Major League

Written and directed by David S. Ward, Major League is the story of a showgirl who has inherited ownership of the Cleveland Indians as she decides to get the worst players in the team in the hopes they finish dead last and move the team to Miami. Once the players full of aging veterans and young upstarts start to show signs of winning, they also learn what their owner is trying to do where they hope to go all the way. It’s a film that doesn’t just explore the world of baseball where players and coaches deal with an entire season where the world is totally against them. They also try to overcome the adversity they were tagged with. Starring Tom Berenger, Charlie Sheen, Corbin Bernsen, Wesley Snipes, Dennis Haysbert, Chelcie Ross, Rene Russo, Margaret Whitton, Bob Uecker, and James Gammon. Major League is a witty and entertaining film from David S. Ward.

In the world of Major League Baseball, fans always have teams to root for no matter how bad they are yet this is a film set in Cleveland where its team in the Indians have often struggled to get a pennant win as they hadn’t won a pennant since 1948 at the time the film was released in 1989. The film revolves around the scheme of a new owner who wants to ensure that attendance records drop so big that she can move the team to Miami where she would get a luxurious deal. Upon hiring a minor league manager to manage the team and gather a group of player filled with has-been veterans and rookies with very little potential to succeed. Rachel Phelps (Margaret Whitton) hopes her scheme would succeed yet manager Lou Brown (James Gammon) and his team led by veteran catcher Jake Taylor (Tom Berenger) had other plans instead. It’s a film that showcase a group of individuals who all have something different to offer yet manage to show signs they want to be good.

David S. Ward’s screenplay is filled with a lot of humor that includes some profane language in the dialogue that adds spice to the humor. Most notably in the group of misfit characters in the film as Taylor is an aging catcher with bad knees who hopes to get one more good season as well as win back the heart of ex-girlfriend Lynn (Rene Russo). Other characters include the aging pitcher Eddie Harris (Chelcie Ross) who uses all sorts of tricks to pitch good as well as veteran shortstop Roger Dorn (Corbin Bernsen) who is a prima donna that is more concerned with securing a financial future than playing. Then there’s the small group of rookies that the franchise gain as it includes a young pitcher named Ricky Vaughn (Charlie Sheen) who has great arm but lack of control. A power-hitter in the Cuban immigrant Pedro Cerrano (Dennis Haysbert) who practices voodoo in the hopes he can hit curve balls. The final rookie is Willie Mays Hayes (Wesley Snipes) who is a great runner but wasn’t originally invited to try out.

While there is some tension between some of the players such as Cerrano and Harris over religion and Vaughn and Dorn over image as they’re forced to work together to deal with Phelps. While the team does get support in their general manager Charlie Donovan (Charles Cyphers), Phelps’ lack of support by having them ride in bad buses and airplanes only makes the team succeed despite the odds. One aspect of the film that adds to the humor is the commentary by the team’s broadcaster Harry Doyle (Bob Uecker) who always says some funny things while sharing the team’s frustrations as he would say things like “that’s we all we have. One goddamn hit!” His colleague Monty (Skip Griparis) would close the microphone telling “you can’t say ’goddamn’ on the air” where Doyle replies, “don’t worry. Nobody’s listening”. It’s part of the film’s genius as it’s not afraid to be crass while it has a human element that makes the characters very engaging.

Ward’s direction is quite simple as he doesn’t go for any big scenes other than the actual baseball playing scenes while balancing it with drama and humor. Ward’s approach with the latter definitely has a liveliness where it’s not afraid to be confrontational but also in moments where it has a lot of jokes that evolves in the course of the film. Among the gags involve blue-collar workers commenting on the team as well as Japanese field team having their own comments on the team. Ward’s compositions are quite rich in its presentation while some of the film is shot in Milwaukee for some scenes in the film. Still, he is able to make it look like Cleveland where he emphasizes more on its blue-collar locals who are eager to see the Indians go all the way. Even as it climaxes with the big game as it has some funny moments as well as moments to cheer for. Overall, Ward creates a very enjoyable and heartfelt film about a team defying the odds.

Cinematographer Reynaldo Villalobos does excellent work with the film‘s cinematography from the look of the stadium the team plays as well as many of its exterior and interior lighting schemes for some of the scenes at night. Editor Dennis M. Hill does amazing work in creating some stylish montages as well as rhythmic cuts for some of the film‘s humorous moments. Production designer Jeffrey Howard, with set decorator Celeste Lee and art director John Krenz Reinhart Jr., does superb work with the look of the Cleveland Indians stadium and its beat-up buses and planes as well as some of the bars they go to.

Costume designer Erica Edell Phillips does terrific work with the design of the costumes as well as the clothes some of the characters wear to reflect on their personalities. Sound editor J. Paul Huntsman does nice work with the sound in the way the crowd sounds during the games to some of the sounds of the bats hitting the ball. The film’s music by James Newton Howard is fantastic for its swirling electronic score for some of the themes when the Indians start to win as the soundtrack includes songs by Bill Medley, Randy Newman, Lyle Lovett, and X doing a cover of the Troggs’ Wild Thing.

The casting by Joanne Zaluski is brilliant for the ensemble that is created as it includes some notable small roles from Skip Griparis as Harry’s broadcast colleague and Peter Vuckovich as New York Yankees hitter Clu Haywood who always give the Indians problems. Charles Cyphers is terrific as the team’s general manager Charlie Donovan who would eventually tell Brown what Phelps is up to while James Gammon is great as the no-nonsense manager Lou Brown who always speaks the truth and says some funny shit along the way. Bob Uecker is hilarious as Harry Doyle as the team broadcaster who commentates everything that happens while often saying funny things to express his frustrations. Chelcie Ross is wonderful as the aging pitcher Eddie Harris who admits to using all sorts of things to throw good pitches while eventually learns what happens when one steals Jobu’s rum. Margaret Whitton is excellent as the team owner Margaret Phelps who despises the team as she tries to make their life a living hell.

Dennis Haysbert is superb as the voodoo-practicing power-hitter Pedro Cerrano who has this intimidating presence while Wesley Snipes is amazing as the brash but naïve Willie Mays Hayes as a guy that wants to be a star as he eventually becomes one through stealing bases. Rene Russo is fantastic as Taylor’s ex-girlfriend Lynn who is unsure if she wants to get back with him as she has a new life of her own yet becomes impressed when he does take the effort to read some books she had been recommending him. Corbin Bernsen is incredible as the prima donna player Roger Dorn who tries to make himself more valuable only to realize that he’s treated like garbage by Phelps. Charlie Sheen is phenomenal as Ricky “Wild Thing” Vaughn as a young pitcher with a great arm who eventually learns some control to become a top pitcher. Finally, there’s Tom Berenger in a marvelous performance as Jake Taylor as a veteran catcher who leads the team while trying to have one more great season and win back his ex-girlfriend.

Major League is a tremendous film from David S. Ward. Armed with a great cast, moments to cheer for, and some very funny one-liners. It is a film that showcases the love for baseball and why it means so much to people. Especially as it showcases the players as guys just trying to win a game and deal with all sorts of shit. In the end, Major League is an outstanding film from David S. Ward.

David S. Ward Films: (Cannery Row) - (King Ralph) - (The Program) - (Major League II) - (Down Periscope)

Related: (Major League: Back to the Minors)

© thevoid99 2014

Hatfields & McCoys (TV Mini-Series)

Directed by Kevin Reynolds with a teleplay by Ted Mann and Ronald Parker from a story by Mann and Bill Kerby, Hatfields & McCoys is a 3-part TV mini-series that chronicles a feud between two different families in the late 1800s in West Virginia-Kentucky. The TV miniseries explores how the feud began as it escalated for many years before it finally ended in the early 1890s as playing the head the warring families are Kevin Costner as Devil Anse Hatfield and Bill Paxton as Randolph McCoy. Also starring Tom Berenger, Mare Winningham, Jena Malone, Matt Barr, Lindsay Pulsipher, Sarah Parish, and Powers Boothe. Hatfields & McCoys is a sprawling and thrilling epic TV mini-series from Kevin Reynolds.

Part 1

After a brutal battle during the Civil War in 1863, Devil Anse Hatfield chooses to flee his regiment leaving his friend Randolph McCoy to fight on where he was eventually captured by the Union until the War’s end. Following McCoy’s release from a Union prison, he learns that his brother Harmon (Chad Hugghins) was killed two years earlier by Devil Anse’s uncle Jim Vance (Tom Berenger) who was offended by Harmon’s Union coat. With Hatfield becoming rich through a timber business, McCoy feels resentful as his cousin Perry Cline (Ronan Vibert) tries to sue Hatfield over land only to lose. In 1878, the tension between the Hatfields and McCoy come to ahead when Floyd Hatfield (Lloyd Hutchinson) had bought a pig that actually belonged to McCoy.

With Judge Valentine “Wall” Hatfield (Powers Boothe) choosing to settle the matter, things unfortunately go wrong as a war ensues when McCoy’s nephews killed a witness over his testimony in the pig case. Judge Hatfield asks both men to not get into a war as things cool down a bit for two years until Devil Anse’s son Johnse (Matt Barr) falls for Randolph’s daughter Roseanna (Lindsay Pulsipher) as they form a relationship much to the dismay of their fathers. Wanting to avoid bloodshed, Levicy Hatfield (Sarah Parish) tells Roseanna to return home to the McCoys where her mother Sally (Mare Winningham) has Roseanna live with her aunt Betty (Joy McBrinn) to avoid further trouble. Instead, Perry Cline makes a discover that would escalate the tension between the Hatfields and the McCoys as their leaders make a troubling discovery.

Part 2

After setting the issue over Johnse and Roseanna’s love affair, the fighting briefly stops until a gathering in Kentucky where a brawl between Hatfield and McCoy family members led to the death of Devil Anse’s brother. In response to the murder, Devil Anse orders the death of McCoy’s three sons furthering the war as Randall and Perry Cline decide to put a bounty on the Hatfields. Answering to that bounty is a man named “Bad” Frank Philips (Andrew Howard) who has killed Skunkhair Tom Wallace (Andy Gathergood) for the McCoys where the war escalates. Meanwhile, Johnse falls for Roseanna’s cousin Nancy (Jena Malone) as they decide to get married much to the dismay of the entire Hatfield family. When Nancy’s brother Jefferson (Jonathan Frederick) has killed someone with Jim Vance and his nephew Cap (Boyd Holbrook) going after him. Nancy fights back only to be beaten by Vance while Cap kills Jefferson.

Things get more complicated as Nancy asks Philips to kill Jim Vance personally as she also reveals a plan of her own. With the battle lines escalating and Philips taking on the command for the McCoys to capture several Hatfields to find the whereabouts of Devil Anse. Politicians from both Kentucky and West Virginia try to smooth things out as a war is about to heat between both sides.

Part 3

With the battle lines intensifying as Jim Vance, Cap, and several Hatfields decides to attack the McCoy cabin on New Year’s Day that left two McCoy children dead and Sally McCoy on the brink of insanity. The war starts to take its toll on Devil Anse Hatfield and Randall McCoy as both are troubled by the bloodshed that has grown. When Nancy decides to leave Johnse after he had accidentally revealed some information about Vance’s whereabouts, Johnse’s actions lead to dire consequences as Devil Anse makes a decision concerning Johnse. Roseanna returns to the McCoy family to take care of her mother as she starts to fall ill over all of the turmoil concerning the war. After the brutal battle that left Hatfield to retreat, both sides start to grow weary as Wall Hatfield chooses to turn himself in. With Randall descending into alcoholism and Devil Anse feeling ill, both men come to terms with everything they had dealt with in a war that’s becoming a part of American history.

The mini-series is about the origins of how the Hatfields and McCoys began their feud and how it would escalate into a war that became part of American folklore. Spanning from the mid-1860s in the Civil War to the early 1910s to establish the final outcome of the Hatfield and McCoy war. The teleplay by Ted Mann and Ronald Parker do build up a lot of momentum into how the seeds of the feud began where it was a combination of resentment from Randall McCoy’s side to the sheer hatred of Jim Vance who kills Harmon McCoy for wearing a Union coat. Things eventually escalate where it becomes a war about honor while there’s a subplot involving Devil Anse’s son Johnse who falls for Randall’s daughter Roseanna that would lead to more complications.

The script does allow characters like Devil Anse and Randall to each have an understanding about war as both men are flawed. There’s also a lot of compelling characters who are involved as the non-violent Johnse becomes this very innocent man who is in love with Randall’s daughter in hopes that the war will end. Instead, things become complicated as he ends up marrying Roseanna’s cousin Nancy that would get him into more trouble as he would unknowingly gain an understanding about how bad the war is. Then there’s the women like Sally McCoy and Levicy Hatfield are individuals who stay away from the bloodshed only to both become weary of the war while Sally almost becomes involved in the fighting that led to her descent into madness.

Then there’s Nancy McCoy who is revealed to be a devious woman with dark intentions dating back to her father’s death as she seduces Johnse for her own gain to help aid Bad Frank Philips to the dismay of Roseanna and Randall. Eventually, the war does take a toll on its leaders where Randall where both men want to seek an end to the whole thing. Yet, this is not a traditional war where it all culminate with a battle but rather sort of ends with a whimper because of the weariness and how outside forces tried to publicize the whole thing. Overall, the script is among one of the mini-series highlights although there is a few flaws in terms of the dramatization of the whole thing.

Kevin Reynolds’ direction is incredible for the way he recreates late 19th Century Mid-South America as it’s shot on location in Romania due to the fact that it has lots of trees and fields. With its vast depth-of-field shots of the locations and gorgeous compositions for many of its exterior setting, Reynolds is able to create a mini-series that is big while maintaining a wonderful intimacy for some of the mini-series’ interior scenes. Reynolds does create an air of suspense in a lot of the battle scenes as well as more simpler shots in some of the dramatic moments. While there’s a few parts of the mini-series that isn’t perfect including one scene that is obviously shot with a fake computerized-background. The overall work that Reynolds does is superb for creating a mini-series about a legendary American feud.

Cinematographer Arthur Reinhart does excellent work with the look of mini-series from the sunny exteriors including some grey shots to capture the tone of the mini-series to some entrancing interiors to help play out some of the suspense. Editor Don Cassidy does terrific work with the editing to create some amazing rhythmic cuts for some of the battle sequences along with more straightforward cuts for the dramatic sequences. Production designer Derek R. Hill, with art directors Serban Porupca and John B. Vertrees and set decorator Sally Black, does fantastic work with the set pieces such as the Hatfield farm to establish his success and McCoy‘s cabin to display the lack of success along with various sets to help create the world of the late 1890s.

Costume designer Karri Hutchinson does nice work with the costumes from the clothes and cowboy hats the men wear to the dresses that the women wear in that period. Hair designer Giorgio Gregoni and makeup artist Mario Michisanti do wonderful work with the look for some of characters such as the beards for the men and the hairstyles that women wear in those times. Sound mixers Christian T. Cooke and Brad Zoern do brilliant work with the sound to capture the chaos of the battles to some sparser moments in quieter scenes. The film’s score by John Debney and Tony Morales is amazing for its folk-driven score that is led by bombastic orchestral arrangements with folk violins and various string instruments to play up the times as it features different themes from more plaintive material for the romantic scenes to sprawling pieces for the battle scenes.

The casting by Fern Champion, Laura Grosu, and Amy Hubbard is phenomenal for the large ensemble that is assembled. In small but memorable roles, there’s Chad Hugghins as Harmon McCoy, Joy McBrinn as Roseanna’s aunt Betty, Jonathan Frederick as Nancy’s brother Jefferson, Andy Gathergood as Hatfield ally Skunkhair Tom Wallace, Lloyd Hutchinson as Floyd Hatfield, and Noel Fisher as Hatfield’s mentally-challenged nephew Cotton Top Hatfield. Sarah Parish is wonderful as the kind and knowing Levicy Hatfield who tries to Devil Anse and her boys to see reason while aware of the trouble that could happen if someone is associated with the McCoys. Powers Boothe is great as the reasonable Wall Hatfield who tries to avoid taking part of the bloodshed only to be in the middle of the war.

Matt Barr is really good as the kind-hearted Johnse Hatfield who falls for Roseanna McCoy as he tries to find a way to end the war. Boyd Holbrook is terrific as the one-eyed Cap Hatfield who helps lead the charge for the Hatfields while proving to be a great shot. Ronan Vibert is superb as the slimy McCoy family attorney Perry Cline who tries to talk his way through getting the McCoys some legal advantage while Andrew Howard is fun as the cold-blooded bounty hunter Bad Frank Philips. Lindsay Pulsipher is very good as the lovely Roseanna McCoy who falls for Johnse only to feel lost in the late stages of the war. Mare Winningham is brilliant as Sally McCoy who tries to deal with all of the chaos of the war as she later descends into madness.

Jena Malone is incredible as the ruthless Nancy McCoy who would use her seductive charm to get what she wants while there’s a more sinister side to her over her hatred towards the entire Hatfield family. Tom Berenger is great as the vicious Jim Vance who would be the person that would start the bloodshed between the Hatfields and McCoys as it’s a very dark yet fun performance from Berenger. Bill Paxton is amazing as the resentful Randall Hatfield who feels slighted over the lack of honor from Hatfield as he later descends into disillusionment and doubt over all of the chaos of the war. Finally, there’s Kevin Costner in a mesmerizing performance as Devil Anse Hatfield whose intentions to succeed has him becoming a target where he also goes into dark places as it’s a very thrilling performance from Costner as it’s the best thing he’s done since 2003’s Open Range.

Hatfields & McCoys is a remarkable TV mini-series from Kevin Reynolds that features top-notch leading performances from Kevin Costner and Bill Paxton. Along with noteworthy supporting performances from Tom Berenger, Jena Malone, and Mare Winningham, it’s a TV mini-series that is definitely engaging and entertaining while providing some insight into the legendary Hatfield-McCoy feud that is part of American folklore. In the end, Hatfields & McCoys is an extraordinary TV mini-series from Kevin Reynolds.

Kevin Reynolds Films: (Fandango) - (The Beast (1988 film)) - (Robin Hood: Prince of Thieves) - (Rapa Nui) - (Waterworld) - (One Eight Seven) - (The Count of Monte Cristo (2002 film)) - (Tristan & Isolde)

© thevoid99 2012

Inception

Ever since scoring a breakthrough with 2000’s Memento, Christopher Nolan has been considered to be one of the finest new directors making films at this time. 2002’s remake of 1997 Norwegian film Insomnia ensured Nolan’s place as one of the top new directors as he was selected to revive the Batman film franchise. In 2005, Batman Begins was released to a lot of acclaim as did its 2008 sequel The Dark Knight that is currently the third highest grossing film in the U.S. While 2006’s The Prestige was a break from the franchise that also maintained Nolan’s viability and anticipation running high for the third Batman film. Nolan returns to more original material with a film about mind extractions and other strange occurrences with Inception.

Written and directed by Christopher Nolan, Inception tells the story of a man who steals ideas from a company by extracting into their mind. In his job, he is also trying to deal with the death of his wife while hoping to do one last job before returning to his family. During this job, he encounters trouble as he tries to escape from his own guilt and everything else. A psychological drama of sorts mixed in with elements of heist films, Nolan crafts a film with a lot of ambition filled with dazzling visual effects and a complex story line that recalls some of his early films. Starring Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Tom Berenger, and Pete Postlethwaithe. The film also stars such Nolan regulars as Ken Watanabe, Cillian Murphy, and Michael Caine. Inception is a remarkable, visually-stunning film from Christopher Nolan and company.

Dom Cobb (Leonardo DiCaprio) is at a party for a Japanese businessman to talk about his job which is to extract ideas from other people’s minds. Joining Dom is his right-hand man and researcher Arthur (Joseph Gordon-Levitt). At the party, Dom sees his wife Mal (Marion Cotillard) where things go wrong. All of a sudden, Dom and Arthur have woken up in the middle of another world with Saito and an architect named Nash (Lukas Haas). When it is revealed that Saito really has nothing to be extracted from, it is clear that Saito used Dom and Arthur as an audition for what he really seeks. He wants to inject an idea into the mind of a corporate rival which is known as inception as he offers Dom something he couldn’t refuse.

The offer was for Dom to finally return to America if he takes the job. Dom’s inability to return to the U.S. to return to his kids was due to the death of his wife whom he’s been seeing frequently in his own dreams. Seeking guidance from his father-in-law and mentor Miles (Michael Caine), Miles gives Dom a new architect to work with in a young student named Ariadne (Ellen Page) who becomes part of his new team. Learning about how to construct dreams, Ariadne enters into a new world as she is joined by a forger named Eames who takes on various disguises and a chemist named Yusuf (Dileep Rao) who has created a powerful sedative for deep dream sleep. Saito joins the team as Arthur finds the target in Robert Fischer (Cillian Murphy), the son of Saito’s corporate rival Maurice Fischer (Pete Postlethwaithe), who is currently dying.

During the planning, Ariadne learns of Dom’s troubles as she would often see Mal or something from Dom’s memories into his subconscious as he could be a liability to the upcoming mission. Realizing that Ariadne is the one who knows what might’ve happened, Dom realizes that he needs her to keep him on check. With the entire team including Saito boarding a 747 plane with Robert Fischer on board, Fischer gets drugged as the whole team goes into his subconscious. Upon their arrival into Fischer’s subconscious, trouble ensues as they realize that Fischer has put some defenses. After kidnapping Fischer in his own subconscious, Eames disguises himself as Fischer’s godfather Peter Browning (Tom Berenger) to get some information.

Instead, it becomes more troubling as Fischer and the team have to go into another subconscious with Yusuf keeping an eye out for trouble. Inside becomes more complicated as Dom and everyone goes into levels of subconscious minds to get what’s inside the safe of the Fischer family. Yet, Dom becomes more troubled by his own past and the presence of Mal as he confesses his own guilt as he realize what he must do.

For a film as ambitious and complex as Inception is, what is more surprising is how simple the plot of the film. It’s about a man doing one more heist job by going into someone’s mind so he can go home. While that plotline seems simple, nothing in the mind of Christopher Nolan is simple as he fleshes out ideas that are truly complex and layered. Notably for the fact that he takes the audience into a journey that revolves around a man’s guilt as well as his attempts to break into people’s minds.

While the screenplay and concepts recall some of the work of Charlie Kaufman, Nolan creates a story where he distorts the idea of where people are at.  The film starts with a sequence of Cobb arriving into the home of an old man which would be revisited towards the end. Yet, it cuts to a scene of Cobb at a party with Arthur and Saito where the audience thinks its real. Then comes the realization that they’re all in someone’s subconscious and then what is going on now is someone else’s subconscious. While at first, what happens is hard to follow. Nolan is just giving the audience an idea of what is real and what is fiction. Immediately, the audience gets a chance to figure things and there’s a character that sort of becomes their guide in the form of Ariadne, the new member of Cobb’s team.

Ariadne is one of several supporting characters that does get a chance to stand out as she doesn’t just serve as a Greek chorus in a way for the audience. She is also the one person who goes deeper into Cobb’s mind and tries to help him deal with it. While another supporting character in Arthur does have an idea about Cobb’s state of mind, he only backs away just so he can do his job. Arthur, like Cobb, does become a mentor for Ariadne so she can be guided into what subconscious she’s in. Others like Saito, Fischer, Yusuf, and Eames don’t get as much development yet they’re characters that audiences do get to care about and get to know them a bit. Yet, it’s Cobb that is the man that drives the film as he is dealing with his own guilt over his wife’s death as well as his reasons to want to go home. When the audience is introduced to Mal, we see a woman who seems angry yet there’s a reason for her anger that is rooted in what Cobb might’ve done to her.

If Nolan’s creation of characters, environments, and how they interact to the different subconscious worlds they’re in. It’s Nolan’s direction that really takes the story to a level that is truly stunning. When the film is shown, it’s clear that Nolan uses his ambition to tell a story that is truly mesmerizing. In creating cities and places where things can fold on top of another or action sequences that involves a fight where the hallway is spinning around. Nolan is going for tricks where he doesn’t have to use CGI entirely by getting sets built and actually make sure it doesn’t look it’s being made by computers.

Nolan still utilizes certain framing styles and compositions along with close-ups and zooming shots to make audiences know that they’re watching a Christopher Nolan film. Still, it’s clear that the film the audience is watching is by a director who is refining his craft while learning new tricks to create something that is fascinating and jaw-dropping. Even in the visual-effects driven sequences about the recreation of cities where there’s a scene where a city folds on top of itself that looks truly amazing. Even as he uses visual effects for more than just spectacle but use it as a form of storytelling. What Nolan does overall with the film whether its creating high-octane action sequences reminiscent of chase movies or even James Bond-inspired action sequences. Even if it’s just a simple scene where they set up the heist. This film proves that Nolan is clearly at the top of his game as he is becoming one of the best filmmakers working today.

Nolan’s longtime cinematographer Wally Pfister does spectacular work with the film’s lighting design and visual look. Pfister’s photography is stunning in its wide scope along with dark shades for interior and exterior scenes to create a chilling mood. For the first inception subconscious sequence in the rain, the look of the film is dark but also pristine but without any kind of polish. It’s truly some of the best photography captured on film as Pfister is definitely becoming one of the best cinematographers in the business.

Another noted Nolan collaborator in Lee Smith does some fantastic work with the film’s editing. Taking on a mostly, leisurely pace for a majority of the film so it can move quite seamlessly without anything moving very fast or going too slow. Smith pretty much slow things down once the action sequences are done so audiences can have a breather. There’s even dramatic scenes where the cutting is fast but only to intensify what is happening in the heist while the action is fast but not hyperactive so the audience can have an idea of what is happening. The work that Smith puts into the editing is masterful and an example of how it should be done.

Production designer Guy Hendrix Dyas, along with set decorators Larry Dias and Doug Mowat plus supervising art director Brad Ricker, does amazing work with set design for the film. While some of the film is shot on location in Tokyo, Paris, Los Angeles, Tangiers, parts of England, and in Canada. Many of the interiors for some of the subconscious scenes, including the zero-gravity sequence, were built with a look that is polished but not in a bloated manner. The designs of the buildings and for Saito’s Japanese style home is superb as the art direction is truly stunning.

Costume designer Jeffrey Kurland does some excellent work with the look of the costumes that complement the visual look of the art direction. While a lot of the clothes is mostly casual in several scenes. Some of the scenes have the characters were suits or evening gowns to convey the sense of atmosphere in the subconscious the characters are in. Visual effects supervisor Paul J. Franklin is phenomenal in the use of CGI that doesn‘t look fake. For several of the subconscious-driven sequences, notably the folding building scene. Franklin, along with his team, succeed in not going overboard in visual effects as it’s an example of how it should be done.

Sound designer Richard King does amazing work in the film‘s sound editing and design to create broad layers for the locations the characters are in. Notably the action scenes that are layered with sounds of heavy rain, tire squeals, gunshots, and trains railing on the ground as the layering is phenomenal. King’s work is definitely another of the film’s technical highlights. The film’s music by Hans Zimmer is a haunting yet eerie score piece that is filled with broad orchestral arrangements mixed in with down-tempo yet smooth electronic textures. Adding flourish to the sound on guitar is legendary guitarist for the Smiths in Johnny Marr. The guitar textures Marr brings to Zimmer’s score is incredible while the rest of the soundtrack includes the drone-based score music of Zack Hemsey and the Edith Piaf song Non, Je Ne Regrette Rien that’s played throughout the film.

The casting by John Papsidera is definitely spellbinding as it‘s definitely one of the best ensemble cast team ever assembled. Small roles from Claire & Taylor Geare as different ages of Dom’s daughter Phillipa and Magnus Nolan & Taylor Geare as his son James are excellent for their small, face-less appearances. Others include Talulah Riley as a blonde in a subconscious fantasy scene and Tai-Li Lee as a man who helps people sleep longer in a brothel of sorts. Notable small but memorable appearances include Lukas Haas as Nash, an architect in an early sequence while Michael Caine makes a cameo appearance of sorts as Dom’s father-in-law/mentor who gives him advice about what to do. Tom Berenger is very good as Fischer’s godfather who tries to go into the secret code of Fischer’s vault while Pete Postlethwaithe is also good as Fischer’s hardened father whom Fischer has a strained relationship with.

Dileep Rao is excellent as Yusuf, a chemist who helps Dom and the team in their mission by creating a sedative for long sleeps while they’re on the job as he also gets in the action for a brilliant car chase scene. Tom Hardy, of Bronson fame, is great as Eames. A humorous forger who takes on various disguises while being the guy who goes into the action and be the shooter as Hardy’s performance is a real standout. Cillian Murphy is wonderful as Robert Fischer, the target of the inception who wonders what’s going on as he ends up becoming part of team despite his reluctance. Ken Watanabe is brilliant as Saito, the businessman who hires Dom for the inception as he also takes part in the action not knowing about the stakes of what has to be done.

Marion Cotilliard is phenomenal as Mal, Dom’s deceased wife who appears in Dom’s subconscious and others who seems to have a vendetta over the idea that Dom has abandoned her.  Cotillard’s performance is definitely complex as a woman who has no idea what happened to her but is determined to get into Dom’s head. Joseph Gordon-Levitt is great as Arthur, Don’s right-hand man and researcher who helps organize the job while taking in part of the action. Gordon-Levitt proves to be able to stand with the likes of DiCaprio while getting involved in one of the film’s best action sequences as it’s another solid performance from the young actor. Ellen Page delivers what is probably her best performance to date as Ariadne, the new architect for the team. While not displaying the wit she had in Juno a few years ago, it’s definitely a more mature performance as she plays the observer and conscious of sorts. Even as she plays DiCaprio’s anchor where she shows her true dramatic talents in working with DiCaprio as it’s definitely a winning supporting turn.

Finally, there’s Leonardo DiCaprio in what is definitely one of his greatest performances to date. In the role of Dom Cobb, DiCaprio brings a tour-de-force performance as man struggling to get home while dealing with the death of his wife. There’s a sense of restraint and anguish to his performance while maintaining a sense of professionalism when he’s on the job. DiCaprio definitely shows his presence in doing physical stunts and such while he has a great camaraderie with the entire cast. It’s clear how far DiCaprio has grown as an actor since the days of Leo-mania when Titanic was the highest-grossing film of all-time back in 1997. His role as Dom Cobb proves that Leonardo DiCaprio is becoming one of the best actors working today.

Inception is a marvelous yet jaw-dropping film from Christopher Nolan and company. Featuring amazing technical work and a solid ensemble cast led by Leonardo DiCaprio, it’s a film that definitely that challenges the audience of what can be done with a blockbuster. Particularly in an era where 3D and low-concept films with silly gimmicks are expected to bring asses in the seats. Fortunately, Nolan nor his cohorts believe in that as Inception is a film that is smart enough for audiences of moderate taste that they can follow. In the end, Inception is a remarkable film that shows that ambition doesn’t have to be presented with loads of CGI and gimmicks. All that is needed is a story and a vision that is unique as it comes from the spectacular mind of Christopher Nolan.

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

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