The film revolves around a group of teenagers living in Palo Alto, California as they all deal with growing pains, lust, boredom, and other issues as they all embark on some journey that play to their growth. It’s a film that follow four different teens as they all share a narrative of sorts where Gia Coppola creates as it play into these teens who are just lost in the world around them as April (Emma Roberts) is a high school student that is also part of the school’s soccer team as she has a crush on their coach Mr. B. (James Franco) whom she also babysits her son. April has feelings for one of her classmates in the aspiring artist/stoner Teddy (Jack Kilmer) who often hangs out with the more destructive stoner Fred (Nat Wolff) as they get into some trouble with Teddy being forced to serve community service after crashing into another car in order to avoid juvenile detention. Fred meanwhile goes after a teammate of April in Emily (Zoe Levin) whom he would have sex with yet has also things that he would want to do as he would also cause trouble. Though Coppola’s script is loose in its narrative and can be messy at times, she is able to find ways to play into the evolution of these characters as they deal with their growing pains.
Coppola’s direction is definitely stylish in terms of its presentation while utilizing real locations in and around Southern California including the town of Palo Alto as it is a character in the film. Coppola would use wide shots for some of the locations including scenes where the characters are in a location to play into their own sense of isolation and boredom while she also uses medium shots for some of the party scenes in the film. There are also intimate moments in Coppola’s direction in some of the medium shots as well as close-ups as it add to the drama. Notably as it play into April’s own interaction with Mr. B. whom she would have an affair with despite the fact that he’s an adult and she’s a high school student.
There are also moments that do play into the many fallacies of Teddy and Fred’s friendship as the latter tends to be involved in destructive manners as well as voiceover in what he would to Emily with other boys. Coppola also play into Emily’s own search for love but also her own sexual exploration although her character isn’t as developed as she has no idea about what she’s doing other than become a prop for Fred. The climax does play into a party but also characters growing up over some of the things they encounter as well as thinking about the next stage in their lives. Yet, it also forces a few to ponder if there is even a future for them as it all play into the ideas of growing up. Overall, Coppola crafts a dreamy yet haunting film about teenagers dealing with growing pains in Palo Alto, California.
Cinematographer Autumn Cheyenne Durald does brilliant work with the film’s cinematography with its usage of low-key and natural lighting for many of the daytime exteriors as well as the usage of lighting to low-level lighting for many of the interior/exterior scenes at night. Editor Leo Scott does excellent work with the editing as it has style in its usage of jump-cuts and dissolves to play into some of the dizzying adventures the characters go through but also some straightforward cuts for the drama. Production designer Sara Beckum Jamieson, with set decorator Natalie Ziering and art director Dori Hana Scherer, does fantastic work with the look of the homes of where Fred and Emily lived while the rooms of Teddy and April are actual locations. Costume designer Courtney Hoffman does nice work with the costumes from the stylish look of Emily to the stoner clothing that Fred and Teddy wear.
Hair/makeup artist Molly Paddon does terrific work with some of the makeup April and Emily would wear along with their friends. Visual effects supervisor Viktor Muller does fine work with some of the film’s minimal visual effects as it relates to some of the car crashes in the film. Sound designer Richard Beggs does incredible work with the sound in the way music sounds at a party as well as some of the sparse sounds in natural locations. The film’s music by Devonte Hynes and Robert Schwartzman is wonderful for its mixture of indie, pop, hip-hop, and other kinds of music that include contributions from Jason Schwartzman’s side project Coconut Records, Mac DeMarco, Jack Kilmer, Nat & Alex Wolff, Blood Orange, Francesco Pennino, William Storkson, and Tonstartssbandht.
The casting by Laray Mayfield is superb as it feature some notable small roles and appearances from Talia Shire as April’s guidance counselor, Janet Jones Gretzky as Teddy’s mother, Emma Gretzky as Teddy’s sister, Colleen Camp as a woman who was part of a car accident Teddy got involved in, Francis Ford Coppola as the voice of a judge, Ana Thea Bogdanovich as a friend of the woman whom Teddy crashed into, Brennan and Atlanta de Cadenet Taylor as a couple of kids at a party, Andrew Lutheran as a boy April makes out with at a party, Jacqueline De La Fontaine as April’s mother, Don Novello as an art teacher, Sandra Seacat as an elderly woman who takes a liking towards Teddy’s art work during his community service, Margaret Qualley as a teammate of April in Raquel whom April notices Mr. B. puts his attention towards to, Chris Messina as Fred’s father who is a stoner and tries to flirt with Teddy, Keegan Allen as a weed dealer who insults Fred, and Val Kilmer as April’s stepfather Stewart who likes to smoke weed but also help her out with her term paper. Olivia Crocicchia and Claudia Levy are terrific in their respective roles as April’s classmates Chrissy and Shauna who often host parties while also making rumors about everyone.
Zoe Levin is pretty good in her role as Emily despite the fact that she’s underwritten in terms of the fact that there’s not a lot of development to her other than that she gives Teddy a blow-job early in the film and is the object of lust for other guys. James Franco is fantastic as April’s soccer coach Mr. B. whom April has a crush on while he is also creepy for the fact that he also likes April as well. Nat Wolff is amazing as Fred as this unlikeable and destructive teen who likes to smoke weed but also engage in vandalism and other destructive elements to the point that he gets Teddy in trouble as well as use Emily for sexual reasons. Jack Kilmer is excellent as Teddy as a stoner who has a gift for art as he deals with the drawbacks of his friendship with Fred but also his own issues as he also has a crush towards April. Finally, there’s Emma Roberts in a brilliant performance as April as a teenage girl dealing with uncertainty with her life as she longs for her soccer coach as well as coping with growing pains as it is one of Roberts’ finest performances.
Palo Alto is a marvelous film from Gia Coppola that features great performances from Emma Roberts, Nat Wolff, and Jack Kilmer in his film debut. Along with its supporting cast, rapturous visuals, hypnotic music soundtrack, and its exploration of teenage life in a small town in Southern California. It is a film that is a mesmerizing coming-of-age film that doesn’t just explore teen angst and uncertainty but also people just trying to find themselves in a small town. In the end, Palo Alto is a remarkable film from Gia Coppola.
Mainstream
© thevoid99 2022
The film is about a cat-and-mouse chase between a LAPD police detective and a career thief with a loyal heist crew who take part in a major heist following another theft that involved bonds belonging to a money-laundering insurance owner. It is a film that explore two men who only know what to do as they’re set to collide but there is a mutual respect in the fact that they’re men who both have a code and know what to do if they meet face-to-face. Michael Mann’s screenplay is largely straightforward in its narrative yet it is more about the men involved in this cat-and-mouse game where the LAPD detective in Lieutenant Vincent Hanna (Al Pacino) and the criminal Neil McCauley (Robert de Niro) are trying to outwit one another but they’re also dealing with issues outside of their line of work with Hanna’s third marriage to Justine (Diane Venora) is crumbling as her daughter Lauren (Natalie Portman) is becoming emotionally-unstable. McCauley is just trying to do more work as it is all he knows while he meets and falls for a graphic designer in Eady (Amy Brenneman).
The film isn’t just about Hannah and McCauley dealing with each other and their own lives but the film also showcase that McCauley’s right-hand man in Chris Shiherlis (Val Kilmer) is going through issues with his wife Charlene (Ashley Judd) who is having an affair with a businessman in Alan Marciano (Hank Azaria). The script also play into the fact that McCauley, Shiherlis, Michael Cheritto (Tom Sizemore), and Trejo (Danny Trejo) are a crew who pride themselves in being professional and not kill anyone unless they have to as they bring in a wildcard in Waingro (Kevin Gage) who ends up becoming problematic as McCauley tries to kill him only for him to escape as he would end up being a problem for everyone including Hanna as it relates to the murders and raping of young women. Waingro would also play a role in the film’s second act as it relates to the bonds that McCauley and his crew stole as it belonged to the rich insurance salesman Roger Van Zant (William Fichtner). Mann doesn’t really create any heroes and villains but rather people are complicated with Van Zant and Waingro being the real villains in the film as they’re immoral and don’t care for anyone but themselves.
Mann’s direction definitely has an air of style in the presentation as it is shot on location in and around Los Angeles as the city itself is a character in the film. Mann uses these locations to not just play into the world that McCauley wants despite its lack of fulfillment but also a world that is simple as McCauley’s crew are diverse as it would later include a former prison-mate of his in Don Breedan (Dennis Haysbert) as they also have a simple life. There are wide and medium shots to play into the scope of the locations as well as banks, hotel rooms, and other places as there is a lot of attention to detail in these rooms and places that Mann is filming as it adds to the large scope of the film. Notably in a scene where Hanna and his team are at a docking area where McCauley and his team are having a conversation as Hanna and his team go to that location where Hanna realizes what is going on. It adds to this air of intrigue and suspense that occurs throughout the film that includes this meeting between McCauley and Hanna at a diner.
It’s a scene in the middle of the film in this meeting of the two men where it serves as a meeting of the minds before these two men go to war as it is clear through its close-ups and simple reverse shots as these are just two complicated men who could be friends in another world and have a lot of similarities but are on opposite sides of the law. The heist sequence that comes in late in the second act is an intense moment where there is a lot of quick shots that play into the frenetic energy as there is a lot at stake including lives where McCauley and his crew don’t want to kill anyone but they’re pinned down. The third act isn’t just about who ratted McCauley out but also Hanna wanting to find out who snitched to them as well yet both men and Shiherlis would deal their own personal issues. There is also a lot of drama that Mann explore where it is clear that McCauley and Hanna are men of certain extremes but at least are honest to admit with the latter having to realize what he means to his family despite not being there as much. The climatic showdown of the two is one that is filled with an immense visual style in its scope but it also owes a lot to the western. Overall, Mann crafts a ravishing yet gripping film about a LAPD detective and a career-criminal going head-to-head in an upcoming heist.
Cinematographer Dante Spinotti does incredible work with the film’s cinematography with its usage of low-key lights and bluish colors for some of scenes in the day and night as well as using available light in some scenes to enhance some of the drama. Editors Don Hoenig, Pasquale Buba, William Goldenberg, and Tom Rolf do amazing work with the editing with its usage of jump-cuts, fast-cuts, and other stylish cuts to play into the suspense and drama including the heist sequence. Production designer Neil Spisak, with set decorator Anne H. Ahrens and art director Margie Stone McShirley, does excellent work with the look of the homes that some of the characters live in as well as the offices that Hanna and his team work at and some of the diners that the characters go to. Costume designer Deborah Lynn Scott does fantastic work with the costumes from some of the stylish and posh clothing that both Charlene and Justine wear to the more casual and looser look of Eady with a lot of the suits that the men wear.
Makeup artist John Caglione Jr. and hair stylist Vera Mitchell, with tattoo designer Ken Diaz, do terrific work with the look of a few characters from the long-haired look of Shiherlis as well as the tattoos of Trejo. Visual effects supervisor Neil Krepela does nice work with some of the film’s minimal visual effects such as a scene of McCauley and Eady looking at the L.A. skyline at night. Sound editors Per Hallberg and Larry Kemp, along with sound designer Peter Michael Sullivan, do superb work with the sound as it play into the atmosphere of the locations as well as how guns sound when they fire as it is a highlight of the film. The film’s music by Elliot Goldenthal is wonderful for its somber yet moody score that mixes orchestral bits with some ambient electronic pieces while music supervisor Budd Carr creates a hypnotic soundtrack that features pieces by Moby, Einsturzende Neubauten, Terje Rypal & the Chasers, the Kronos Quartet, the Passengers (U2 & Brian Eno), B.B. King, and Lisa Gerrard.
The casting by Bonnie Timmerman is marvelous as it feature some notable small roles and appearances from Bud Cort as a diner owner that Breedan works for, Farrah Forke as a news reporter, Hazelle Goodman as a dead prostitute’s mother, Paul Herman as a police sergeant, Jeremy Piven as a surgeon, the trio of Rick Avery, Bill McIntosh, and Thomas Rosales Jr. as armored truck guards, Patricia Healy as Bosko’s date, Cindy Katz as a forensics investigator, Xander Berkeley as a friend of Justine named Ralph, Tom Noonan as a former criminal/guide in Kelso, Tone Loc and Ricky Harris as a couple of informant brothers who talk to Hanna about the word on the street, Jerry Trimble as one of Hanna’s detectives in Danny Schwartz, Henry Rollins as Van Zant’s assistant, Kim Statton as Breedan’s wife, Susan Traylor as Cherrito’s wife, Yvonne Zima as a young girl Cherrito reluctantly takes hostage, and Hank Azaria as Charlene’s lover Alan Marciano who is also involved in his own criminal activities until Hanna uses him as bait.
The performances of Ted Levine, Wes Studi, and Mykelti T. Williamson in their respective roles as Detective Mike Bosko, Lieutenant Sammy Casals, and Sergeant Bobby Drucker are terrific as members of Hanna’s team who all provide some insight into their mission with Sgt. Drucker being the one who deals with Charlene while not taking shit from Marciano. Natalie Portman is wonderful in her small role as Justine’s troubled teenage daughter Lauren who is dealing with an absentee father and other mental issues that raises concern from Hanna. Dennis Haysbert is superb as Don Breedan as a former prison mate of McCauley who is not happy with his parole assignment until he meets McCauley and agrees to help him while Danny Trejo is fantastic as McCauley’s friend Trejo who often serves as the driver in the heists until he is tailed by the police. Kevin Gage and William Fichtner are excellent in their respective villainous roles as Waingro and Roger Van Zant with the former being this deviant wildcard who has no remorse in who he kills while the latter is just a greedy insurance salesman who only cares about money and control.
The trio of Amy Brenneman, Ashley Judd, and Diane Venora are brilliant in their respective roles as Eady, Charlene Shiherlis, and Justine Hanna as the women in the lives of these three men with Brenneman providing a sense of warmth and hope to McCauley while Judd serves as a frustrated wife who is upset over her husband’s gambling issues and Venora as Hanna’s wife who is often upset by his frequent absences and her troubled daughter. Tom Sizemore and Jon Voight are amazing in their respective roles as the thief Michael Cherrito and the fence Nate with the former being someone who is eager for one more score while the latter helps McCauley in finding new jobs but is aware that something about Van Zant isn’t right. Val Kilmer is incredible as Chris Shiherlis as McCauley’s right-hand man who is a great marksman but also has gambling issues and feels like he’s not good enough for his wife and kid where he deals with the dangers of his work and being caught.
Finally, there’s Al Pacino and Robert de Niro in tremendous performances in their respective roles as Lieutenant Vincent Hanna and Neil McCauley. Pacino’s performance is a bit reserved while he also has some wild moments in a scene where he confronts Marciano as there are also moments where he is sensitive and does what he can to be helpful. The performance from de Niro is also low-key as someone who is meticulous in what he wants to do as he is also a man with a code while is eager to have a life outside of crime. Pacino and de Niro’s few scenes together are a joy to watch where it is two men displaying a mastery in their craft as these two extremes who have a lot of similarity but also know they have a code to live by.
Heat is a magnificent film from Michael Mann. Featuring a phenomenal ensemble cast, rapturous visuals, gripping action sequences, fascinating studies of characters and ideals, and an intoxicating music score. The film is definitely a crime drama that diverts the idea of heroes and villains in favor of studying morals as well as what two men would to maintain their own ideals. In the end, Heat is an outstanding film from Michael Mann.
Michael Mann Films: The Jericho Mile – Thief (1981 film) - The Keep – Manhunter - L.A. Takedown – The Last of the Mohicans - The Insider – Ali - Collateral - Miami Vice - Public Enemies - Blackhat - Blackhat - Ferrari – (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2
© thevoid99 2021
Set mainly in Austin, Texas in its respective music and arts scene, the film revolves around two songwriters/musicians, a music mogul, and a waitress as they all take part in whirlwind of a love affair that would each play into their ambitions and desires. It’s a film that doesn’t have much plot nor does it feature a traditional narrative due to the fact that its writer/director Terrence Malick didn’t write a script and created everything through notes and what he can capture on film. Yet, the film plays more into the themes of these four people who all meet as they fall in love but deal with temptation, doubt, and the search for meaning. Especially as Faye (Rooney Mara) is trying to make it into the music industry as she falls for the slightly-successful BV (Ryan Gosling) as she gets him to meet music mogul/lover Cook (Michael Fassbender). Yet, Faye continues her tumultuous affair with Cook who would marry the waitress Rhonda (Natalie Portman) but things go into strange turns due to Cook wanting to engage more into his decadent lifestyle with Faye and BV both trying to find something.
Malick’s direction definitely plays into the loose nature of the film’s unconventional narrative as it has this sense of freewheeling approach in the way he films everything around him. Shot largely on location near and in Austin, Texas with some shots in Mexico for a scene where BV, Faye, and Cook take a trip to Mexico. The usage of wide and medium shots not only allow Malick to get a look into the surroundings that these characters encounter but also in its connection with the world itself. Even as Malick would have characters also encounter elements of nature as it play into their search for love and identity while also encountering the chaos in the Austin music scene. The camera would often be in the middle of the action whether it’s in a mosh pit or people dancing in a rave. Malick’s close-ups add to the film’s unconventional tone as he always play into these characters and all of the highs and lows they endure as the four principle characters of Faye, BV, Cook, and Rhonda also express their feelings through voice-over narration.
Though the film centers on this music and arts scene in Austin, there are also these spiritual elements in the film though a lot of is subtle as it relates to journeys of these four characters. Notably as Faye is filled with doubt over her relationship with BV who has some issues with Cook over business reasons. Even as she learned that BV has been in a past relationship with Swedish singer Lykke Li and another former flame in Amanda (Cate Blanchett) whom he would briefly reconnect despite the fact that Faye would also continue her tumultuous affair with Cook to the point that he would have her and Rhonda in a brief three-way affair. Cook is this metaphoric figure of temptation and decadence who would often lure Faye into his world to the point that Rhonda feels neglected, lost, and yearning for answers leading her to go to the world of faith. The usage of music plays into this idea of people bringing together yet it is also used for decadence in Cook who continuously tries to find some sort of meaning through drugs and partying.
The film’s third act is about the journeys that these four characters endure where Malick showcases this air of loss through the trappings of temptation and decadence with some trying to find a bigger meaning in their lives with others forced to accept reality as well as cope with some of their poor decisions. Still, there are people who do give them some guidance as a way to cope with loss but also on love as Malick brings that sense of reality and gracefulness to show that as hard as the world can hit someone. It is all about getting hit and taking it to move forward as it play into the story that these four characters endure. While there’s a lot that is happening and can meander at times due to the film’s lack of a conventional narrative, Malick is able to maintain something that is more of a thematic study set against this culture of music and art with the four people at the center of it. Overall, Malick crafts an intoxicating and compelling about four people going through their own desires, doubts, and identity issues in Austin, Texas.
Cinematographer Emmanuel Lubezki does incredible work with the film’s cinematography as its usage of natural lighting, available light, different film stocks, and digital photography adds to the look of the film with its vibrant colors as it is a major highlight of the film. Editors Rehman Nizar Ali, Hank Corwin, and Keith Fraase do amazing work with the editing with its stylish approach to jump-cuts and rhythmic cuts as it play into the film’s dream-like and gliding tone. Production designer Jack Fisk, with set decorator David Hack and art director Ruth De Jong, does brilliant work with the look of the homes of the characters including the hotel that Cook often parties at or the look of the stages at the South by Southwest music festival.
Costume designer Jacqueline West does excellent work with the costumes with its mixture of casual and stylish clothing including some of the designer clothes that some of the richer characters wear as well as the look of the music performers in the film. Sound designers Joel Dougherty and Will Patterson do superb work with the sound as it play into the atmosphere of the locations as well as how music sounds live and on stage as well as the way the voiceover narrations are mixed. Music supervisor Lauren Mikus does fantastic work with the film’s music soundtrack with its mixture of classical, rock, indie, electronic music, and other kinds ranging from classical cuts from Zbigniew Preisner, Gustav Mahler, Camile Saint-Saens, Maurice Ravel, Nicholas Britell, Avro Part, and Claude Debussy along with music from Iggy Pop, Public Image Ltd., the Black Lips, Florence + the Machines, Lykke Li, Patti Smith, the Red Hot Chili Peppers, Bob Dylan, Elmore James, Del Shannon, Neon Indian, and many others.
The casting by Francine Maisler and Lauren Grey is wonderful as it feature cameos from the Red Hot Chili Peppers, John Lydon, Florence Welch, Iggy Pop, Tegan & Sara, Die Antwoord, and the Black Lips as themselves as well as Swedish artist Lykke Li as a fictional version of herself as a former flame of BV and American punk rock legend Patti Smith as a woman who is helping Faye with a lot of advice about art and life. Other notable small roles include Linda Edmond as BV’s mother, Tom Sturridge and Austin Amelio as BV’s younger brothers, Val Kilmer as one of Cook’s clients in a performer named Duane, Dana Falconberry as Faye’s sister, Brady Coleman as Faye’s father, Neely Bingham as BV’s ailing father, and Holly Hunter in a fantastic performance as Rhonda’s mother Miranda who is eager to have a life without trouble but becomes concerned for her daughter’s well-being. Berenice Marlohe is excellent as the French artist Zoey whom Faye meets and has a brief affair with as a woman who would give Faye some attention. Cate Blanchett is brilliant in her small role as Amanda who is a former flame of BV as she rekindles her relationship with him but realizes there’s some cracks in the relationship.
Natalie Portman is incredible as Rhonda as a waitress/former kindergarten teacher who falls for Cook as she is tempted by what he offers but finds herself lost in his decadent lifestyle as she seeks to find something with more meaning. Michael Fassbender is amazing as Cook as a music mogul who is a man that offers a lot and wants to be part of the fun but gets upset whenever he doesn’t get what he wants as he is this charming figure of corruption and temptation. Ryan Gosling is remarkable as BV as a successful musician trying to figure out what to do next as he falls for Faye while dealing with some business and personal issues with Cook as it is a somber performance from Gosling as someone who has seen a lot and is searching for answers. Finally, there's Rooney Mara in a phenomenal performance as Faye as a musician trying to get her break despite her attachment with Cook and her growing feelings for BV as it has this air of radiance and anguish as it is one of Mara’s finest performances to date.
Song to Song is a sensational film from Terrence Malick. Featuring a great ensemble cast, rapturous visuals, a rich music soundtrack, and themes of identity, doubt, and temptation against the backdrop of a vibrant music and arts scene in Austin, Texas. It is a film that explore four people trying to find their way in the world in the music scene as well as endure many ideas despite the film’s unconventional narrative and lack of a strong plot which won’t appeal to a lot of people. In the end, Song to Song is a phenomenal film from Terrence Malick.
Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) – A Hidden Life – (The Way of the Wind)
© thevoid99 2020
Based on the novel by H.G. Wells, The Island of Dr. Moreau is the story of a United Nations negotiator who finds himself in a mysterious island where a scientist conducts strange experiments involving humans and animals in an attempt to create the perfect species only for things to go wrong. Directed by John Frankenheimer and screenplay by Ron Hutchinson and Richard Stanley, the film is meant to be a study of human nature and how animals tend to go into their own instincts where a man is forced to see a world that is just as complicated. Starring Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk, Daniel Rigney, Temura Morrison, Mark Dacascos, Marco Hofschneider, Peter Elliot, and Ron Perlman. The Island of Dr. Moreau is a horrible and messy film from John Frankenheimer.
The film is a simple story of a man who was found stranded on a lifeboat in the middle of the sea as he is taken to a mysterious island run by a mad scientist who conducts experiments in trying to create the perfect being by mixing human DNA with animals. Yet, it’s a film that explores not just madness but also human nature at its worst and what happens when these hybrids of human and animal rebel against their creator? That is pretty much the film as a whole where it raises a lot of questions but never gives out any answers that audiences will pretty much figure out as it ends up being very heavy-handed about the idea of human nature. The film’s script wants to be this mixture of adventure, sci-fi, human drama, and action but it never gels where it has no idea what it wants to be. Even as there aren’t a lot of strong character developments with the exception of Aissa (Fairuza Balk) who is the daughter of Dr. Moreau (Marlon Brando) as she is also a hybrid that is more human but is regressing to her animal origins.
John Frankenheimer’s direction is definitely chaotic and not in a very good way. It’s doesn’t just carry the problems that the script had in what it wanted to be but it also takes itself too seriously where it ends up becoming comical at times. There are also these quirks in the film that are just odd as it relates to the presentation of Dr. Moreau. Whenever he’s outside, he’s wearing makeup because he’s allergic to the sun while he’s accompanied by a miniaturized version of himself. He wears an ice bucket for a hat and speaks in a strange accent as it’s among these quirks that are odd. Shot on location in Australia, the film has an exotic look but Frankenheimer doesn’t really do much to flesh out the locations visually as he’s more concerned with the craziness that is happening. Especially as it relates to Dr. Moreau’s assistant Montgomery (Val Kilmer) who is just as eccentric as he would go off-the-wall much to the dismay of this outsider in Edward Douglas (David Thewlis).
The direction’s usage of slanted camera angles, wide and medium shots, and these sequences of action and horror definitely go overboard. Especially in the film’s climax as it relates to Douglas trying to find a serum for Aissa while Montgomery has gone insane unaware that a group of human-beasts have rebelled. It’s all over the place, a lot of characters get killed and Frankenheimer tried to infuse so much as it just goes overboard. There are also these weird sequences that are shot in in a surreal fashion that doesn’t feel like it fits in anywhere as it feels like it is from a different movie or some variation of the film. Overall, Frankenheimer creates a film that is just absolutely fucking awful in every way.
Cinematographer William A. Fraker does some nice work in the cinematography as it does display some of the beauty of the locations though some of the scenes at night are over-lit in some parts of the film. Editors Paul Rubell and Adam P. Scott, with additional work by Thom Noble, does OK work with the editing as it has moments where it tries to establish what is going on as well as feature some nice dissolves but a lot of it plays too much into conventional fast-cutting. Production designer Graham “Grace” Walker, with art director Ian Gracie and set decorators Lesley Crawford and Beverley Dunn, does excellent work with the look of the base that Dr. Moreau works at as well as a few places where the man-beasts often go to. Costume designer Norma Moriceau does fine work with the costumes as it’s mostly casual as well as some stylish clothes for Aissa as well the look of Dr. Moreau.
Makeup supervisor Mike Smithson is fantastic for the look of the creatures as well as the strange makeup of Dr. Moreau. Special effects supervisor Mike Cox and visual effects supervisors Alex Frisch and Michael Z. Hanan do some good work on some of the visual effects in the design of some of the creatures though some of the visual effects aren‘t very good at all. Sound designers Harry Cohen and Ann Scibelli, with sound editors Marc Fishman and Cathie Speakman, do superb work with the sound in capturing some of the chaos as well as some of the insane moments in the film. The film’s music by Gary Chang is alright as it has its moments for its orchestral bombast though it never does enough to standout against everything that is happening.
The casting by Valerie McCaffrey is wonderful despite the fact that a lot of the talent in the film don’t really get much to do nor work with material that is any good. Small performances from Peter Elliott, with the voice of Frank Welker, as the baboon-like hybrid Assassimon who befriends Douglas, Mark Dacascos as a leopard hybrid named Lo-Mai who gets into trouble with Dr. Moreau over his actions, and Nelson de la Rosa as this miniature mutant who is a clone of sorts of Dr. Moreau as it’s one of the oddest things in the film as they’re not given much to do. Temura Morrison as the dog-like hybrid Azazello and Marco Hofschneider as M’Ling as the two hybrid sons of Dr. Moreau where the former has a love of hunting while the latter is about books as neither of them get a chance to flesh out their characters. Daniel Rigney is awful as the pig-hyena hybrid Hyena-Swine who would rebel against Dr. Moreau as he begins to asks a lot of questions as well as turn to violence for his answers.
Ron Perlman is badly wasted as a blind goat-like hybrid known as the Sayer of the Law as this film’s conscience who tries to understand all of the shit that is happening as he’s not given anything substantial to work with. Fairuza Balk is terrible as Aissa as Dr. Moreau’s daughter who is the most human of his children as she copes with regressing into her cat-like genes as she also befriends Douglas. David Thewlis is pretty bad as Edward Douglas as a UN peace negotiator who survives a plane crash as he is trying to get out of this island as well as find himself baffled by Dr. Moreau as Thewlis is just there to be a foil and react to things. Val Kilmer is awful as Montgomery as Dr. Moreau’s assistant who tries to imprison Douglas as well as create chaos and such where he would go insane. Finally, there’s Marlon Brando in an awesomely bad performance as Dr. Moreau where it’s Brando not giving a fuck where he’s wearing an earpiece in the film and doing all sorts of fucked up shit while wearing an ice bucket on his head. It’s a fucked-up version of the mad scientist where Brando hams it up and more while not giving a fuck whether or not he’s any good in this.
The Island of Dr. Moreau is a fucking awful film from John Frankenheimer. It’s a film that had the potential to be a lot of things but ends up being extremely stupid and ridiculously over-the-top. Especially where it never dares to ask big questions and provide answers that are just idiotic. In the end, The Island of Dr. Moreau is shitty film from John Frankenheimer.
Related: Island of Lost Souls - Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau
John Frankenheimer Films: (The Young Stranger) - (The Young Savages) - (All Fall Down) - (Birdman of Alcatraz) - (The Manchurian Candidate) - (Seven Days in May) - (The Train (1964 film)) - (Seconds) - (Grand Prix) - (The Fixer) - (The Extraordinary Seaman) - (The Gypsy Moths) - (I Walk the Line) - (The Horseman (1971 film)) - (The Iceman Cometh) - (Story of a Love Story) - (99 and 44/100% Dead) - (French Connection II) - (Black Sunday) - (Prophecy (1979 film)) - (The Challenge (1982 film)) - (The Holcroft Covenant) - (52 Pick-Up) - (Dead Bang) - (The Fourth War) - (Year of the Gun) - (Against the Wall) - (The Burning Season) - (Andersonville) - (George Wallace) - (Ronin) - (Reindeer Games) - (Path to War)
© thevoid99 2016
Directed by Martha Coolidge and screenplay by Neal Israel, Pat Proft, and Peter Torokvei from a story by Israel and Proft, Real Genius is the story of a high school student who is accepted to a top university where he works with a college senior in creating a laser unaware of the intentions of its professor. The film doesn’t just explore the world of tech universities but also the fallacies of intelligence where a young genius rebels against his intelligence in order to have fun. Starring Val Kilmer, Gabriel Jarret, Michelle Meyrink, Jon Gries, Robert Prescott, Ed Lauter, and William Atherton. Real Genius is a witty and engaging film from Martha Coolidge.
The film plays into a fifteen year old kid who is given the chance to attend a prestigious technical college to work on a laser with a gifted senior as they’re both unaware of what their professor wants to do with the laser. It’s a film that isn’t just an exploration of kids rebelling against their own intelligence and have fun but it’s also a film where a group of kids deal with college life as well as the world they’re about to embark. It plays into the story as a professor named Jerry Hathaway (William Atherton) is asked by the military to build a laser they need for a weapons project that can kill someone from outer space. In return, Hathaway would get some commendation and more publicity as he is also the host of a TV program. Yet, he spends his time grading papers and overseeing the construction of his house which he used the money for the project while letting his students do all the work.
The film’s screenplay plays into a lot of scenarios that does manage to gel once all of the storylines come together as the 15-year old freshman Mitch Taylor (Gabriel Jarret) arrives to the school as a young genius who is smarter than people his age and above. Still, he is treated with some contempt by some of the students including Kent (Robert Prescott) who constantly sucks up to Hathaway and tries to run the laser project whenever Hathaway nor another top student in Chris Knight (Val Kilmer) isn’t around. Mitch is excited at first about having Knight as his roommate but is shocked that the kid who was considered a genius many years before has become a slacker that just parties constantly. After some moments including enduring a humiliating prank by Kent, Mitch wants to leave until Knight tells him that he shouldn’t and learn to have fun while getting back at Kent.
The film also shows some of the flaws of intelligence as it relates to a mysterious student named Lazlo Holyfield (Jon Gries) who keeps coming in and out of Mitch’s closet in doing a secret project as he got paranoid over ideas that he believes the government wants. Eventually, Holyfield’s paranoia would come true once Knight and Mitch realize exactly what Hathaway wants the laser in its third act as they get the help of friend Ick (Mark Kamiyama) and the hyperkinetic student Jordan (Michelle Meyrink). It’s third act isn’t just handled with some suspense but also a sense of morality that isn’t heavy handed as it’s conclusion is a joyful one.
Martha Coolidge’s direction is very simple as she doesn’t aim for something that is very stylistic with the exception of a few scenes that relates to the military project. Much of the film is shot on location at Caltech in California to give the film not just a realistic look into the world of college life but also in how students conduct themselves socially and academically. The latter of which features elements of humor in a scene where Mitch walks into a classroom as he realizes that he’s the only one there and all of chairs are filled by tape recorder recording what the professor is saying on an audio tape. It’s among these offbeat moments in the film that plays into the humor as well as how Knight is introduced as he is seen wearing pajamas, wearing a headband with spring ears, and fluffy bunny shoes.
The film is balanced with some drama since Coolidge is aware that the film does revolve this young kid who is hoping to go into a world where he can meet people who are smart and mature as he is. Instead, he faces some dose of reality where he is forced to grow up as well as loosen up since he has a whole life ahead of him to learn and be smart but also have some fun at the same time. Much of Coolidge’s compositions are straightforward with its close-ups and medium shots while capturing something is very lively. The film’s climax which does involve this big laser project is a very big moment as it’s outcome not only establishes a lot into what Hathaway was trying to do but also into how he managed to screw over a bunch of kids who thought they were doing something good for the world only to get a dose of revenge. Overall, Coolidge creates a very funny and insightful film about a bunch of genius kids who try to find joy without the need to study and do something good for the world.
Cinematographer Vilmos Zsigmond does excellent work with the film‘s cinematography as it captures not just the sunny look of the daytime locations but also uses some unique interior lights for some scenes at night including a few party scenes and moments in the classrooms. Editor Richard Chew does nice work with the editing as it‘s quite simple in its approach to comedy while creating a few stylish montages to play into the world of learning. Production designer Josan F. Russo, with set decorator Phil Abramson and art director Jack G. Taylor Jr., does fantastic work with some of the look of the parties and classrooms as well as the home of Hathaway.
Costume designer Marla Denise Schlom does wonderful work with the clothes as it‘s mostly casual as well as playing into the development of some of its characters Mitch starts off wearing a suit and look nerdy and eventually dress more casually. Visual effects supervisors Richard L. Bennett and David Stipes do terrific work with the minimal visual effects as it relates to the laser project from space that Hathaway is involved in. Sound designer George Budd and sound editor Julia Evershade do superb work with the sound to create the way the laser sounds upon its firing as well as the atmosphere in some of the party scenes. The film’s music by Thomas Newman does brilliant work with the film‘s score as it features bits of electronic music as well as a few orchestral pieces while music supervisors Becky Mancuso-Winding and Michael Papale create a great soundtrack that mixes synth-pop, new wave, and hard rock from acts like Tears for Fears, Y&T, Don Henley, Bryan Adams, Tonio K, The Call, The System, The Comsat Angels, and several other obscure acts.
The casting by Janet Hirshenson and Jane Jenkins is amazing as it includes appearances from skateboarding legend Stacy Peralta as a space shuttle pilot in the film’s opening scene, Miss January of 1984 Playmate Penny Baker as a party girl in the pool party, Dean Devlin and Yuji Okumoto as a couple of nerdy students who are reluctant to join the pool party, Severn Darden as the school’s eccentric dean, and Deborah Foreman as the daughter of a government official who asks Knight a very interesting question. Other noteworthy small roles include Patti D’Arbanville as a corporate executive who has a reputation for bedding very smart young men, Louis Giambalvo as an air force major who often asks Hathaway about the project’s progress, and Ed Lauter as a government official who supports the laser project.
Robert Prescott is terrific as the slimy nerd Kent who is a constant ass-kisser to Hathaway as he tries to do whatever it takes to ruin whatever ideas Mitch and Knight have. Mark Kamiyama is excellent as Ick as an Asian student who is a friend of Knight that is just as silly as well as being someone who is very fun. Michelle Meyrink is fantastic as Jordan as a hyperkinetic student who talks very fast as she befriends Mitch and helps him deal with the craziness of college. Jon Gries is amazing as the mysterious Lazlo as a student from the 1970s who was considered a genius until he acts very odd by going in and out of Mitch’s closet due to his own paranoia.
William Atherton is superb as Jerry Hathaway as a revered college professor and TV host who is quite smug at times while being someone who abuses his power as he wants to get credit for contributing something that is immoral. Gabriel Jarret is brilliant as Mitch Taylor as a 15-year old kid who goes to college as he tries to deal with his new surroundings while learning that he just needs to have fun. Finally, there’s Val Kilmer in a remarkable performance as Chris Knight as a college senior who was once revered as a genius who decides to become a slacker while aiding Mitch in this laser project as Kilmer brings a lot of energy and wit to his role.
Real Genius is a phenomenal film from Martha Coolidge that features an incredible breakthrough performance from Val Kilmer. Along with a great supporting cast and a fun soundtrack, it is a film that isn’t just a funny college film but also a film that questions the idea of intelligence and how those who are smart are trying to live normal lives and have fun. In the end, Real Genius is a sensational film from Martha Coolidge.
© thevoid99 2015
Based on the DC Comics by Bob Kane, Batman Forever is the story of Batman facing new foes as he also deals with his own traumas and identity while taking in a young man who would become his new partner in Robin. Directed by Joel Schumacher with a screenplay by Akiva Goldsman, Lee Batchler, and Janet Scott-Batchler from a story by the Batchlers, the film is the third film of the franchise that began with the 1989 film as Val Kilmer plays the role of the Caped Crusader and Bruce Wayne with Chris O’Donnell in the role of Dick Grayson/Robin while the villains in Harvey “Two-Face” Dent and Edward Nygma/the Riddler are respectively played by Tommy Lee Jones and Jim Carrey. Also starring Nicole Kidman, Pat Hingle, Drew Barrymore, Debi Mazar, and Michael Gough. Batman Forever is an entertaining but messy film from Joel Schumacher.
The film is about Batman facing two new villains as he tries to cope his role as Bruce Wayne and Batman where he also deals with his parents’ death just as a young man named Dick Grayson just lost his parents. While Batman deals with the maniacal Harvey “Two-Face” Dent, who was Gotham’s district attorney until an incident left the left-part of his face scarred as Batman was blamed for it, and a former Wayne Enterprise employee in Edward Nygma who becomes the Riddler. Adding to Wayne’s complicated life is the presence of a psychiatrist Dr. Chase Meridian (Nicole Kidman) who is obsessed with Batman as Wayne goes to her over his own identity issues. In taking the young Grayson, Wayne eventually realizes that he’ll need Grayson to stop Two-Face and the Riddler as Grayson would become Batman’s new sidekick Robin.
The film’s screenplay does create some nice reference to the origin stories of Robin, Two-Face, and the Riddler as they are interesting characters. Yet, the script is much-more lighthearted in its approach to action by infusing some humor into the film as it relates to the Riddler who creates an invention that would extract information from other people’s minds as he would be the one to discover Wayne’s secrets. They’re among some of the elements of the film’s script that works yet there’s some things that don’t work as the characterization of Dr. Meridian is she is this woman whose obsession for Batman makes her somewhat unprofessional as a psychiatrist. Plus, she becomes this damsel-in-distress later on as the writing doesn’t really give her more to do while some of the re-hashing of Bruce Wayne’s past is definitely uninspiring since it’s stuff that audiences already know.
Joel Schumacher’s direction does have some nice moments as the presentation of the film is far more colorful than its predecessors that were helmed by Tim Burton. Even as Schumacher was able to keep things lively in some of the film’s humor and action sequences with some dazzling compositions and moments that are very entertaining. Yet, there’s some moments in Schumacher’s direction that doesn’t work as there is a bit of cheese in some of the dialogue and action sequences where it’s clear that Schumacher wants to create something that is fun but there’s things that feels off since Batman is really a very dark character. One aspect of the direction that is very annoying are the slanted camera angles which are overdone as it makes not sense to some of the visuals in the film. While the film does have an amazing climax, it does get over-the-top at times where it would play into Batman finally accepting his two identities though some of the presentation comes off as very silly. Overall, Schumacher crafts an exciting but dizzying film about Batman and Robin fighting Two-Face and the Riddler.
Cinematographer Stephen Goldblatt does nice work with some of the film‘s extravagant lighting for the look of Gotham as well as creating some shadows and lighting schemes to play into some of the darker moments of the film. Editors Dennis Virkler and Mark Stevens do terrific work with the editing with its use of flashback montages and rhythmic cuts for some of the film‘s action scenes. Production designer Barbara Ling, with art directors Christopher Burian-Mohr and Joseph P. Lucky and set decorator Cricket Rowland, does excellent work with the set pieces from the look of Gotham as well as the secret lair of Two-Face. Costume designers Bob Ringwood and Ingrid Ferrin do some good work with the clothes that Two-Face and the Riddler wear though the look of the Batsuit with nipples and codpieces are just ridiculously bad.
Special makeup designer Rick Baker does amazing work with the look of Two-Face where his left face is badly scarred to play into his unstable personality. Visual effects supervisors Andrew Adamson, Eric Durst, Boyd Shermis, and David Stump do some wonderful work with the miniatures of Gotham and some of the CGI look in some of its action sequences. Sound editors John Levesque and Bruce Stambler, along with sound designers Frank Kniest and Roland N. Thai, do some superb work with the sound from the way Riddler‘s machine extracts information from other people‘s minds to the layering of sounds in the action scenes. The film’s music by Elliot Goldenthal is pretty decent for its orchestral bombast with some triumphant moments but also some humorous pieces while music supervisor Jolene Cherry brings in an eclectic soundtrack that features song by the Flaming Lips, U2, the Offspring, Brandy, and Seal.
The casting by Mali Finn is brilliant for the ensemble that is created as it features some notable appearances from Don “The Dragon” Wilson as a gang leader Grayson encounters, Jon Faverau as a Wayne Enterprise assistant, Rene Auberjonois as the doctor from Arkham Asylum, Joe Grifasi as a bank security guard that Batman saves early in the film, and Ed Begley Jr. as Nygma’s boss who is later killed by Nygma. One small role that isn’t very good is the Gossip Gertie character performed by Bob Kane’s wife Elizabeth Sanders as it’s a very annoying character that serves no purpose to the film. Michael Gough and Pat Hingle are terrific in their respective roles as Alfred Pennyworth and Commissioner Gordon as Gough serves as a father-figure to Grayson while Hingle has Gordon be the man who would bring Grayson to Bruce Wayne.
Drew Barrymore and Debi Mazar are both fun to watch in their respective roles as Two-Face’s assistants Sugar and Spice. Nicole Kidman is alright as Dr. Meridian Chase as this woman who has some charm and sexiness but the writing doesn’t really do any favors for Kidman as her character turns out to be very obsessed with Batman. Chris O’Donnell is excellent as Dick Grayson/Robin as a lost young man wanting vengeance on Two-Face while asking for help from Batman. Tommy Lee Jones is fantastic as Two-Face as this maniacal man who uses a coin to make decisions while wanting to kill Batman at any cost.
Jim Carrey is great as the Riddler as this former Waynes Enterprise employee who wants to get rid of Batman for not accepting his invention and become even richer than Batman as Carrey is just fun to watch. Finally, there’s Val Kilmer in a pretty good performance as Bruce Wayne/Batman as Kilmer does maintain that brooding persona of Batman but doesn’t really make Wayne very interesting while some of the characterization of Batman is off as it includes a shot of Batman smiling. Batman is not supposed to smile.
Batman Forever is a solid film from Joel Schumacher. Thanks to the lively performances of Jim Carrey and Tommy Lee Jones as the villains, it’s a film that is very entertaining but loses a lot of the dark aspects of the Batman character in favor of being more accessible to a younger audience. Especially as Schumacher’s colorful presentation is a bit overwhelming at times where it allows the film and Batman to lose its edge. In the end, Batman Forever is a good but troubling film from Joel Schumacher.
Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)
© thevoid99 2014
