The Eyes of Tammy Faye (2021 film)

 

Based on the 2000 documentary film by Fenton Bailey and Randy Barbato, The Eyes of Tammy Faye is a film about the life of Tammy Faye Bakker from the moment she met an ambitious young preacher in Jim Bakker and then became part of an evangelical culture that eventually turned ugly as she struggled to find her own voice. Directed by Michael Showalter and screenplay by Abe Sylvia, the film is a dramatization of a woman who was part of a massive culture of televangelism with her husband who would be involved in a scandal just as she is trying to find her own voice and eventually become a supporter for the LGBTQ community as she is portrayed by Jessica Chastain. Also starring Andrew Garfield, Cherry Jones, and Vincent D’Onofrio as Jerry Falwell. The Eyes of Tammy Faye is a wondrous and compelling film from Michael Showalter.

The film is about the life of Tamara “Tammy” Faye LaValley who was just a girl fascinated by faith as she meets a young preacher in Jim Bakker (Andrew Garfield) whom she would marry as they would create the Praise the Lord Satellite Network only to fall into scandal over money they stole and Jim’s own extramarital affairs. It is a simple story that largely plays by convention in its narrative as well as taking some dramatic liberties into Tammy Faye’s life through Abe Sylvia’s screenplay. Yet, the film does manage to look into how Tammy Faye becomes fascinated by faith despite the fact that her mother Rachel (Cherry Jones) is only invited to the local congregation because she can play piano as she is seen as a pariah for being a divorced woman. Still, upon meeting Jim Bakker at the North Central Bible College in Minneapolis where she is charmed by his charisma that lead to both of them dropping out of school to become preachers. Tammy Faye’s own idea that includes creating a hand puppet and going on the road all across America to spread the word of God to children and families had made them popular.

While Bakker would often be the one running things and form the PTL network following some bitter disputes with Pat Robertson (Gabriel Olds) over who made The 700 Club successful. It is Tammy Faye whose idea of wanting to help many including the poor, disabled, and others without the need to make faith into a political issue that would put Bakker at odds with other televangelists including Jerry Falwell. Notably as she would later talk to pastor Steve Pieters (Randy Havens) who is gay and has AIDS on her show where she becomes a supporter of the LGBTQ community much to the dismay of both Falwell and Bakker. Still, Sylvia’s script also play into Tammy Faye’s own struggles as she strives to win her mother’s approval although Rachel is rightfully suspicious about Bakker’s own activities and raises concern about the money he and Tammy Faye are making. There is also this story about Tammy Faye’s own attraction towards her music producer Gary S. Paxton (Mark Wystrach) leading to a brief affair that would only bring more trouble and a dependency on prescription drugs.

Michael Showalter’s direction is largely straightforward in its overall presentation as it is told from the early 1950s to 1994. Shot largely on location in and around Charlotte, North Carolina, Showalter plays into this world of a woman who is raised in a small town as a lot of Showalter’s compositions are straightforward in the close-ups and medium shots to play into Tammy Faye’s interaction with faith and such. Even in scenes where she feels lost as she is often praying to God where there’s some wide shots to play into a room where Tammy Faye is all alone except in the idea that God is with her. There are some unique shots that Showalter creates as it play into the evolution of Jim and Tammy Faye’s television presentation as well as how they got into television when they saw that their car got stolen and then meet a man who saw their sermon and knows Pat Robertson with a light shining on him as if God answered their prayers. It’s among these moments of humor that occur in the film including some of the musical presentation on the Bakkers’ shows including some of the Christmas shows where Tammy Faye is wearing silly costumes and her look becomes almost cartoonish as the years progress.

The film’s tone definitely darkens by its second half and into the third act once Tammy Faye’s own addiction to prescription pills come into play as well as Jim’s own financial mishandling and extramarital affairs along with suggestions that he’s bisexual when he’s play-fighting with PTL associate Richard Fletcher (Louis Cancelmi) after Tammy Faye hears Jim making fun of her. The third act does play into the PTL scandal where it is clear that Jerry Falwell is someone that Tammy Faye doesn’t trust knowing he has a political and social agenda. Most notably in the scene where she interviews Pieters as the interview is recreated word-for-word but it is Falwell’s reaction that is chilling as his actions in what he does to the Bakkers following the scandal showcase a man who is truly evil. The film’s ending is a bit of a let-down since it doesn’t play more into Tammy Faye’s work with the LGBTQ community though it does play into Tammy Faye’s unique optimism and the persona of a woman who just wants to be inclusive to everyone. Overall, Showalter crafts a heartfelt and lively film about the wife of a preacher who defy the wishes of other religious figures to spread the word of God and love to everyone.

Cinematographer Mike Gioulakis does brilliant work with the film’s cinematography as it is straightforward but with some unique lighting for some of the daytime interior/exterior scenes in the day with some lush colors for a few bits along with unique lighting a few scenes at night including at the Bakkers’ home. Editors Mary Jo Markey and Andrew Weisblum do excellent work with the editing as it has elements of style in some montages as well as some straightforward cuts to play into the drama and humor. Production designer Laura Fox, with set decorator Barbee S. Livingston and art director Charles Varga, does amazing work with the look of the studio sets that the Bakkers use to host their shows as well as their home in all of its lavish glory. Costume designer Mitchell Travers does fantastic work with the costumes ranging from the casual period look of the 1950s to the early 1970s to the more lavish look that Tammy Faye would wear throughout the 80s as well as a more reserved style of clothing in the 1990s. Makeup designers Linda Dowds, Stephanie Ingram, and Justin Raleigh do incredible work with the makeup look of Tammy Faye in the way she evolves from being clean-cut to being more lavish including the way her eyelashes look as well as the layers of makeup that she wears that add to her legendary persona.

Special effects supervisor Larry Dean Bivins and visual effects supervisor Tim LeDoux do terrific work with the look of some of the television imagery including the way TV shows looked at the time as well as bits of set dressing for some scenes. Sound editors Wayne Lemmer and Derek Vanderhorst do superb work with the sound as it help play into the atmosphere of some of the locations including the film’s ending in its sparse moments as well as some of the way TV shows sounded from a TV back then. The film’s music by Theodore Shapiro is wonderful for its low-key orchestral score that also has elements of country and gospel to play into the world of Christian music while music supervisor John Houlihan cultivates a soundtrack that features a lot of the songs Tammy Faye did sing that are performed by Jessica Chastain as well as a song performed by Jim and Tammy Faye’s real-life daughter Tammy Sue Bakker-Chapman.

The casting by Avy Kaufman is incredible as it feature some notable small roles from Lila Jane Meadows as Jim and Tammy Faye’s daughter Tammy Sue, Grant Owens as Kentucky Fried Chicken founder Colonel Sanders, Jess Weixler in a voice cameo early in the film as a makeup artist, Coley Campany DeDe Robertson, Jay Huguley as Jimmy Swaggart, Fredric Lehne as Tammy Faye’s stepfather Fred Grover, Gabriel Olds as the televangelist Pat Robertson who would take credit for the success of The 700 Club from Jim Bakker, Louis Cancelmi as PTL producer Richard Fletcher who might be one of Jim’s lovers, Chandler Head as the young Tammy Faye, Sam Jaeger as the building contractor Roe Messner whom Tammy Faye would later marry in the 90s, Mark Wystrach as music producer Gary S. Paxton who would produce many of Tammy Faye’s recordings and later engage in a brief affair with her, and Randy Havens as the gay Christian pastor Steve Pieters whom Tammy Faye does an interview with where he talks about dealing with AIDS and being gay only to feel loved by Tammy Faye.

Vincent D’Onofrio is excellent as Jerry Falwell as this religious figure who wants to politicize faith and get the Bakkers involved as he would later rat them out to the authorities where D’Onofrio brings that air of sliminess to the role. Cherry Jones is brilliant as Tammy Faye’s mother Rachel Grover as a woman who is disliked by her community for being a divorcee as she is later baffled by her daughter’s success and other aspects relating to the business even though she is someone who does care for her daughter even though she doesn’t show it.

Andrew Garfield is phenomenal as Jim Bakker where he displays this sense of charisma as someone who really does care about the word of God yet ends up becoming consumed by greed and temptation as well as becoming distant and cruel towards Tammy Faye where Garfield brings a lot of nuances and complexity to a real-life person who is still an awful individual. Finally, there’s Jessica Chastain in a tremendous performance as Tammy Faye Bakker where Chastain brings that liveliness and optimism to the character whenever she’s on TV trying to spread the word of God but also this vulnerability of a woman who wonders if she’s doing the right thing but is also a radical for the fact that she wants to help everyone where she becomes a voice for the LGBTQ community as it is a career-defining performance for Chastain.

The Eyes of Tammy Faye is a marvelous film from Michael Showalter that features a spectacular leading performance from Jessica Chastain. Along with its supporting cast, dazzling visuals, and its study of a woman trying to devote herself to God but also wanting to help everyone. It is a film that does play the rules of a bio-pic but it also an interesting character study of this real-life figure who ended up doing some good in the world as well as bring some inclusivity to a world that isn’t inclusive. In the end, The Eyes of Tammy Faye is a remarkable film from Michael Showalter.

Michael Showalter Films: (The Baxter) – Hello, My Name is Doris - The Big Sick - (The Lovebirds (2020 film)) – (Spoiler Alert)

© thevoid99 2022

Jurassic World

Directed by Colin Trevorrow and screenplay by Trevorrow, Derek Connolly, Rick Jafa, and Amanda Silver from a story by Jafa and Silver from characters created by Michael Crichton, Jurassic World is the story of theme park that displays dinosaurs to public is suddenly thrown into chaos when a genetically-modified dinosaur breaks loose and all hell breaks loose. Set twenty-two years after the events that was presented in the 1993 film Jurassic Park, the film plays into humanity’s encounter with dinosaurs where a park operations manager and a researcher try to save everyone with the aid of a few dangerous dinosaurs. Starring Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Jake Johnson, Lauren Lapkus, Omar Sy, Judy Greer, Andy Buckley, B.D. Wong, and Irrfan Khan. Jurassic World is a thrilling and intense film from Colin Trevorrow.

Two boys are sent to the fictional island of Isla Nublar where their aunt is managing a theme park that displays dinosaurs where a newly-created dinosaur has broken loose and creating havoc forcing the aunt and a researcher to stop things. That is pretty much what the film is about as it is film with a simple story yet it also has a lot to offer as it relates what happens when those who play God create something that can’t be stopped. Even as there are those that want to create dinosaurs for means that go beyond what they’re mean to do while there are those who see things differently and actually want to gain the trust of the dinosaurs without disrupting the natural order of things. It’s a film that does say a lot about the ideas of nature but it’s also a film that manages to balance the ideas of sci-fi intelligence with a sense of fun in its approach to action and adventure.

The film’s screenplay, which was largely written by Colin Trevorrow and Derek Connolly, doesn’t just explore the dangers of re-creating dinosaurs but also what would happen when dinosaurs are created with genetic DNA strains that would allow them to be not just intelligent but also adapt to any kind of environment for their own gain. It’s an experiment that has made the park’s owner in this billionaire, in Simon Masrani (Irrfan Khan), uneasy but he is forced to take responsibilities because of the sponsors he had to get to help sell the park who want these geneticists such as Dr. Henry Wu (B.D. Wong) to make the dinosaurs bigger and scarier. The park’s manager in Claire Dearing (Bryce Dallas Howard) is a workaholic that is asked to accompany her nephews in Gray and Zach Mitchell (Ty Simpkins and Nick Robinson) as the former is a dinosaur buff.

Yet, she lets her assistant Zara (Katie McGrath) do the work as Claire is trying to deal with sponsors and making the park more successful but is unaware of what Dr. Wu as well as the park’s security head in Vic Hoskins (Vincent D’Onofrio) have created. The creation is this hybrid dinosaur known as the Indominus Rex that can do a lot as it’s made one of the park’s experts in Owen Grady (Chris Pratt) extremely uneasy as he’s managed to gain the trust of the velociraptors whom he had been studying. Once the Rex is loose and is killing other dinosaurs, Claire realizes she must team up with Grady to keep her nephews safe as he has a better understanding of the dinosaurs than nearly everyone working at the park. Especially as the more naturally-created dinosaurs are also unsafe from this new creation forcing Grady to have his velociraptors to stop this dinosaur but knows it might not be enough as it relates to the laws of nature.

Trevorrow’s direction is definitely grand in terms of the world that is created where dinosaurs are roaming the Earth but in an environment that they can adjust to with humanity being able to help them as well as be seen by the public as an attraction. Shot largely in Louisiana with a few shots in Hawaii, Trevorrow knows how to maintain something that is large in its scenery as well as the scope of these dinosaurs including one that emerges from the water to eat its food. There are some medium shots and close-ups to play into some of the intimacy as well as moments of terror where Claire, Masrani, and others are watching things unfold in a control room as well as scenes where Gray and Zach find themselves dealing with the Indominous Rex that led them to find the old Jurassic Park. Trevorrow’s approach to suspense is slow-building as it relates to exactly what these people are facing where it’s not just this dinosaur but also in the fact that it is much smarter than they seem to believe and can release other hostile dinosaurs.

Trevorrow also creates that sense of excitement during the second act where some pterosaurs were released where Grady would be the one to regain some control. There are moments of comedy as it includes a few lines as well as some tension between Claire and Grady who had previously dated while there is a moment where one of control room people tried to make out with another. It does play with much of the conventions where Trevorrow knows how to inject moments that aren’t meant to be serious. The film’s climax is quite thrilling where it’s not just about Claire, Grady, Gray, and Zach trying to evade the Indominous Rex but also trying to see if the velociraptors will fight for them despite the fact that they’re outmatched against the Rex. Yet, it would lead to not just a homage of sorts to the original film but also a moment that proves to be exciting and fun. Overall, Trevorrow creates an exhilarating and entertaining film about a dinosaur theme park being under siege by a dangerous dinosaur.

Cinematographer John Schwartzman does excellent work with the cinematography from the way the jungles and woods look with its air of grain in the colors for some of the daytime scenes to the low-key set of lights for the scenes in the control room as well as the eerie look for the scenes set at night. Editor Kevin Stitt does brilliant work with the editing as it is quite straightforward while it does feature some fast-cutting for some of the action though doesn‘t deviate too much in that style so that the audience can see what is going on. Production designer Ed Verreaux, with set decorator Ronald R. Reiss and senior art director Aaron McBride, does amazing work with the look of the park in its entirety and its attractions along with the control room and relics of the old park. Costume designers April Ferry and Daniel Orlandi do nice work with the costumes from the casual look of most of the cast with the exception of the clothes that Claire and Masrani wear as it’s more business-like.

Creature designer Stan Winston does phenomenal work with the look of the dinosaurs in every way and form to create something that looks and feel real. The visual effects work of Tim Alexander, Glen McIntosh, Michael Meinardus, and Tony Plett do superb work with not just some of the set dressing but also in the movements of the dinosaurs including the way the Indominous Rex can shield itself from its enemies. Sound designers Pete Horner and Al Nelson, along with sound editor Gwendolyn Yates Whittle, do terrific work with the sound in the way the dinosaurs sound as well as capturing the chaos in the park in some of its intense moments. The film’s music by Michael Giacchino does a fantastic job with the score by not just creating variations of John Williams’ theme but also create some new pieces for its suspense and moments of intense action.

The casting by John Papsidera is wonderful as it features cameo appearances from Jimmy Buffett as a man running from the pterosaur, Jimmy Fallon as himself in the gyro sphere ride video, director Colin Trevorrow as the voice of Mr. DNA, and Brad Bird as the voice of a monorail conductor. Other notable small roles include Colby Boothman as a new handler at the raptor cage, Eric Edelstein as the Indominous Rex control room supervisor, Katie McGrath as Claire’s assistant who is tasked to watch over the nephews, and Brian Tee as a security leader who tries to stop the Indominous Rex. Judy Greer and Andy Buckley are terrific as Gray and Zach’s parents with the former being concerned about her sister’s workaholic tendencies knowing that she and her husband are going through a divorce. Lauren Lapkus and Jake Johnson are superb in their respective roles as Vivian and Lowery as two control room employees who try to watch over everything with the latter being more of a geek in his work and towards dinosaurs.

Irrfan Khan is excellent as billionaire Simon Misrani who is the park’s owner who tries to deal with the demands for the park to do well where he is concerned about the creation of the Indominous Rex. B.D. Wong is brilliant as Dr. Henry Wu as a geneticist, who appeared in the first film, who would create the Indominous Rex to play up the demands as he would do things that are against the laws of nature. Omar Sy is amazing as Owen’s friend Barry who also has an understanding with the velociraptors where he treats them humanely like Owen. Ty Simpkins and Nick Robinson are incredible in their respective roles as Gray and Zach as Claire’s nephews who deal with the dangers of the park with the former knowing a lot about dinosaurs and the latter being a typical but resourceful teenager.

Vincent D’Onofrio is great as security head Vic Hoskins who sees the potential in using dinosaurs as weapons as he believes the Indominous Rex can be helpful. Bryce Dallas Howard is remarkable as Claire Dearing as the park’s operations manager who answers to what the sponsors want as she realizes that the creation of the Indominous Rex is a bad idea where she helps Grady in trying to stop it as well as help her nephews. Finally, there’s Chris Pratt in a phenomenal role as Owen Grady as a former Navy officer who has made a connection with the velociraptors where he sees what the Indominous Rex can do where he tries to save everyone as it’s a role that has a lot of the everyman in being a badass but also being very funny.

Jurassic World is a sensational film from Colin Trevorrow. Featuring a great cast, amazing action sequences, Michael Giacchino’s soaring score, top-notch visual effects, and engaging themes about the laws of nature. It’s a film that manages to not only be scary and fun but also provide that great balance of being an entertaining film with brains. In the end, Jurassic World is an incredible film from Colin Trevorrow.

Colin Trevorrow Films: (Home Base) - (Reality Show) - (Safety Not Guaranteed) - (The Book of Henry) - (Star Wars Episode IX)

Related: (Jurassic Park) - (The Lost World: Jurassic Park) - (Jurassic Park III) - (Jurassic World 2)

© thevoid99 2016

Strange Days

Directed by Kathryn Bigelow and screenplay by James Cameron and Jay Cocks from a story by James Cameron, Strange Days is the story of a former cop turned black marketer who finds himself in trouble due to a device that records memories where a user had witnessed a killing by two corrupt cops. Set in 1999 Los Angeles just two days before the millennium, the film is a cyberpunk thriller that explores the world of technologies and memories as a man deals with his past as well as his friendship with a female bodyguard. Starring Ralph Fiennes, Angela Bassett, Juliette Lewis, Tom Sizemore, Vincent D’Onofrio, William Fichtner, and Michael Wincott. Strange Days is a phenomenal yet gripping film from Kathryn Bigelow.

It’s 1999 just two days before the new millennium as the film is about these last two days where a black marketer discovers about a conspiracy involving two police officers in the death of a renowned rapper through a recorded memory from a hooker. With the help of a female bodyguard and a private investigator, Lenny Nero (Ralph Fiennes) tries to find out what these cops are doing as well as who has been killing not just the witness of these murders but also who has been stalking Lenny’s former girlfriend in rock singer Faith (Juliette Lewis). It’s a film that has a lot of elements of suspense and intrigue as it’s set in futuristic 1999 where Los Angeles is in chaos over tension between the people and the police. Even as it also features a man struggling with his past over his lost love while the only true friend he has is this no-nonsense bodyguard named Mace (Angela Bassett) who doesn’t like his work as she always bails him out.

The film’s screenplay by James Cameron and Jay Cocks is very intriguing not for its mystery but also in the drama where Lenny is still pining for Faith. Even as he watches old tapes in his head of the good times they had before she left him for the music impresario Philo Grant (Michael Wincott) who also manages the controversial rapper Jeriko One (Glenn Plummer) who has become a voice of the people. One’s murder by these two corrupt cops in Steckler (Vincent D’Onofrio) and Engelman (William Fichtner) that was witnessed by a friend of Lenny in the hooker Iris (Brigitte Bako) through her SQUID memory recorder that she wears on her head would trigger the events in the film. The film does become this suspense-thriller through its script yet there’s much more to it as it concerns the relationship between Lenny and Mace.

Mace is easily one of the film’s most interesting characters as she was this former waitress who met Lenny when he was just a cop comforting her son following an incident. Their friendship has Mace being not just a mother of sorts for Lenny but one where she tries to maintain some control as she has no interest in seeing other people’s memories through his device nor does she approve Lenny’s line of work. Once she realize what is going on and the trouble that Lenny is in, she reluctantly helps out as she is this commanding presence that is really unlike a lot of characters in film. There’s no bullshit about her which makes Mace so intriguing in comparison to Faith as she is this rock singer yearning to make her break but hangs out with the wrong people. The characterization of Lenny and Mace isn’t just the highlight of the script but also some of the dialogue where it’s very direct but also has some moments of humor.

Kathryn Bigelow’s direction is definitely intoxicating from the first moment of the film which explores a gang trying to rob a restaurant and evade the cops in a chase as it’s mostly shown in two takes all from the perspective of a robber. All of it is shot in a shaky steadicam as if someone is watching this moment as if they’re that person. It’s among these elements of style that Bigelow would incorporate as it does play into this idea of the future where people put on a headgear and be near a recorder in their hand so they can record these memories. It’s not just these steadicam shots that are among the finer moments of the film but also the presentation that Bigelow has in the way she explores Los Angeles in this period of turmoil and tension in the last days of the 20th Century.

The direction also has Bigelow use her slow-motion visual trademark to not just play into the action and suspense but also some of the drama in order to explore some of the tension and stakes in the film. Even as it plays into that world of reality and memories where it’s all about someone re-living an old memory or looking into someone else’s memory. The action scenes which involve a few fights and such are very engaging as it includes the film’s climax where Mace deals with the corrupt cops and Lenny dealing with the mysterious killer. Overall, Bigelow crafts a very fluid and enthralling film about a man uncovering a mysterious murder that could spell doom for the world.

Cinematographer Matthew F. Leonetti does amazing work with the film‘s cinematography where it mostly takes place at night with a few scenes set in the day as it has an air of style in its lighting as well as the way it presents Los Angeles in its most chaotic. Editor Howard E Smith, with additional work from James Cameron, does excellent work with the editing in not just creating a feel in the steadicam shots where it feels like it is presented in one take but also in its use of jump-cuts and rhythmic cuts to play with some of the film‘s action. Production designer Lily Kilvert, along with set decorator Kara Lindstrom and art director John Warnke, does fantastic work with the set pieces from the look of the New Year‘s Eve party in the middle of Los Angeles to the clubs and hotels that the characters go to. Costume designer Ellen Mirojnick does nice work with some of the film‘s costumes from the suits that Lenny wears as well as the clothes that Mace wears the slinky, revealing dresses that Faith wears.

Visual effects supervisor James Lima does terrific work with some of the film‘s visual effects such as the fuzzy visuals that a person wears when wearing the SQUID device. Sound editor Gloria S. Borders and sound designer Brian Williams do brilliant work with the film‘s sound from the atmospheres of the parties to the way some of the flashback memories and such sound like as they‘re recorded. The film’s music by Graeme Revell is superb for its ambient-based score with elements of rock and electronic music while music supervisor Randy Gerston brings in a sprawling soundtrack filled with all sorts of music ranging from metal/hard rock, alt-rock, electronic music, world music, and hip-hop from acts like Marilyn Manson, Skunk Anansie, Lords of Acid, Bob Marley, Deep Forest w/ Peter Gabriel, Me Phi Me w/ Glenn Plummer, Tricky, Prong and the Doors’ Ray Manzarek, and Juliette Lewis doing two covers of songs by PJ Harvey.

The casting by Sharon Baily, Debi Manwiller, Richard Pagano, and Melissa M. Thomas is incredible for the ensemble that is used which includes some notable small performances from Louise LeCavalier, Joe Urla, and Nicky Katt as a trio of Philo’s bodyguards, Michael Jace as a former pro footballer who becomes a bodyguard of Philo, Richard Edson as Lenny’s supplier Tick, and Josef Sommer as LAPD deputy commissioner Palmer Strickland who Lenny knows is the most incorruptible person on the force despite his issues with him. Brigitte Bako is wonderful as Lenny’s hooker friend Iris who witnesses Jeriko’s murder while Glenn Plummer is terrific as the outspoken rapper Jeriko. William Fichtner and Vincent D’Onofrio are excellent in their respective roles as the corrupt cops Engelman and Steckler as two loose cannons who take the laws into their own hands.

Michael Wincott is superb as Faith’s manager Philo who is a slimy individual that likes to take control of everything while being addicted to watching people’s memories. Tom Sizemore is amazing as Lenny’s private investigator friend Max who is this very eccentric guy who doesn’t do things conventionally while helping Lenny and Mace figure out the murders and such. Juliette Lewis is fantastic as Faith as Lenny’s former lover who is trying to make it as a rock singer who cares about Lenny but doesn’t love him anymore as she is trying to hide something that Lenny doesn’t want to know.

Ralph Fiennes is brilliant as Lenny Nero as this former cop turned black marketer who finds himself in trouble when one of his machines has uncovered a major conspiracy as he also deals with his feelings for Faith and clinging to the past as it’s one of Fiennes’ more underrated performances. Finally, there’s Angela Bassett in an outstanding performance as Mace as she is this no-bullshit bodyguard/chauffer who just wants to get paid and do what is right for her son while dealing with Lenny’s troubles. Bassett also proves to be a formidable badass as she is one woman not to fuck with while she has some amazing chemistry with Fiennes as they become this very unlikely yet engaging pair that is fun to watch.

Strange Days is a remarkable film from Kathryn Bigelow that is highlighted by the spectacular performances of Ralph Fiennes and Angela Bassett. The film is definitely not just a fascinating cyberpunk, dystopian film but also a thriller that is very captivating and adventurous. Even as it’s armed with a cool soundtrack and some pretty funny dialogue. In the end, Strange Days is a kick-ass yet tremendous film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Point Break - The Weight of Water - K-19: The Widowmaker - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2014

The Newton Boys

Based on the book by Claude Stanush, The Newton Boys is the true story about a family of thieves known as the Newton Gang who were one of the most notorious bank and train robbers of the early 20th Century. Directed by Richard Linklater and written by Linklater, Stanush, and Clark Lee Walker, the film marks Linklater’s first foray into studio features as he explores the world of the Western and a family that are eager to make their name as thieves. Starring Matthew McConaughey, Ethan Hawke, Skeet Ulrich, Vincent D’Onofrio, Julianna Marguiles, and Dwight Yoakam. The Newton Boys is a delightful though very flawed film from Richard Linklater.

The film is about a group of brothers who gained notoriety in the early 1920s robbing banks throughout the American Midwest as they were successful in their venture until a train robbery in Chicago where some confusion leads to their downfall. Yet, it is about these four brothers from Texas as they have endured so much poverty as their eldest brother Willis Newton (Matthew McConaughey) has just been released from a 3-year prison sentence for a crime he never committed. With the help of his friend Brentwood Glasscock (Dwight Yoakam), Newton gathers his brothers Jesse (Ethan Hawke), Joe (Skeet Ulrich), and Dock (Vincent D’Onofrio) to take part in a series of nighttime bank robberies that were major successes. With success comes trouble and also greed as the brothers try to maintain a life without crime but things don’t work well leading to their botched Chicago train robbery.

The film’s screenplay does have this unique structure where it has a level of excitement in the first two acts in how Willis Newton decided to go into the world of bank robbery. Even as he brings in his younger brothers in Jesse and Joe into the mix early in the film as they both have different ideas about robbery with Jesse being the liveliest of the bunch while Joe is more reluctant but understand the need for money. Dock eventually comes to the fold after he escapes prison where the robberies are successful as they’re only in it to get the money from big banks and making sure no one gets killed. Along the way, Willis gains a companion in Louise (Julianna Marguiles) who would try to pull him away from crime but various setbacks in attempt to go legal would trouble things. Even a tempting yet dangerous theft of a bank in Toronto would have Willis re-think about everything he went through.

The first two acts does have this sense of liveliness in the script though it does have issues in character development where Jesse is always a charismatic drunk who likes to have fun while Dock is someone who doesn’t really get much to do. Then comes the third act that culminates with the Chicago train robbery where things get darker and dramatic where the story loses some steam. Notably as they deal with the law and other authorities where it gets very grim and the film becomes uneven in tone.

The direction of Richard Linklater is quite grand but also has a sense of looseness in the way the robberies are presented as it is told in great detail. Linklater also creates some amazing compositions and moments where he keeps things lively for most of the film as it has some humor as well as low-key moments where Willis Newton lives his life with Louise. For the robbery scenes, Linklater does carry an air of suspense in the fact that something could go wrong though it would be more prevalent in its third act. Due to the weakness of the script in that third act, things do lose some luster where Linklater does try to create something lively again but it often feels to tacked on making the ending a bit drawn out despite some very good moments in the final credits scene that features the real Willis Newton talking in a documentary and a 1980 episode of The Tonight Show with Johnny Carson where Joe Newton talks. Overall, Linklater creates a fine but messy film about a gang of brothers robbing banks.

Cinematographer Peter James does excellent work with the cinematography as it‘s mostly straightforward for many of its scenes set in Texas in its exterior and interior settings. Editor Sandra Adair does fantastic work with the editing to create some great montages for some of the robberies as well as some methodical cuts for the suspenseful moments. Production designer Catherine Hardwicke and set decorator Jeanette Scott do amazing work with the set pieces from the look of the hotels the brothers stay in to the look of the cars and such to capture the period of the early 1920s.

Costume designer Shelley Komarov does wonderful work with the costumes from the clothes the men wear to the stylish dresses that Louise wears. Sound editor Pat Jackson does terrific work with the sound to capture the energy of the robberies as well as the atmosphere of the clubs the characters go to. The film’s music by Edward D. Barnes is a delightful mix of ragtime music with blues and country to play up the sense of energy while music supervisors Keith Fletcher and Mark Rubin add material from the standards of the time to play up the liveliness of that period.

The casting by Don Phillips is brilliant as it features a huge ensemble that includes some notable small roles from Chloe Webb as Glasscock’s wife, Charles Gunning as the robber Slim, Luke Askew as the Chicago police chief Schoemaker, David Jensen as the Chicago train robbery organizer William Fahy, and Bo Hopkins in a terrific performance as the investigator K.P. Aldrich who looks into the Newton Boys’ robberies. Dwight Yoakam is excellent as the nitroglycerine explosives expert Brentwood Glasscock who is the most careful of the bunch though he is not very good with guns. Julianna Margulies is wonderful as Louise as Willis’ lover who discovers about what he does as she tries to get him to go straight only to realize the difficulties he’s facing.

Vincent D’Onofrio is good as Dock Newton as the guy who can get things done and such though D’Onofrio doesn’t really get much to do as he’s sort of wasted in the film. Ethan Hawke is very funny as the lively Jesse Newton as a guy who likes to flirt with the ladies and drink while being a charmer though the script doesn’t give Hawke more to do. Skeet Ulrich is superb as the youngest Newton brother Joe as the most reluctant person of the group who is aware of what has to be done while facing the dangers of their crimes. Finally, there’s Matthew McConaughey in a marvelous performance as Willis Newton as the ringleader of the gang who organizes every heist and such while being a man of charm and wit as McConaughey brings a lot of gusto to his role.

The Newton Boys is a good though flawed film from Richard Linklater. While it has a great cast, amazing set pieces, and a terrific soundtrack. It’s a film that starts off well only to be bogged down by some weak aspects of the script in its third act. Particularly where it wants to be a western comedy as well as a docu-drama where it becomes very uneven in tone. In the end, The Newton Boys is a fine and worthwhile film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - Waking Life - Tape - School of Rock - Before Sunset - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

The Player

Originally Written and Posted at Epinions.com on 3/17/07 w/ Additional Edits.

Directed by Robert Altman and written by Michael Tolkin that was based on his novel, The Player is about a Hollywood executive who thinks he's being blackmailed by a screenwriter over a rejected script as he accidentally kills the man leading to all sorts of trouble. The film explores the world of Hollywood and the film industry itself about how they run things. With a cast that included 60 cameos, the film stars Tim Robbins, Greta Scacchi, Whoopi Goldberg, Lyle Lovett, Cynthia Stevenson, Richard E. Grant, Fred Ward, Peter Gallagher, Brion James, Vincent D'Onofrio, and Sydney Pollock. Plus, appearances by many, many, many, many actors, writers, producers, and directors. The Player is a witty yet entertaining satire Robert Altman.

Working as a studio exec, Griffin Mill (Tim Robbins) is a mover and shaker who hears writers and directors making pitch after pitch. Among them is director Alan Rudolph and another is writer Buck Henry who is pitching an idea for a sequel to The Graduate that he wrote. Surrounded by the likes of people including his girlfriend and story editor Bonnie (Cynthia Stevenson), Griffin seems to be the man in line to replace his boss Joel Levison (Brion James) as the studio head. Then came Larry Levy (Peter Gallagher) who has left Fox to join the studio and is now becoming the likely replacement. Mill's mentor Dick Mellon (Sydney Pollack) suggest to try and make moves and get Levy as an ally. Making things worse for Mill is a series of mysterious postcards he's been getting from a disgruntled writer whose screenplay he has rejected. Talking with his head of security in Walter Stuckel (Fred Ward), he finds the name of a writer he rejected named David Kahane (Vincent D'Onofrio).

Going to his address home, he finds a Icelandic woman named June Gudmundsdottir (Greta Scacchi) painting the house where he calls her from his mobile phone where they have a conversation and Kahane's whereabouts. He finds Kahane at a screening for Vittorio de Sica's The Bicycle Thief where the two have a conversation about endings and the script that Mill rejected about Kahane's life as a student in Japan. After an argument in a parking lot, the two have a fight where Mill accidentally kills Kahane. The next day, the news of Kahane's murder is all over Hollywood as Stuckel interrogates Mill about what had happened. After attending a funeral for Kahane, Mill meets June who finds herself out of place in the funeral as Mill learns he is being followed by a man named DeLongpre (Lyle Lovett). Mill is then investigated by a detective from Pasadena named Susan Avery (Whoopi Goldberg) who is charmed by Mill and his knowledge of film.

After getting away from an investigation, Mill receives another letter where he realizes that he killed the wrong man. The letters continue where Mill receives comfort from June as he decides to meet the man who sent him the letters. Unfortunately, he never meets him and instead, meets a British director named Tom Oakley (Richard E. Grant) and his co-writer Andy Civella (Dean Stockwell) about a film called Habeas Corpus. The pitch is successful despite the fact that it's against everything that Hollywood has been known for. Mill takes Oakley's pitch to Levy who decides to make it into his project despite the fact that they're not going into the traditional Hollywood format. After going into another investigation with Avery and meets DeLongpre, Mill learns that he's a suspect and he's being ridiculed after DeLongpre mentions Tod Browning's Freaks. Hoping to make an escape from everything, Mill takes a vacation to Mexico with June as he awaits his own fate.

While Hollywood is looked at as a place where risk isn't worth taking, Robert Altman is aware of how cruel the film industry can be. Despite Altman's cynicism, he choose to make Hollywood's slick world and turn it upside down to see how it works and how absurd it is. Altman and writer Michael Tolkin aren't making fun of it but reveal how the industry had changed from the Golden Age of Hollywood and the 1970s to the more commercial, blockbuster-driven 1980s and early 1990s. There's moments where Walter Stuckel talks about how the MTV-editing style has really ruined films while talking about Touch of Evil by Orson Welles where it had an opening, one-take, eight-minute sequence. Altman does the same thing to convey that style while he also reveals Hollywood's cynicism about reality and their idea for the happy ending which is totally Hollywood.

The film is really about this individual who is a mover-and-shaker of Hollywood who is confronted by a mysterious writer who is angry over rejection. When he meets Kahane, they discuss about the endings of Hollywood and art films. Griffin Mill is the protagonist but a villain as well. Yet, Mill is a character audience is supposed to hate because he hates writers for their demand to have control. Still, Mill is a character whose charm and personality is so winning, it's hard to hate a guy like that. While Altman chose to focus on this shady character like Mill, he makes Mill the driving force of this story about Hollywood and how they work.

Then comes the ending which is both ambiguous and ironic. Particularly on what the whole conflict of what is discussed during the movie. Altman makes the ending work for its humor as well as his approach by adding the same Altman-esque sense of improvisation and overlapping dialogue where the cameo appearances from actors have their moment expressing their frustration and excitements over films. The result is truly an entertaining and witty film from the late, great Robert Altman.

Cinematographer Jean Lepine does some excellent camerawork that's mostly done in a documentary-like style with no flashy photography or anything stylish. Altman's son and longtime production designer Stephen Altman and art director Jerry Fleming do amazing work in capturing the posh, slick look of Hollywood and the arty home of June. Costume designer Alexander Julian also does excellent work in creating the suits and clothing of the studio executives as well as the flowing clothes of June. Altman's longtime editor, the late Geraldine Peroni along with Maysie Hoy does excellent work in the editing to shift sequence to sequence while going into perspective cuts to convey the sense of atmosphere in the studios as well as that one-take opening sequence. Sound editor Michael P. Redbourn does some fine work in the film's sound to reveal the sense of tension of some of the film's suspenseful sequences. Music composer Thomas Newman brings a wonderfully melodic and suspenseful score to some of the film's suspense while adding a lot of playful melodies for the rest of the film.

Then there's the cast that is filled with many cameos that it's really up to the viewer to see who is there and such. Smaller performances from Gina Gershon, Jeremy Piven, and Randall Batinkoff as the young executives are wonderful with Dina Merrill as head assistant Celia and Angela Hall as Mill's secretary Jan. The late Brion James is excellent as the old yet wise Joel Levison while Peter Gallagher is great as the smarmy, slick Larry Levy. Lyle Lovett is great as the mysterious DeLongpre whose mysterious presence and motives only reveal the humor in the film Freaks.

Whoopi Goldberg is great as the detective Susan Avery who is charmed by Mill but also counters his charm in wanting to close a case while has a great line during a witness scene. Sydney Pollock is excellent in a small role as Mill's longtime advisor who cautions him on what to do with his career and how to deal with everything else that could affect it. Fred Ward is wonderfully funny as the security chief who loves the old film noir and detective stories of the 1940s and 1950s while revealing his disgust towards the films of the 1980s.

Dean Stockwell and Richard E. Grant are wonderfully funny as the writers of a film with Grant as the director who reveal their intentions while having a funny scene of telling Andie MacDowell not to go to Montana in reference to the film Heaven's Gate. Cynthia Stevenson is great as the moralistic girlfriend of Mill in Bonnie, who seems like the only person in the film that tries to do the right thing. Especially in the film's ending when she's forced to see a film that's changed and doesn't fit in with what Hollywood wants.

Vincent D'Onofrio is great as the frustrated yet brilliant David Kahane whose hatred for studios and Hollywood reveal the talents and how Hollywood has little time for talent and more for marketing and money. Greta Scacchi is excellent as the arty yet sweet June who doesn't understand anything about David and feels more in line in what Mill wants as Scacchi is the perfect leading lady for Mill. Finally, there's Tim Robbins in one of his great performances as the sleazy yet charming Griffin Mill. Though Robbins is playing a very devious villain, he manages to make the character likeable enough without a lot of emotions as he's just an asshole who just wants to make money and be a player. It's a great performance from Tim Robbins.

The Player is a fantastic film from Robert Altman that features a marvelous performance from Tim Robbins. The film isn't just a very funny take on the world of Hollywood but also in the way it shows a world as cruel as Hollywood. It's also a very rich ensemble piece that features a lot of funny references to the world of film. In the end, The Player is a brilliant film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Thumbsucker

Originally Written and Posted at Epinions.com on 2/20/06 w/ Additional Edits.

Being young and in a dysfunctional family is hard, even when trying to grow up is hard. In the book called Thumbsucker by novelist Walter Kirn tells the story of a young boy who has troubles trying to grow up and still sucks his thumb. After getting into various treatments and getting into all kinds of things, the boy's emotional troubles only worsen in this coming-of-age tale. Adapted to a script and directed by acclaimed music video director Mike Mills (not the bass player of R.E.M. of the same name), Thumbsucker goes into the world of teen angst and all the troubles of trying to fit in and everything while dealing with all the problems growing up has. Starring Lou Taylor Pucci, Tilda Swinton, Vincent D'Onofrio, Kelli Garner, Benjamin Bratt, Vince Vaughn, and Keanu Reeves. Thumbsucker is a funny yet poignant film about all the troubles of growing up.

For Justin Cobb (Lou Taylor Pucci), his life is always trouble since he can't seem to stop sucking his thumb. His thumb-sucking annoys his father Mike (Vincent D'Onofrio) while his mother Audrey (Tilda Swinton) is also concerned. Yet, none of them can escape their dull life in suburbia with the youngest son in the clan, Joel (Chase Offerle). Justin though, remains tormented by his life in high school and often has trouble trying to get things in his debate team class taught by Mr. Geary (Vince Vaughn). The only person Justin can talk to from the team is Rebecca (Kelli Garner) who often asks Justin on why he acts weird. At home, Mike runs a sporting goods store while Audrey is a nurse who hopes to win a contest to meet her favorite TV actor Matt Schramm (Benjamin Bratt). The only other person Justin can talk to is his new-age orthodontist Perry Lyman (Keanu Reeves) who is aware that Justin still sucks his thumb.

Often trying to find time to suck his thumb, Perry notices that if Justin was ever going to get on with his life, he has to let go of his thumb. In an attempt to try to help Justin, he does hypnosis in order to make his stop his thumb and think of other things. The hypnosis seems to work whenever Justin sucks his thumb and it tastes bad but the end result only makes Justin's behavior more erratic to the point that Rebecca notices and leaves the debate team. After trying to get revenge on Perry during a bike race, Justin gets arrested where Mr. Geary and a counselor notices that Justin suffers from ADHD (attention deficit hyperactivity disorder) as they hope to cure him with Ritalin. Justin's parents aren't sure if it will work but when Justin does take Ritalin, he immediately becomes a debate team wizard.

Though the feeling of confidence comes, Justin's behavior becomes even stranger as he begins to take more Ritalin and his aggressive debating skills only troubles Mr. Geary. Even when Justin and his teammates (whom all 3 are girls) try to have fun, Geary isn't fond of the change in Justin. After a big victory, Justin's aggressive behavior takes its toll on the family as once his Ritalin addiction is exposed and when his father decides to show up to see him debate. The result is a disaster as Mike tries to comfort him only to be rejected while Audrey, who had been seeing his debate matches, had taken a job working in a rehab center that is filled with celebrities. After quitting the debate team, Justin turns to Rebecca for help in smoking dope and discovering sex but when that doesn't work out. Justin has troubles finding answers while he suspects his mother of having an affair with Matt Schramm, who is at the rehab place while finding out about his father's pain in his life after being a football star. Justin wonders about everything while finding out all the answers from the most unlikely of places and people.

The theme of this film along with a lot of films that came out in 2005 is connection, especially through troubling circumstances. In the case for Thumbsucker, it's about a young kid who has troubles in trying to get himself fixed to become a better person yet couldn't deal with all of the bad things around him. His family is very dysfunctional where his mother wants to live a fantasy and his father trying to achieve a final goal that he didn't get as a high school football star where it leaves his younger, frustrated brother to be the normal one. It's a film where people try to find answers into better themselves only to realize that they're not always there and that some people only set themselves up for disappointments in the way Geary and Perry would see. Even in Justin's relationship with Rebecca, it's very complicated since Rebecca is trying to discover the world of sex only to confuse Justin even more in what her intentions her.

The film is wonderfully directed by Mike Mills in how he observes all the things that goes around in Justin's world. From his visits with Perry about all the things that troubles his life to how he becomes desperate to be accepted only to have it fall apart in his face. Mills direction is excellent in the way he observes Justin's behavior while the script is filled with wonderful development where all the major characters in the film have depth into what they bring into the world, especially Justin. While the film is mostly a drama, it does have its moments of humor in several scenes where it comes off naturally and not in a farcical way that some films try to do. Then there's the subject of thumb-sucking which is really a metaphor in the way that the Ritalin and dope-smoking would get to. It really represents an emotional crutch of a kid where whenever he's is pushed or just feeling very anxious in a bad way.

A film similar to that context on a different scale is Steven Shainberg's 2002 film Secretary where Maggie Gyllenhaal's character cuts herself only to see if she exists only to find a new alternative as a submissive in a sadomasochistic relationship with her boss. Really in many ways, this film is about trying to find things to hold on to while dealing with all the bad things in the world.

Helping Mills in the visual department is cinematographer Joaquin Baca-Asay is wonderful for its use of color and to convey the dreamy yet ominous mood that Justin goes through as Baca-Asay's cinematography is wonderful. Production designer Judy Becker and art director Walter Cahall do great work in the look of the houses and places that Justin is surrounded by. Especially since Becker's work is filled with odd things in the homes like in Perry's office early in the film, wolves and stuff that brings a lot of humor to the look of the film. Costume designer April Napier also brings a quirkiness to the film, especially in a scene where Tilda Swinton wears these quirky designer dresses to try and look impressive for Benjamin Bratt. The film in its 96-minute running time is paced leisurely while editors Angus Wall and Haines Hall bring great style to the film's presentation to Mills' perspective directing and some jump-cuts to convey the erratic behavior of Justin.

The film's soundtrack which is supervised by Brian Reitzell is filled with dreamy, atmospheric stuff that helps the convey the troubling mood of the protagonist while the film's original music is done by Tim DeLaughter and his band, the Polyphonic Spree. The music of the Polyphonic Spree is wonderful with its lyrics that are uplifting and melancholic that provides the crutch of Justin's emotional struggle as DeLaughter and company do great work. Also added in the soundtrack is some music from the late Elliott Smith who brings in some great covers of Cat Stevens' Trouble and innocent Big Star ballad Thirteen that rings true to the characters who are all growing up.

The film's cast is wonderful which includes some nice small performances from Sarah Bing, Echo Brooks, and Olivia D. Brown as Justin's debate teammates and a wonderful minor performance from Chase Offerle as Justin's young, obnoxious 10-year old brother who becomes frustrated over his brother's weirdness and the family dynamics as he struggles to get some attention. In another hilarious small role, Benjamin Bratt is excellent as Audrey's favorite actor Matt Schramm whose presence as this bland, pretty-boy actor is a wonderful parody only to have more complexity in a meeting between him and Justin where Bratt reveals his humorous side. Vince Vaughn is also funny as Mr. Geary whose tactics to help rile up his students ability to win are fun to watch while Vaughn also shows his more mature side when he sees Justin go into darker behaviors. Kelli Garner, who filled in for Scarlett Johansson at the last minute, does a wonderful job in playing Justin's girlfriend who is looking to understand his behavior only to reveal her true intentions. Garner brings a lot of edge and a natural quality to her role where if the part still went for Johansson, nothing new would've come but Garner brings the right tone for her character who later becomes a stoner.

Of the entire supporting cast, no one brings more surprises or laughs better than Keanu Reeves in his most offbeat performance to date as new-age orthodontist Perry Lyman. Reeves brings the right kind of humor and idiosyncracies to play this new-age guy who tries to help Justin only to change completely as does Justin where he tries to find new answers as his character is a bit parallel to Justin. During their meeting when Justin is now a debate wizard, Reeves brings a hilarious blandness and shock to see Justin's new change where Reeves brings some real depth. Vincent D'Onofrio is also wonderful as Justin's father Mike who hides a deep sense of shame as he tries to hide himself through work and when he finally takes notice of Justin's accomplishments, he tries to be a real father. D'Onofrio brings all kinds of complexity and pain that a father goes through as he and Pucci have great scenes together. Tilda Swinton is also great as Justin's quirky, fantasy-living mother who seems to be the only parent early who wants to connect with Justin. Then when she takes a great job, her character changes as she becomes unaware of her own role as she tries all she can to help Justin and her family.

Finally, we have Lou Taylor Pucci in a performance that can truly described as one of the best performances of the year. With his previous film credit in a small but memorable role in Rebecca Miller's Personal Velocity, Pucci is by far one of the best young actors to emerge as he takes his first starring role as a kid who has trouble dealing with the world and looking for something to hold on to. Pucci brings a complex, layered performance in the film as he struggles to find himself as early on, we see Pucci bring every amount of sympathy to this kid only to not like him as much when he goes on Ritalin. It's a very powerful performance as Lou Taylor Pucci who is a true talent on the big screen.

The Sony Classics Region 1 DVD that presents the film in a 2.35:1 anamorphic wide-screen format is wonderful in its transfer, even as it sounds good in its 5.1 Dolby Digital for English and Dolby Surround for French with French subtitles available. The special features include several trailers for films like Junebug, 2046, Breakfast on Pluto,, London, Saint Ralph, The Tenants, and Memory of a Killer which are all released from Sony Classics. The other features include a 20-minute behind the scenes documentary where writer/director Mike Mills, novelist Walter Kirn, and most of the film's cast talk about the movie and the idea of thumbsucking. Kelli Garner reveals the preparation she took into learning about the things discussed in the debate team while Pucci talks about a lot of the angst that goes on through. Tilda Swinton, who is one of the executive producers, reveal how the story affected her since she admits to her own awkwardness as young woman. Another feature that appears in a DVD-rom is a director's blog from Mike Mills that reveals notes on the film's premiere and promotion along with his artwork that he reveals.

The 40-minute conversation between Mills and novelist Walter Kirn is interesting for those wanting to know the comparison between the book and film yet the 40-minute running time does take too long. Mike Mills' feature-length audio commentary on the film brings some wonderful insight into his approach and how he and the cast basically improvised while remaining true to the novel and some of its lines. Mills fonds over Pucci's performance and the rest of the cast while talking about how he did the film in an almost chronological order which is rarely done in most film productions. Mills also talks about how the story he felt related to him and the influence of Hal Ashby that was his true inspiration for the film. Mills also talked about how originally, the late Elliott Smith was going to score the entire film with nothing but covers but never happened when he died. Mills also gives a final comment about his meeting with Ang Lee who gives him some poignant advice as Mills calls Lee's 1997 film The Ice Storm one of his favorites.

Overall, Thumbsucker is an amazing, funny, and dramatic debut feature from Mike Mills led by the amazing Lou Taylor Pucci in his first leading performance. With a great supporting cast and a wonderful crew plus music from the Polyphonic Spree and the late Elliott Smith. Thumbsucker is the kind of movie that kids who don't fit in will seem to love and cherish. Even those who hated the typical high school films would've wished that this film was made when they were in high school. Thanks to Mike Mills' talent in directing and Lou Taylor Pucci's performance, Thumbsucker is surely a film to seek out.

Mike Mills Films: (The Paperboys) - Beginners - 20th Century Women

© thevoid99 2012

Full Metal Jacket

Based on the short story The Short-Timers by Gustav Hasford, Full Metal Jacket is the story of a young man joining the Marines in the mid-1960s as he endures brutal basic training in the hands of a sadistic drill sergeant. Then he becomes a war journalist in Vietnam as he would take part in the Tet Offensive as he comes to grips with the idea of war. Directed by Stanley Kubrick and adapted into script by Kubrick, Hasford, and Michael Herr, the film explores a young man’s outlook in the Vietnam war as he reflects on everything he’s experienced. Starring Matthew Modine, Vincent D’Onofrio, Arliss Howard, Adam Baldwin, Dorian Harewood, Kevyn Major Howard, and R. Lee Emrey. Full Metal Jacket is a visceral and entrancing war film from Stanley Kubrick.

James T. “Joker” Davis (Matthew Modine) is at Parris Islands as a new recruit for the U.S. Marine Corps along with Robert “Cowboy” Evans (Arliss Howard) and Leonard Lawrence (Vincent D’Onofrio). Under the guidance of the verbally-abusive drill instructor Gunnery Sgt. Hartmann (R. Lee Emrey), Joker, Cowboy, and Lawrence endure basic training as Hartmann calls Lawrence “Gomer Pyle” due to his overweight and slow-witted personality. While Joker gets promoted to squad leader, he tries to help Lawrence out with basic training only for things to go wrong when Hartmann finds a jelly donut in Lawrence’s locker trunk. The whole squad gets punished leading them to retaliate by hazing Lawrence as he eventually becomes a model soldier. Upon graduation, Joker begins to worry about Lawrence’s state of mind as he would witness a chilling incident.

One year later, Joker is now a war journalist writing for Stars & Stripes as he’s joined by photographer in Ptv. First Class Rafter Man (Kevyn Major Howard) covering the war. Both are looking for action as Joker needs a story despite the fact that his superior (John Terry) wants something that will boost morale of the already unpopular war. After their base is attacked by North Vietnamese troops, Joker and Rafter Man go on assignment to cover the war where Joker is reunited with Cowboy who is part of a squad that features the witty Eightball (Dorian Harewood) and the brash Animal Mother (Adam Baldwin). After dealing with the intense fighting in battle along with the loss of some soldiers, Joker would later take part in another battle where he, Rafter Man, Cowboy, Eightball, and Animal Mother face off against a sniper.

The film is a two-part film of sorts about a young man joining the Marines and eventually become a soldier where he takes part in the infamous Tet Offensive of 1968 in the Vietnam War. All of this told by this young man who would endure a world that is ruthless and unforgiving as he becomes more confused by world as he tries to joke his way around these situations. During the course of his experience in basic training and then in the battlefield, he will face all sorts of brutality and moral issues that would question his own idealism. Notably in one scene where a superior officer confronts him about the peace symbol on his uniform while having the words “born to kill” on his helmet. It’s a scene where Joker tries to explain his feelings about the duality of man as he is torn between two ideals in the middle of a war.

The film’s screenplay is presented in a very unconventional structure as its first half is the exploration of basic training where its focus is on a few key men. While it is told mostly through Joker’s perspective, a lot of the film’s focus is on Leonard Lawrence who is probably the last person that should be in the Marine Corps. Here is this out-of-shape and naïve young man who starts out as this very innocent person who couldn’t finish an obstacle course and could barely get through everything else. With Joker trying to help him, Lawrence starts to eventually screw things up as his entire squad get punished while he is spared. After a brutal haze by his own squad, all of Sgt. Hartmann’s verbal abuse and the physical beating he received from his squadron would have a horrifying mental effect on this young man.

While the first half of the story is definitely the strongest due to the psychological and physical study of basic training. It’s second half is often considered to be the weakest because it’s not as engrossing as its first half. Still, it’s an interesting one where it revolves around the actual war itself where the story is still told by Joker who is trying to deal with what to tell to the world while dealing with all of its horrors. While he brags about being in combat, he has yet to kill someone directly as he ends up taking part in battle where he eventually goes head on against a sniper towards the end of the film.

The screenplay that is created is unique not just for its unconventional structure but characterization and the suspense that is created. While the first half is about the making of a Marine where recruits have to be challenged and refined by this ruthless drill instructor. The second half is about the Marine putting his training into use yet they would face things that Sgt. Hartmann is unable to teach them. There, they face death of fellow soldiers as well as the insanity that occurs in war. Notably a scene where Joker and Rafter Man are at a helicopter where a door gunner (Tim Colceri) kills countless of innocent people on their way to Hue. It’s a truly chilling script told with great care and thought by its writers.

The direction of Stanley Kubrick is definitely one of the most entrancing aspects of the film. From the way he frames a shot to the presentation of a simple shot that would say a lot. The film’s first 45-minutes at Parris Island has a directing style that is very tight, controlled, and engaging. From the opening scene of recruits getting their hair cut off to this next scene that is very striking yet simple as Sgt. Hartmann talks to his new recruits. Kubrick aims to maintain something that is unsettling and almost claustrophobic in his framing while moving the camera to capture the intensity of the marches and obstacle courses. There’s also some amazing close-ups and medium shots for Kubrick to capture the drama that occurs while using slow zoom shots to play up Leonard’s troubled stare.

While the film’s first half is more evocative and understated in its presentation, the film’s second half is much looser and playful but also more disturbing in its approach to violence and death. While the humor is very offbeat as it would involve negotiations with prostitutes, notably in the opening scene as a hooker (Papillon Soo Soo) says the lines “me so horny, me love you long time”. Some of that humor goes to dark places such as the door gunner scene as it’s a very unsettling moment though this gunner’s laugh is very maniacal. The humor is also included in a montage of soldiers talking to a crew about their experience of the war as if nothing is really wrong.

While the film is shot largely in Britain for both halves, the re-creation of both the scenes in Parris Island and Vietnam adds a very surreal element to these films where it does feel like it’s set in those places. Notably the film’s climatic battle against a sniper where the location that is filled with destroyed buildings, palm trees, fire, and dirt. The mixture of grey, black, green, blue, and orange set a tone for what Kubrick wants in terms of its lighting and suspense. The moments of violence such as the point-of-view shot from the sniper as there’s a great zoom to whom the sniper is set to shoot plays up that sense of suspense so well. The overall work that Kubrick does with this film is truly stark yet seductive for its brooding tone as he creates what is truly a mesmerizing war film.

Cinematographer Douglas Milsome does a brilliant job with the film‘s camera work to complement the differing looks for the film. From the greener yet colorful look of the Parris Island scenes in its exteriors to the dark, nighttime interiors to play up the brooding moments of the film. The wartime scenes in the Tet Offensive have a much richer approach though the camera work is much looser with tracking and handheld shots to cover the action. The lighting is also more hypnotic with bits of lenses flares and lots of fires as lights to play up the suspense as Milsome’s work is truly the film’s technical highlight.

Editor Martin Hunter does a fantastic job with the film’s stylish editing by utilizing dissolves and fade-outs for transitions along with more rhythmic cuts for the documentary montage and the rhythm of the basic training scenes. Hunter’s cutting also maintains very unconventional rhythms to play up the drama and suspense as its pacing is very methodical for the set-up of the suspense and the scenes to follow. Production designer Anton Furst, along with a team of art directors and set decorator Barbara Drake, does an amazing job with the set pieces from the clean yet wide-opened look of the Parris Islands scene to the recreation of Vietnam with its decayed buildings, base camps, and palm trees to play up the chaotic world of Hue.

Costume designer Keith Denny does some nice work with the costumes ranging from the uniforms that the soldier wear to the skimpy clothing the Vietnamese hookers wear. Sound editors Nigel Galt and Edward Tise do wonderful work with the sound from the intimacy of the Parris Island base where the soldiers sleep to the atmosphere of the battle field filled with explosions and gunfire to complement the sense of terror occurred in war. The film’s music is a wide mix of music pieces that is used for the film. Among them is its score by Vivian Kubrick, under the Abigail Mead moniker, that is a chilling ambient score used for some of the film‘s suspenseful moments. The rest of the film’s music soundtrack consists of music from the 60s like Nancy Sinatra, Sam the Sham & the Pharaohs, the Trashmen, the Dixie Cups, and Chris Kenner to complement some of the film’s humor or to add excitement to certain scenes. Closing the film is the Rolling Stones’ Paint It Black that serves as a fitting way to end the film.

The casting by Leon Vitali is outstanding for the ensemble that is created which features appearances from Vivian Kubrick as a camera woman at a mass grave scene, Tim Colceri as a crazed helicopter door gunner, Ed O’Ross as a platoon commander, Kieron Jecchinis and John Stafford as a couple of soldiers, Peter Edmund as an African-American recruit named Snowball, Papillon Soo Soo as a hooker who says some famous lines, and John Terry as Joker’s assignment editor. Kevyn Major Howard is very good as Joker’s combat photographer Rafter Man who is keen on wanting to get involved in the action while Dorian Harewood is terrific as the crafty and funny Eightball. Adam Baldwin is superb as the brash yet blood-thirsty Animal Mother who is willing to kill as many Vietcong soldiers while being there for his buddies.

Arliss Howard is fantastic as Cowboy, a soldier who starts off as spirited recruiter and later becoming a top soldier who is willing to head a platoon in the film’s climatic sniper-battle scene. R. Lee Emrey is phenomenal as the harsh Sgt. Hartmann who spouts very memorable lines and insults to push his recruits as it is a truly unforgettable performance for a man who was a real-life drill sergeant. Vincent D’Onofrio is amazing as the dim-witted Leonard Lawrence who tries to deal with his shortcomings and naiveté while slowly losing his mind as he becomes more chilling as the film progresses. Finally, there’s Matthew Modine in a captivating performance as Joker where Modine displays a sense of innocence and light-humor to a guy unaware about the dark implications of war as he tries to maintain a certain idealism that is later shattered by war.

Full Metal Jacket is a hypnotic yet exhilarating war film from the late Stanley Kubrick. Featuring a great ensemble cast that includes Matthew Modine, R. Lee Emrey, Vincent D’Onofrio, Arliss Howard, and Adam Baldwin. It is truly one of the great war films ever created for its study of madness, morality, and preparation. While it’s not an easy film to be engaged by due to its unconventional structure and themes of human nature in war. It’s a film that does a lot more to explore what it takes to go out there and kill the enemy while delving into the horrors of humanity along with way. In the end, Full Metal Jacket is an outstanding film from the late, great Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer’s Kiss - The Killing - Paths of Glory - Spartacus - Lolita - Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Eyes Wide Shut

Related: Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

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