers on that horse that he also found on a tree when he was arresting Morton, it would eventually lead him to Deckard who has been in hiding. Upon meeting Deckard, K would realize what is at stake but also why Deckard had to leave as it relates to something bigger than himself as well as his own personal involvement.

Denis Villeneuve’s direction is definitely grand in terms of the scale of what he is creating as it is set in 2049 Los Angeles with futuristic versions of the state of California and Las Vegas as this mixture of farm country, cities, and wastelands. Shot mainly in Budapest, Hungary with some of it shot in Iceland, Spain, and other locations, the film definitely has a unique approach to the visual presentation as it begins in this kind of desolate yet beautiful land that is a place for synthetic farming as Villeneuve’s usage of the wide shots would showcase the scope of these locations. The scenes set in Los Angeles is cramped yet vast in terms of the holographic ads and other things that play into something that is futuristic as Villeneuve would create different look and feel for certain places and locations throughout the film.

The direction also utilizes some close-ups and medium shots for some unique compositions in the way characters interact with each other as well as some of the moments in the action. Villeneuve would include bits of humor in the film but much of the film is dramatic with some suspense and action as the drama relates to K’s loneliness and the revelations about what he discovered as it add to him questioning his own identity. By the time Deckard arrives in the film, it does recall elements of the past that includes this very eerie meeting between Deckard and Wallace into what the latter could do and why he needs this discovery that K made. All of which would have K play a big part into giving Deckard something he had lost and find peace over this loss as well as give K some meaning in his life. Overall, Villeneuve creates an exhilarating and rapturous film about a blade runner trying to save humanity by uncovering a discovery that could help those as well as stop a creator from playing God.

Cinematographer Roger Deakins does phenomenal work with the film’s cinematography as it is a major highlight of the film for the way he would give various locations a different look and feel from the grey exteriors of the farming land and garbage wasteland to the usage of sepia-drenched lighting for the exteriors of Las Vegas and the array of lighting and shades for many of the film’s interior scenes. Editor Joe Walker does excellent work with the editing as it has some jump-cuts for some of the action as well as some straightforward cutting for the drama and suspense. Production designer Dennis Gassner, with set decorator Alessandra Querzola and supervising art director Paul Inglis, does brilliant work with the look of K’s apartment as well as the LAPD building and the place where the Wallace Corporation is and other aspects to make Los Angeles look really futuristic. Costume designer Renee April does fantastic work with the costumes as it does provide the characters some personalities into some of the clothing that Joi wears as well as the clothing of other characters to play into the futuristic world.

Hair supervisor Lizzie Lawson and makeup supervisor Csilla Blake-Horvath do terrific work with the look of some of the characters including a few prostitutes as well as Joi in the different personalities she takes to please K. Visual effects supervisors Pierre Buffin, Richard Clegg, Paul Lambert, Petr Marek, Viktor Muller, and John Nelson do incredible work with the visual effects from the look of the city in some parts as well as the holograms and some of the action sequences as it is top-notch work. Sound editor Mark A. Mangini and sound designer Theo Green do amazing work with the sound in creating some sound effects as well as in the way guns and the flying cars sound. The film’s music by Hans Zimmer and Benjamin Wallfisch is great for its mixture of electronic bombast and ambient textures to create a score that is always engaging and help to play into the action and suspense while music supervisor Deva Anderson brings in some music that K listens to like Frank Sinatra as well as a couple of songs by Elvis Presley and variations of Tears in the Rain by Vangelis.

The casting by Zsolt Csutak, Francine Maisler, and Lucinda Syson is marvelous as it feature a couple of cameo appearances from two characters from the original film in Edward James Olmos as Deckard’s old colleague Gaff and Sean Young as the replicant Rachael with help from Loren Peta as Young’s double. Other notable small roles include Wood Harris as a cop named Harris, David Dastmalchian as a police scientist named Coco, Barkhad Abdi as a black markets analyzer in Doc Badger, Lennie James as a wasteland businessman in Mister Cotton, Hiam Abbass as a mysterious underground leader in Freysa, and Dave Bautista in a superb small role as the replicant Sapper Morton. Mackenzie Davis is terrific as a replicant prostitute named Mariette who is asked by Luv to follow K while being very discreet about her true motive while Carla Juri is wonderful in a small role as a mysterious memory designer in Dr. Ana Stelline who creates memories for replicants.

Jared Leto is fantastic as the replicants creator Niander Wallace as a man who is trying to create a new form of replicants as a way to get rid of humanity’s flaws as he believes this new discovery would be the key to what he wants. Robin Wright is excellent as Lt. Joshi as a LAPD official who orders K to find out about this discovery as well as question his own offbeat behavior as she is aware of what is at stake. Sylvia Hoeks is brilliant as Luv as Wallace’s replicant enforcer who is tasked with finding more about this discovery as she is this dangerous and powerful individual who is eager to get what she wants by any means necessary. Ana de Armas is amazing as Joi as an artificial-intelligence hologram who serves as K’s companion that tries to help him understand as well as wanting to feel alive to prove that there is more to her than just some program.

Harrison Ford’s performance as Rick Deckard is incredible as he provides this sense of a man who had seen and experienced so much in his life as he tries to cover his tracks while dealing with this newfound revelation over this discovery that he was involved in that also includes Rachael whom he mourns for. Finally, there’s Ryan Gosling in a sensational performance as K as a cop who copes with his identity upon this discovery he’s made as well as wanting to get answers as he is quite tough but also flawed as it is a very grounded and restraint performance from Gosling who brings a lot to a role of someone dealing with loneliness and himself.

Blade Runner 2049 is a magnificent film from Denis Villeneuve that features top-notch performances from Ryan Gosling and Harrison Ford. Along with its great ensemble cast, gorgeous visuals courtesy of cinematographer Roger Deakins, a hypnotic score, and a compelling premise that explores the idea of identity and humanity. It’s a film that manages to be not just some sprawling sci-fi adventure film with elements of film noir, suspense, and action but also a film that says a lot about people and who they are as well as what can happen when one wants to use that power for his own reasons. In the end, Blade Runner 2049 is an outstanding film from Denis Villeneuve.

Related: Blade Runner - The Auteurs #68: Denis Villeneuve

Denis Villeneuve Films: August 32nd on Earth – Maelstrom – Polytechnique – Incendies - Prisoners (2013 film) - Enemy (2013 film) – Sicario - Arrival (2016 film) - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah)

© thevoid99 2017

A Most Wanted Man

Based on the novel by John le Carre`, A Most Wanted Man is the story of a German security agency leader who leads a team of German and U.S. security agents to track down a political refugee from Chechnya who has entered Hamburg. Directed by Anton Corbijn and screenplay by Andrew Bovell, the film is a suspense-thriller where a group of individuals track down a man who could be anything as they hope to protect the world. Starring Philip Seymour Hoffman, Rachel McAdams, Robin Wright, Daniel Bruhl, Nina Hoss, Grigoriy Dobrygin, and Willem Dafoe. A Most Wanted Man is a chilling yet evocative film from Anton Corbijn.

The film revolves around a security agent leader who learns that a half-Chechen, half-Russian man, who is the son of a Russian mafia leader, has arrived to Hamburg seeking political asylum as well as revealing he is the heir to money his father has hidden wanting nothing to do with it. It plays into this increasing sense of paranoia that looms around the world as this German security official is forced to go rogue with his team as they want to know what this young man is doing in Hamburg as he’s aided by an immigration lawyer and a wealthy banker who has the money that belongs to the young man. Andrew Bovell’s screenplay is quite unconventional in terms of its lack of grand suspenseful moments in favor of investigation and see if the man they’re targeting is a threat. Leading the pack is Gunther Bachmann (Philip Seymour Hoffman) as he is a man that’s seen a lot including the events in Beirut in the early 1980s as he is been asked to track down a noted Muslim philanthropist who is believed to be funding a terrorist group.

When Bachmann receives word that Issa Karpov (Grigoriy Dobrygin) is in Hamburg trying to seek asylum with the help of the immigration lawyer Annabel Richter (Rachel McAdams) who hears about Karpov’s situation as well as the banker Tommy Brue (Willem Dafoe) whose father laundered money for Karpov’s father many years ago. Much of the first act is about Bachmann doing his job as well as deal with others wanting Bachmann to go after anyone and deal with them personally as he befriends the American securities agent Martha Sullivan (Robin Wright). The second act is about Bachmann trying to find Karpov and what he’s really trying to do as they target Richter for information and wanting her help. Richter and Brue are reluctant to help at first but they would be the ones to get Karpov to get access to his money as well as go after the Muslim philanthropist Dr. Abdullah (Homayoun Ershadi) where Bachmann has secret meetings with Dr. Abdullah’s son Jamal (Mehdi Dehbi). All of which leading to Bachmann finding a way to help both Karpov and Dr. Abdullah in the chance he could do something right and regain some idea of hope.

Anton Corbijn’s direction is quite straightforward though it has elements of style as it is shot largely on location in Hamburg, Germany with additional shots set in Berlin. While much of the compositions that Corbijn creates are straightforward in terms of the wide and medium shots. It’s his emphasis on the latter as well as close-ups that give the film an intimacy as well as the way Corbijn would shoot compositions or scenes of Bachmann doing surveillance with his team in a van. There are some hand-held shots in the film as well as a few stylized crane shots in parts of the film as Corbijn wanted to create something that feels real with the audience feeling like they’re a part of a team.

The direction also maintain a low-key approach to the suspense where it would give the film a slow pace that is challenging due to the lack of action for much of the film. It all plays into Bachmann trying to do what he feels is right yet has to contend with the fact that there’s others involved who have their own interest and ideas of justice. Even if that idea doesn’t involve what is right for a safe and secure society. Overall, Corbijn crafts a thrilling yet engaging film about a German securities agent trying to help a Chechen man gain asylum.

Cinematographer Benoit Delhomme does excellent work with the cinematography with its usage of low-key and colorful lights for many of the interior/exterior scenes set at night as well as a more natural look for the scenes set in the daytime. Editor Claire Simpson does fantastic work with the editing as it feature some jump-cuts to play into the suspense and drama while it is largely straightforward to play into its slow yet methodical pace. Production designer Sebastian T. Krawinkle, with set decorator Yesim Zolan and art director Sabine Engelberg, does nice work with the look of the places that Bachmann and his team work at including the interrogation base where they try to get answers from Richter as well as the home of Brue.

Costume designer Nicole Fischnaller does terrific work with the costumes as it largely straightforward in terms of the look of the characters with many of the top security officials wearing business-like clothing. Visual effects supervisor Malte Sarnes does some good work with the visual effects as it’s mostly set-dressing for a few locations. Sound designer Frank Kruse is brilliant for the sound in capturing the world as well as how audio is recorded during some of the surveillance as it’s a highlight of the film. The film’s music by Herbert Gronemeyer is amazing for its low-key mixture of electronic music and soft orchestral strings to play into the drama and suspense while the soundtrack features music from Gang of Four, Phil Phillips, Claudia Brucken, Brainbox, Tom Waits, and Roy Orbison that is played on location including a jukebox.

The casting by Simone Bar and Jina Jay is great as it feature some notable small roles from Derya Alabora and Tamer Yigit as a Muslim mother-and-son duo who take Karpov in, Kostja Ullmann and Franz Hartwig as a couple of Bachmann’s associates who help watch over Karpov and Richter, Vicky Krieps as a female agent who works for Bachmann, Rainer Bock as Bachmann’s superior who wants him to nab Dr. Abdullah, Mehdi Dehbi as Dr. Abdullah’s son Jamal, and Homayoun Ershadi as Dr. Abdullah as a Muslim philanthropist who is possibly connected in funding a terrorist organization as Bachmann wants to help him do good in the hopes he can be saved. Daniel Bruhl is superb as Bachmann’s jack-of-all-trades in Maximilian who helps watch over everything as well as do whatever he can to get things done.

Nina Hoss is fantastic as Bachmann’s right-hand woman Irna Frey as a woman who approaches things much more differently than Bachmann as she would prove to be someone that even Richter can trust. Grigoriy Dobrygin is excellent as Issa Karpov as a political fugitive who has fled Chechnya as he seeks political asylum as well as not wanting anything to do with his father’s dark legacy in the hopes he can start over. Willem Dafoe is brilliant as Tommy Brue as a wealthy banker who learned about what his father did for Karpov’s father as he tries to do whatever he can to put the money Karpov is supposed to inherit for good. Robin Wright is amazing as Martha Sullivan as an American securities agent who is trying to understand what Bachmann is doing as she is willing to help him despite her own motives as it relates to what her country wants.

Rachel McAdams is remarkable as Annabel Richter as an immigration lawyer who is trying to help Karpov gain asylum as well as deal with the severity of her situation as she is reluctant to trust Bachmann only to see what he’s really trying to do. Finally, there’s Philip Seymour Hoffman in a phenomenal performance as Gunther Bachmann as a securities agent official who is trying to find a way to stop any form of terrorism from happening as he learns about a political prisoner seeking asylum as he tries to do whatever he can to help as Hoffman displays a humility and weariness to his role as a man had seen a lot as this mission gives him some idea that he could bring hope to the world.

A Most Wanted Man is a marvelous film from Anton Corbijn that features an incredible leading performance from Philip Seymour Hoffman in one of his final film roles. Along with its great ensemble cast, themes on security and justice, and eerie visuals, it’s a film that explores the post-9/11 world where everyone is trying to identify who is on the right side and if the people that’s supposed to protect are in the right side. In the end, A Most Wanted Man is a sensational film from Anton Corbijn.

Anton Corbijn Films: Control (2007 film) - The American (2010 film) - (Life (2015 film))

© thevoid99 2017

Wonder Woman (2017 film)

Based on the DC Comics created by William Moulton Marston, Wonder Woman is the story of a princess who leaves her home island to help a young man she meets on the island to end World War I as she copes with her new surroundings and the chaos of the world. Directed by Patty Jenkins and screenplay by Allan Heinberg from a story by Heinberg, Jason Fuchs, and Zack Snyder, the film is an origin story that explores a woman who wants to help the world and save it from total destruction as the titular character, whose name is Diana Prince, is played by Gal Gadot. Also starring Chris Pine, Connie Nielsen, Robin Wright, David Thewlis, Elena Anaya, Ewan Bremner, Lucy Davis, Lilly Aspell, Emily Carey, Eugene Brave Rock, Said Taghmaoui, and Danny Huston. Wonder Woman is an enthralling and rapturous film from Patty Jenkins.

The film is an origin story about an Amazonian princess who lives in a remote and secret island inhabited by women as a pilot crashes into the land telling her about what is happening in the world as she hopes to end the war and go after a god she believes is responsible for what is happening. It is a film with a simple story but it’s filled with a lot of complexities as it relates to this woman in Diana who has been sheltered in this paradise island raised by her mother Hippolyta (Connie Nielsen) who isn’t keen about having Diana be an Amazonian warrior like Hippolyta’s sister Antiope (Robin Wright) who would secretly train Diana since she was a child. Then when Diana sees an airplane crash into the sea and rescue the pilot who would turn out to be this American spy in Steve Trevor (Chris Pine). With the lasso of truth, Trevor would reveal why he’s arrived as he would reveal what is going on outside of the island of Themyscira prompting Diana to think that the god of war Ares is involved.

Allan Heinberg’s screenplay isn’t just about this story of Diana becoming this heroine and fighting for what is right but also dealing with the world on a much larger scale as well as what she has to face. The first act largely takes place in Themyscira where it is about Diana and the role she’s playing as well as why her mother isn’t keen on having her fight for the world while her aunt knows that Diana has to protect herself yet neither have really explained why as it relates to Ares whom Antiope believes would return. The second act takes place in London and parts of Europe where Diana is definitely a fish out of water into this new environment she’s in as she believes that this German general in Erich Ludendorff (Danny Huston) is Ares in disguise. It’s not just in the plotting and story structure that Heinberg really succeeds in but it’s also fleshing out the characters as Hippolyta and Antiope are these figures to Diana who provide to sides that Diana has to balance while Trevor is a man who has seen the world as he owns up to the fact that humanity is flawed but know that there is still good there.

At the center of the story is Diana as her character development is crucial to the film as someone who is quite naïve about the outside world as she has no idea why her mother wants to protect her as it relates to Ares. Her encounters with the world is comical at first but also has showcase an air of innocence in Diana which is often rarely seen in films about superheroes or super-heroines. Though she is quite powerful in the way she deal with foes in how she can deflect bullets with her metallic wristbands and do all sorts of things as a warrior. She’s also quite vulnerable when she’s forced to face things she can’t really understand as it relates to the dark aspects of humanity. While Trevor admits that he is flawed and everything else is flawed, it’s a moment that leads to its climax where Diana doesn’t have to just understand what it means to be a heroine but about what needs to be achieved for peace.

Patty Jenkins’ direction is definitely sprawling in terms of the world that is set as well as the stakes into what is happening throughout the story. Shot on various locations in London, the southern coasts of Italy as Themyscira, Paris, and other locations in Europe. Jenkins does create something that do have some of the conventional aspects expected in blockbuster superhero origin films but there’s a gracefulness in the way she introduces Diana as the film begins in modern-day Paris in which Diana receives a special gift from Bruce Wayne/Batman at the Lourve. It would then have Diana reflect on her life from being a child eager to fight like her aunt as well as be kind and courageous like he mother. The scenes set in Themyscira are quite simple where Jenkins knows how to use the wide shots not just to establish the location but also a world that is idyllic. When Trevor arrives, the tone changes where it is quite serious as Jenkins know where to use medium shots and close-ups for some of the drama as well as find the right touches of humor.

The scenes in London are quite comical as it involves some of the commentary from Trevor’s secretary Etta Candy (Lucy Davis) who takes a liking to Diana for her proto-feminist commentary as Jenkins would create something that is naturally funny. It help give the film a break from the action where Jenkins would give the film some air to breathe without being overwhelmed by moments of action and suspense as well as take her time to know some of the characters in the film. The action scenes set in the battlefields are quite spectacular as Jenkins know how to move the camera as well as get a sense of what is happening without deviating too much into the very conventional style of chaotic, speed-cutting cinema that is so common with blockbuster films. The film’s climax as expected is quite grand yet it offers so much more as it does have a universal message about humanity and what can be done to provide peace no matter how complicated things are. Overall, Jenkins crafts a spectacular yet heartfelt film about a woman warrior who makes a difference in a world ravaged by war.

Cinematographer Matthew Jensen does excellent work with the film’s cinematography from the naturalistic beauty of the idyllic Themyscira to the usage of more low-key colors for the scenes in London, France, and Germany including some of the exteriors at night. Editor Martin Walsh does brilliant work with the editing as it is very stylized with its usage of slow-motion and jump-cuts while not needing to go into fast-paced chaotic editing styles in order to establish everything that is going on in a scene. Production designer Aline Bonetto, with set decorator Anna Lynch-Robinson and a team of art directors, does fantastic work with the design of the halls and palaces at the Themyscira castle as well as the German base and labs as well as some of the locations in France. Costume designer Lindy Hemming does superb work with the costumes from the way Diana’s heroic costume look as well as the dresses she had to wear in London as it is among one of the film’s funniest sequences.

Hair/makeup designer Christine Blundell does nice work with some of the makeup as it relates to the crazed chemist Doctor Poison as well as the hairstyles that women wore during that period in World War I. Visual effects supervisor Bill Westenhofer does some terrific work with the design of the visual effects as some of it is for set dressing for a few scenes in Themyscira as well as some of the action sequences including the film’s climax. Sound editor James Mather does amazing work with the sound as it help play into some of the sounds that happen during the action scenes as well as some of the suspense. The film’s music by Rupert Gregson-Williams is wonderful for its bombastic orchestral score that help play into the action as well as serene pieces for the dramatic moments including the early scenes in the film while music supervisor Karen Elliott assemble a soundtrack featuring folk songs of the times as well as a new song by Sia and Labrinth.

The casting by Lora Kennedy, Kristy Carlson, and Lucinda Syson is great as it feature some notable small roles and appearances from Ann Wolfe as a tough Amazonian named Artemis who help trained Diana, Lisa Loven Kongsli as Antiope’s lieutenant Menalippe, Lilly Aspel as the eight-year old Diana, and Emily Carey as the twelve-year old Diana. The trio of Said Taghmaoui, Ewen Bremner, and Eugene Brave Rock are superb in their respective roles as the spy/master of disguise Sameer, the troubled yet resourceful sharpshooter Charlie, and the opportunistic trader Chief who all provide some nice support in helping Diana and Trevor on the battlefield. Elena Anaya is terrific as General Ludendorff’s mad chemist Dr. Isabel Maru aka Doctor Poison as a chemist who experiments with gas in order to create weapons of mass destruction that would help the Germans win the war. Lucy Davis is fantastic as Trevor’s secretary Etta Candy who is the film’s comic relief as someone that helps Diana in looking like a modern woman while providing some very hilarious commentary and moments in the film.

David Thewlis is excellent as Sir Patrick Morgan as a speaker of peace for the Imperial War Cabinet who would fund whatever assignment Trevor and his men needed as well as be fascinated by Diana. Danny Huston is brilliant as General Erich Ludendorff as a mad general that is eager to win the war at any cost as he has a thirst for power and chaos which makes him a likely suspect as Ares to Diana. Connie Nielsen is amazing as Diana’s mother Queen Hippolyte as a woman who is keen on protecting Diana as well as reveal something she doesn’t want Diana to know as someone who is conflicted yet forced to accept that she can’t be there for her daughter all the time. Robin Wright is incredible as General Antiope as Diana’s aunt who sees the potential in her niece to fight for herself as well as someone knows Diana’s secret but is more concerned with preparing her for the truth as well as Ares’ inevitable return.

Chris Pine is marvelous as Steve Trevor as an American spy who is trying to find ways to end the war as he would crash land into the coast of Themyscira where he is a man that does have a somewhat cynical view of the way the world is but also a humility and charm that makes him an engaging figure for Diana to be with whether as an object of love or as a partner. Finally, there’s Gal Gadot in a phenomenal performance as the titular character/Diana Prince as an Amazonian princess who is a gifted warrior that is eager to do good in the world and defeat Ares in order to create peace. Gadot’s performance is definitely the highlight as someone that isn’t afraid to be vulnerable but also tough when she needs to be as well as display that air of innocence as someone who was very sheltered in her home environment as she realizes what it takes to save mankind and the world from the evils of man as well as those in power as it is a true breakout performance for Gadot.

Wonder Woman is a tremendous film from Patty Jenkins that features a magnificent performance from Gal Gadot. Along with a remarkable ensemble cast, a compelling screenplay, dazzling visuals, and a fine balance of action, drama, humor, and suspense. It’s a film that manages to do a lot more of what is expected in the superhero origin story as well as be something that manages to say a lot about humanity and how there’s hope in the darkest of times if someone is willing to fight for it. In the end, Wonder Woman is an outstanding film from Patty Jenkins.

Patty Jenkins Films: (Monster (2003 film)) - (Five-Pearl)

DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)

© thevoid99 2017

Rampart

Directed by Oren Moverman and written by Moverman and James Ellroy, Rampart is the story of a corrupt LAPD officer who finds himself in trouble as he tries to redeem himself during the Rampart scandal of 1997 for the Los Angeles Police Department. The film is a character study of a man dealing with his own actions as he tries to defend himself and save his career amidst a tumultuous period in the city of Los Angeles. Starring Woody Harrelson, Ice Cube, Ned Beatty, Robin Wright, Anne Heche, Cynthia Nixon, Brie Larson, Steve Buscemi, and Sigourney Weaver. Rampart is a compelling yet flawed film from Oren Moverman.

Set in 1999 Los Angeles during a dark period for the LAPD who is dealing with the Rampart scandal, the film is about a dirty and corrupt police scandal whose actions have finally caught up with him. Rather than quitting his job, officer Dave Brown (Woody Harrelson) tries to save his job and avoid any jail time but he becomes more troubling as even those who once bailed him out are unable to help him. Yet, Brown is also someone who is really a man that is just born to undo himself where he would eventually bring discomfort to authorities that want to help him as well as bring shame to his family. The film’s screenplay doesn’t just explore Brown and the things he does as a police officer but also a person who likes to take the law into his own hands. Sometimes it would be in the most gruesome way where he would be caught on tape beating someone who hit his car though Brown had every reason to beat up the guy.

While the script does paint Brown as a man who just hates everyone while doing all sorts of things. There are elements to him that try to show some goodness to him but his faults would often overwhelm everything as his own eldest daughter Helen (Brie Larson) really hates him. While the script does nice work in fleshing out Brown and his complexities, the script however doesn’t do much to get the story to move forward or really go anywhere. Especially as it relates to what Brown is trying to do but it tend to slow things down as he is given options that could’ve helped him. Whenever Brown is given these opportunities to redeem himself, the results become very frustrating as it play more into his character as someone that is just stubborn and not willing to see the bigger picture.

Moverman’s direction has some very intense moments in the way it showcases late 1990s Los Angeles as a world that is quite dangerous and unpredictable. Shot on location in some of the urban parts of Los Angeles as well as some of its downtown areas, the film does play into a world where a man is convinced that he is doing good for the city but is extremely corrupt in his actions. Moverman’s usage of close-ups and medium shots are engaging though there are some moments that aren’t very good. Notably a sequence where Brown meets two attorneys where the camera is constantly moving around to focus on one character in a repetitive pan where it is very annoying. It’s one of the aspects of the film that didn’t work while the script’s lack of a strong narrative does falter the pacing. Though Moverman’s usage of crane overhead shots and other stylistic moments are good, the film’s resolution is lacking in terms of any kind of redemption could be made for Brown as it ends up being unsatisfying despite Moverman’s observation on its protagonist. Overall, Moverman creates a intriguing but lackluster film about a dirty cop’s attempt to make things right.

Cinematographer Bobby Bukowski does excellent work with the film‘s cinematography from the stylish usage of lights and moods for many of the interior/exterior scenes set at night along with some grainy film stock for scenes set in the day. Editor Jay Rabinowitz does nice work with the editing as it does have some stylish jump-cuts and some unique rhythms for the suspense and drama though it does falter in that sequence where Brown is being interviewed by two attorneys. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does fantastic work with the look of the home that Brown lives in with this ex-wives (who are sisters) and the hotel rooms he would crash as well as the home of a lawyer he would sleep with.

Costume designer Catherine George does terrific work with the costumes as it is mostly casual along with the look of the police uniforms while the only character that plays into a sense of style is Helen. Sound designer Javier Bennassar does superb work with the sound in the way the police sirens and gunfire sounds along with the intimate moments at home and at the bars. The film’s music by Dickon Hinchliffe is brilliant for its somber-based score in the guitar and keyboards to play into the drama while music supervisor Jim Black creates a soundtrack that features a mixture of hip-hop, electronic, and Mexican music along with a song by Leonard Cohen.

The casting by Laura Rosenthal and Rachel Tenner is amazing as it features some notable small roles and appearances from Robert Wisdom as the Rampart station’s captain, Jon Foster and Jon Beranthal as a couple of fellow officers, Steve Buscemi as a district attorney official in Bill Blago, Stella Schnabel as Brown’s new partner early in the film who is perturbed by his actions, Sammy Boyarsky as Brown’s youngest daughter Margaret who questions about what her father has done, Audra McDonald as a one-night stand Brown would be with early in the film, and Ben Foster in a superb role as a homeless vet named the General who often hangs out at a fast food restaurant. Robin Wright is wonderful as the attorney Linda whom Brown would frequently sleep with while he is suspicious that she is spying on him. Ned Beatty is terrific as the former cop Hartshorn who tries to help Brown in any way including moments that would help him only to realize that Brown is his own worst enemy.

Cynthia Nixon and Anne Heche are excellent in their respective roles as the sisters Barbara and Catherine as two of Brown’s ex-wives who deal with the coverage of Brown’s activities with Nixon as the more calm of the two and Heche as the one who wants nothing to do with him. Brie Larson is fantastic as Brown’s eldest daughter who despises her father as she also feels humiliated and embarrassed by his actions where she also copes with his own hatred for everyone. Sigourney Weaver is brilliant as the assistant DA Joan Confrey who wants Brown to reveal all of his activities as well as give the man a chance to do what is right. Ice Cube is incredible as the investigator Kyle Timkins who works for the DA’s office as he also tries to implore Brown to do the right thing while revealing what is at stake. Finally, there’s Woody Harrelson in a phenomenal performance as Dave Brown as a dirty LAPD officer who finds himself a big target during one of the lowest points of the LAPD where Harrelson brings a very menacing performance as a man with very little care for the world where he is also his own worst enemy as well as be selfish to the point that he brings shame to his own family including his own daughters.

Rampart is a stellar yet flawed film from Oren Moverman. While it features a great cast led by Woody Harrelson along with Dick Hinchliffe’s score, it’s a film that had all of the tools to be an intriguing character study but it lacks a very cohesive narrative to keep things going. In the end, Rampart is a fine but underwhelming film from Oren Moverman.

Oren Moverman Films: The Messenger - (Time Out of Mind) - (The Dinner (2017 film))

© thevoid99 2016

The Princess Bride

Directed by Rob Reiner and written by William Goldman from his own novel, The Princess Bride is the story about a young woman who is devastated by the loss of a stable boy she fell in love with as she is set to marry a prince only to be kidnapped and later meets a mysterious pirate. While the main narrative is set in medieval times in a fictional country called Florin, the film is largely told in present time as it’s a story read by a man to his flu-ridden grandson. Starring Cary Elwes, Robin Wright, Mandy Patinkin, Andre the Giant, Wallace Shawn, Chris Sarandon, Christopher Guest, Fred Savage, and Peter Falk as the grandfather. The Princess Bride is a remarkable film from Rob Reiner.

The film is a genre-bender where it has adventure, comedy, drama, and romance which revolves around a soon-to-be princess and the stable boy she loved who was later supposedly killed by a notorious pirate. Upon being kidnapped by criminals who are hired to start a war for the prince she’s to marry, she later encounters the notorious pirate who supposedly had killed her true love. It’s a film that has a simple and unique premise but with characters that subvert the idea of caricatures as many of them aren’t exactly what they seem they are. All of which is told by a man reading a book to his grandson (Fred Savage) who is bed-ridden with an illness.

What makes the story so unique is the way William Goldman creates a script with characters and dialogue that doesn’t play into the conventions of a typical romantic-adventure. Especially as the protagonists in Buttercup (Robin Wright) and Westley (Cary Elwes) are atypical of what is expected in the roles of a damsel-in-distress/love interest and hero, respectively. What Westley and Buttercup have is true love that is shattered when Westley seeks to find fortune on a ship only to have that ship attacked by the infamous pirate known as the Dread Pirate Roberts. For Buttercup, Westley’s supposed death was the end for her as she reluctantly gets engaged to Prince Humperdinck (Chris Sarandon) who only wants her for his royal stature and later use her as a pawn to start a war with a rivaling country with the help of a trio of criminals.

The trio themselves deviate from what is expected in an adventure story as the master swordsman Inigo Montoya (Mandy Patinkin) is a kind man who is seeking for a six-fingered man who killed his father many years ago. The other two is a gentle and strong giant named Fezzik (Andre the Giant) with a gift for rhyming and a Sicilian mastermind named Vizzini (Wallace Shawn) who is a cruel taskmaster that constantly insults Inigo and Fezzik. Add the presence of Prince Humperdinck and his second-in-command Count Rugen (Christopher Guest), they become the kind of forces that Westley and Buttercup have to deal with as the grandfather tells his grandson this unique story where the grandson deals with the constant details about kissing as well as what he might thinks happen in the story. Instead, Goldman’s script has this sense of language and narrative that is very engaging but also that is very funny. Even in some of the dialogue that is playful and also very witty over the situations that occur.

Rob Reiner’s direction is very simple and understated at times but also full of whimsy that adds to the unconventional presentation of the story. Much of the film is shot in locations in Britain and Ireland in the countryside and castles where Reiner uses a lot of wide shots to play into the beauty of those locations along with some amazing shots of Westley and Buttercup kissing against the sunlight. There’s also some great use of medium shots and close-ups to play into the sense of drama and humor in the film as Reiner. Especially in the latter where it is very offbeat in the presentation that includes an albino (Mel Smith) who doesn’t play to the conventions of an assistant torturer and a clergyman (Peter Cook) who can’t pronounce “R”s and “L”s.

The sense of adventure includes an amazing sword duel between the mysterious Dread Pirate Roberts and Inigo where there’s an air of respect in the duel between the two which is different between the eventual duel that Inigo would have with the man who killed his father. There’s also moments of suspense such as the duel between Vizzini and Roberts where it’s a battle of wits. Much of the compositions that Reiner creates for these scenes and in the scenes between the grandfather and grandson are quite simple as he is going more for performances rather than gimmicks and such. Overall, Reiner crafts a very sensational and lively film about true love, sword fighting, and thrills told from a grandfather to his grandson.

Cinematographer Adrian Biddle does excellent work with the film‘s gorgeous look for many of its daytime exterior scenes to display a natural look while using some lighting schemes for some of the interior scenes. Editor Robert Leighton does superb work with the editing where it is straightforward while using some rhythmic cuts for some of the film‘s action and suspenseful moments. Production designer Norman Garwood, with set decorator Maggie Gray and supervising art director Keith Pain, does brilliant work with the set pieces from the look of the castle interiors as well as the look of the Cliffs of Insanity.

Costume designer Phyllis Dalton does wonderful work with the costumes from the dresses that Buttercup wears as well as the clothes of Count Rugen and Prince Humperdinck. Makeup designer Peter Montagna does great work with the look of a couple of characters Fezzik and Inigo meets to help aid them for the climax. Sound editor Lon Bender does terrific work with the sound in some of the film‘s sound effects as well as some of the tone of the locations. The film’s music by Mark Knopfler is fantastic for its enchanting and touching score that features a lot of plaintive guitars and a mixture of playful orchestral music with old-school folk music while the song Storybook Love is a lovely song co-written by Knopfler and its singer Willy DeVille.

The casting by Janet Hirsheson and Jane Jenkins is incredible as it features some notable small role from Betsy Brantley as the boy’s mother, Willoughby Gray and Anne Dyson as the king and queen of Florin, Margery Mason as an ancient booer, Mel Smith as the quirky albino, Peter Cook in a hilarious performance as the clergyman, Billy Crystal as the miracle man Miracle Max, Carol Kane as Max’s wife Valerie, Fred Savage in a terrific performance as the grandson, and Peter Falk in a brilliant performance as the grandfather reading the story. Christopher Guest is excellent as the very dark yet calm Count Rugen who is proven to be a master of torturer with a machine that sucks life out of a person. Chris Sarandon is superb as Prince Humperdinck as this cowardice prince who tries to create plans to start a war against a rival country while not being able to fool Buttercup. Wallace Shawn is amazing as the very cunning and intelligent Vizzini who masterminds the kidnapping as he constantly says “inconceivable” whenever some things he planned don’t work.

Andre the Giant is fantastic as the gentle giant Fezzik as he has some of the best lines while proving that he’s a giant with a nice heart. Mandy Patinkin is brilliant as Inigo Montoya as a master swordsman who is trying to find the man that killed his father many years ago while being a key player into storming the castle in the film’s climax. In her film debut, Robin Wright is great as Buttercup as this young woman who reluctantly becomes engaged to a cruel prince as she deals with lost love as she proves to be someone that defies the convention of a princess. Finally, there’s Cary Elwes in a marvelous performance as Westley as this man of such kindness and generosity who truly loves Buttercup while also being a man of great skill as well as bringing in some witty banter.

The Princess Bride is a phenomenal film from Rob Reiner. Thanks to a top-notch ensemble cast, William Goldman’s witty screenplay, and Mark Knopfler’s lush score. It’s a film that has something for everyone and more. Especially as it bends genres and make it something of its own. In the end, The Princess Bride is an outstanding film from Rob Reiner.

Rob Reiner Films: This is Spinal Tap - (The Sure Thing) - (Stand By Me) - (When Harry Met Sally) - (Misery) - (A Few Good Men) - North - (The American President) - (Ghosts of Mississippi) - (The Story of Us) - (Alex & Emma) - (Rumor Has It…) - (The Bucket List) - (Flipped) - (The Magic of Belle Isle)

© thevoid99 2014

The Five Obstructions Blogathon #1: Forrest Gump

Nostra of MyFilmViews has created a blog-a-thon based on the Lars von Trier-Jorgen Leth film The Five Obstructions. This blog-a-thon challenges various bloggers to write something under a specific guideline where if that blogger succeeds. That person can go to the next round but if that blogger fails, a punishment will happen. In Nostra’s blog-a-thon of the Five Obstructions

She has set a specific guideline one obstruction every month as here is the first obstruction:

For this first assignment, I will be reviewing a film that I know and love as I will be writing this review under a different persona who is far less intelligent and far less cultured than I am. Here is my review of Robert Zemeckis’ 1994 classic Forrest Gump:

Based on the best-selling novel by Winston Groom, Forrest Gump is the ludicrous story about an idiotic man with an IQ of 75 who stumbles into every situation by meeting the American president three times, being an All-American for Alabama, becoming a war hero, a multi-millionaire, and all sorts of things while pining for a slut named Jenny. Under the direction of Robert Zemeckis and screenplay by Eric Roth, the film is an overblown, Oscar-bait film that is extremely manipulative and sappy as its title character is led by Tom Hanks who goes all the way to go for that Oscar by playing a slow, dim-witted moron where he almost goes full-retard. Also starring Robin Wright, Gary Sinise, Mykelti Williamson, and Sally Fields as Forrest’s mama. The film is nothing more than a piece-of-shit inspirational film that does nothing more than tug the heartstrings of the people and make them look just as stupid as Forrest.

Through Robert Zemeckis’ overly-calculating direction that aims to have this sweeping scope filled with lots of gorgeous scenery is overwrought in this story about an idiotic man who watches the world go buy as he would impact them. Yet, many of these situations under Zemeckis’ direction and Eric Roth’s screenplay is ridiculous as it’s all told by the titular protagonist who keeps talking about box of chocolates and his favorite book of all-time is Curious George. The fact that Forrest Gump meets three different U.S. Presidents, become a war hero, a multi-millionaire through the shrimp business and investing money in Apple Computers, being an All-American for Alabama is just ludicrous.

At the same time, Forrest is given dumb and heavy-handed messages from his mama like “stupid is as stupid does” and “life is like a box of chocolates” as he’s seen by most of the people he meets as an idiot. Then there’s the people he encounters in his journey like a black man with big gums named Bubba (Mykelti T. Williamson) who gets killed off nearly half-way into the film and Lt. Dan (Gary Sinise) who loses legs in the war and becomes a paraplegic Vietnam Vet who hates Forrest’s guts for saving him until he realizes the meaning of life. Yet, these characters are nothing compared to Forrest’s love interest Jenny (Robin Wright) who is essentially a liberal slut who goes from one trend to another and takes LSD in the 60s and cocaine in the 70s. She wants to be a folk singer but instead goes from one cause to another only to end up as a single-mother waitress whose child is none other than Forrest’s son as she later croaks due to AIDS.

Adding to the film’s overly-sappy tone is Alan Silvestri’s cheesy yet excruciating score that is filled with some of the most annoying melodies heard in film while its soundtrack is more of… “hey, there’s that song and there’s this song”. The Doors show a bunch of times while there’s a lot of music that is just there to play to a certain period in time yet there’s no music from the Beatles? What the hell?

The bottom line is this. Forrest Gump is an overrated and overblown film that wants to tug at people’s heartstring with Tom Hanks giving a totally blatant Oscar-bait performance as the titular character. It is a travesty in the art of film as it won too many Oscars where it really should’ve gone the best film of that year which is North by Rob Reiner. For anyone who thinks Forrest Gump is one of the best films ever made… Well then… fuck you and die!!!! Take that box of chocolates and shove it up your fucking ass!! "My name is Forrest Gump, people call me Forrest Gump". SHUT THE FUCK UP!!!!!!

Editor’s Note: I actually love Forrest Gump for all of its mawkish cheesiness and sweeping visuals yet it’s got so much that I enjoy including its cast, music, and Zemeckis’ direction. Though I think Trois Couleurs: Blanc & Rouge, Chungking Express, Natural Born Killers, and Pulp Fiction were better films that came out that year. I still have love Forrest Gump and I always watch it whenever it’s on.

© thevoid99 2013

The Private Lives of Pippa Lee

Written and directed by Rebecca Miller, The Private Lives of Pippa Lee is the story of a housewife whose perfect life starts to unravel by her memories of the past as she would befriend a man dealing with his own issues. The film explores the life of a woman as she tries to come to terms with her past as her seemingly perfect marriage and life starts to wind down. Starring Robin Wright, Alan Arkin, Maria Bello, Keanu Reeves, Monica Bellucci, Blake Lively, Julianne Moore, Zoe Kazan, Ryan McDonald, and Winona Ryder. The Private Lives of Pippa Lee is an engaging although messy film from Rebecca Miller.

Pippa Lee (Robin Wright) is the housewife of publisher Herb Lee (Alan Arkin) as they had just moved to a small town in Connecticut as they celebrate with friend Sam Shapiro (Mike Binder) and his wife Sandra (Winona Ryder). Just as Pippa seems to enjoy her role as a housewife taking care of Herb, things start to unravel by the messes she sees in her home thinking Herb caused all of it. Instead, Pippa traces back to her life as a child where her mother Suky (Maria Bello) was a crazed woman with a troubled amphetamine addiction that eventually took its toll by the time the teenaged Pippa (Blake Lively) decided to leave home. Living with her lesbian aunt Trish (Robin Weigter), she briefly becomes a model for Trish’s photographer girlfriend Kat (Julianne Moore) that featured Pippa in racy positions.

After being kicked out by Trish, Pippa would wander around New York City for a few years until she attends a party with some friends where she would meet Herb. Though Herb is married to a beautiful Italian woman named Gigi (Monica Bellucci), the two hit it off as Pippa finds someone in Herb she can be loyal to as they would later have two kids. Years later as the two live a comfortable life, Pippa’s persona starts to unravel after discovering who has been making a mess in her home. Meanwhile, her neighbor’s son Chris (Keanu Reeves) has just move in as the two become friends as he wonders about her behavior. Realizing she’s starting to have a nervous breakdown, Pippa decides to take control only to discover that not everything around her is going well at all.

The film is an exploration of a woman recalling her past just as her life as a helpful housewife starts to come undone through secrets and the fear that she might become her mother. Throughout her journey, this woman would endure the troubled chaos of her neurotic mother as well as trying to find a place where she can feel like she’s at home. Though things seem fine once she meets this much older gentleman, a breakdown gives in as she finds a friend in a man that has his own problems with the world. It’s a story that is engrossing in the exploration of a woman who would later unravel by the events of her past. It’s just that Rebecca Miller draws it out too much to the point that the story becomes a total mess.

Miller’s approach to the screenplay, that is based on her own book, is creating a narrative that moves back and forth that features a reflective narration told through Pippa’s perspective. While the narrative device is effective, it tends to linger too long on the segments of Pippa’s past where Pippa is trying to figure out what happens. While there’s a lot of interesting moments, the moments where Miller tries to infuse humor in these stories feels forced and out-of-place with the story. The segment of Pippa in the present time is a bit more interesting in the way Miller tries to figure out how she’s breaking down while making some discoveries about herself and her life as a friend of hers is also starting to unravel. It’s an intriguing story but doesn’t do enough to create a narrative that isn’t all over the place.

Miller’s direction is pretty stylish in the way she presents a lot of the film’s different period settings. Notably the scenes in the 1960s and 1970s to explore the young Pippa’s life as there’s a sense of style where things feel a bit exaggerated and quirky. By the time the story moves into the 1980s, style is still evident but becomes more restrained once Pippa’s life starts to become less crazy as she would become an adult. The compositions become more straightforward and also claustrophobic as it’s Miller wanting to emphasize the world where Pippa starts to lose control. A lot of it works though there’s scenes of fantasy where it doesn’t fit in with that portion of the film. Despite some wonderful moments in underplaying the drama and framing the actors to play out what’s happening. Miller’s film unfortunately falls short due to its emphasis to its uneven story and its attempts to draw out this woman’s trouble life into something grander.

Cinematographer Declan Quinn does excellent work with the film‘s very vibrant and colorful cinematography for the scenes in the 1960s and 1970s while utilizing more straightforward palettes for the scenes of the 1980s and present scenes despite the exaggerated fantasy scenes in the present segment. Editor Sabine Hoffman does superb work with the editing to play with the film‘s structure and create unique montages for Kat‘s photo material that the young Pippa takes part of. Production designer Michael Shaw and set decorator Cherish Magennis do great work with the set pieces created to emphasize the different places and periods that Pippa would encounter to play up her evolution.

Costume designer Jennifer von Mayrhauser does a wonderful job with the costumes that also plays up the different periods for Pippa in her evolution from more stylish clothes of the 70s and 80s to more casual clothes in the present. Sound editor Sarah Gaines does nice work with the sound to play up the party scenes that Pippa explores early to the more sparse intimacy of her time with Chris. The film’s music score by Michael Rohatyn is a pretty good for its low-key string orchestra and somber pieces to play up the drama in the film. Music supervisor Linda Cohen creates a soundtrack that is a mixture of music from pop and folk along with cuts by Dusty Springfield, Lucinda Williams, and a couple of ambient pieces from Brian Eno.

The casting by Cindy Tolan is terrific for the ensemble that is created as it would include small roles from Ryan McDonald and Zoe Kazan as Herb and Pippa’s adult children in Ben and Grace, respectively, along with Shirley Knight as Chris’ mother Dot, Robin Weigert as Pippa’s aunt Trish, Julianne Moore as Trish’s photographer girlfriend Kat, and Madeline McNulty as the 7-year old Pippa. Other notable small roles include Mike Binder as Herb’s writer friend Sam who has feelings for Pippa as well as Monica Bellucci as Herb’s vibrant Italian wife Gigi. Maria Bello is alright as Pippa’s mother Suky in the way she expresses a woman who is at the grips of addiction though Bello tends to overact some of the film’s emotional moments by going over the top. Winona Ryder is very good as Sam’s wife Sandra who is trying to deal with her failing marriage as she starts to break down and go to Pippa for help.

Blake Lively is really good as the young Pippa as a young woman trying to deal with her troubled life while finding solace in Herb. Keanu Reeves is superb as the very quiet Chris who becomes Pippa’s friend by helping her deal with her impending breakdown. Alan Arkin is excellent as Pippa’s husband Herb who tries to deal with her unraveling while is shown to be a very tender man who cares for Pippa in her evolution. Finally, there’s Robin Wright as the adult Pippa Lee as Wright gives an entrancing performance as a woman seemingly lost in her troubled state. Notably as Wright starts off as this calm and kind woman who slowly starts to lose herself as she tries to come to terms with everything around her.

The Private Lives of Pippa Lee is a decent but very uneven film from Rebecca Miller despite a great lead performance from Robin Wright. Despite an interesting premise and a superb supporting cast, it’s a film that falls flat due to a script that tries to do a lot and leave very little. Particularly as its exploration of a woman unraveling could’ve been very interesting but gets lost due to its over-stylized approach to the story. In the end, The Private Lives of Pippa Lee is a disappointing film from Rebecca Miller.

Rebecca Miller Films: (Angela) - Personal Velocity: Three Portraits - The Ballad of Jack & Rose - Maggie's Plan - Arthur Miller: Writer

© thevoid99 2012