2021 Cannes Marathon: American Honey

 

(Winner of the Jury Prize at the 2016 Cannes Film Festival)

Written and directed by Andrea Arnold, American Honey is the story of a teenage girl who joins a crew of traveling sales people on a road trip through America as she encounters love, chaos, and life lessons. The film is a road movie set in the American Midwest where a troubled teen from a dysfunctional family joins this group of misfits hoping to find some adventure in her life. Starring Sasha Lane, Shia LaBeouf, and Riley Keough. American Honey is a riveting and compelling film from Andrea Arnold.

The film revolves around the journey of an 18-year old woman who lives in a poor and dysfunctional family with kids whom she isn’t related to until she meets a young and charismatic salesman who is part of a gang of misfits selling magazines to people all over the country as she joins them on the road. It is a film with a simple premise as it explores this young woman from a poor and abusive environment who takes this job to go on the road and sell magazines with a band of misfits who are also from poor environments as a way to make money and have a good time. Andrea Arnold’s screenplay, which is based on a New York Times article by Ian Urbania, explores this culture where these kids are dropped off in sections of rich neighborhoods trying to sell magazines and make some money while displaying their sales to a boss who is only concerned with making money.

The main character named Star (Sasha Lane) is someone that lives in a home with two kids who are her half-siblings to a father who is sexually abusive as they barely can live through scraps. During a dumpster dive to find food and get a few things at a nearby Kmart, Star encounters this group of young kids wreaking havoc as they’re lead by this young man named Jake (Shia LaBeouf) who offers Star a chance to go on the road with him. She meets an assortment of people as she rides on a van where they’re taken to a destination and running the whole thing is Krystal (Riley Keough) who oversees all of the sales and slips as she has Jake take Star under his wing to train her. Yet, an attraction between Star and Jake start to unfold due to the former’s approach to getting a lot of money made yet Krystal is wary about this relationship as it starts to affect the work of the latter. The script also play into these locations that is the American Midwest and areas that are rich and poor where Star is selling magazines as she would make money through her own ways but also do things that would create tension between her, Jake, and Krystal.

Arnold’s direction is entrancing for the way she captures the world of the American Midwest as it is shot on various locations in Oklahoma, Iowa, Kansas, Missouri, Nebraska, and North Dakota with some of its cities such as Kansas City and Omaha being major locations in the film. Shot on the 4:3 full-frame aspect ratio, Arnold maintains intimacy through the framing while playing to the visual splendor of these different locations that these characters are venturing into. The usage of hand-held cameras is prevalent throughout the film while Arnold knows when to use wide and medium shots for these scenes set in certain locations. The aspect ratio also plays into the claustrophobic and cramped tone of the van’s interior where many of the young kids including Star often ride in from location to location as there is an air of excitement of this next location as kids sing along to songs that is on the radio and such. Arnold’s direction also has this sense of looseness through the usage of hand-held cameras as well as a realism as everything is done on the fly in the way Star would interact with people and how she would get a sale made.

Some of which would involve having her do things she’s not comfortable with but there are moments that prove to be heartfelt where she converses with a truck driver (Bruce Gregory) as it shows that Star isn’t willing to compromise her humanity to make a sale like everyone else has to do. Despite the money she makes, she still gets disapproving looks from Krystal while Jake becomes possessive towards her as some revelations occur during the film’s third act as it relates to Jake’s role that makes Star uneasy. It all plays into a cycle for these young kids who all play a role for a young woman who does what she can to make money as the third act also show how low Krystal would push her crew to make sales. Its ending is an open-ended one as it play into not just Star’s future but also these kids who don’t know what is going to happen to them as they all do what they can to just live. Overall, Arnold crafts a rapturous and intoxicating film about an 18-year old girl joining a band of misfits on a road trip to sell magazines and much more to live the American dream.

Cinematographer Robbie Ryan does incredible work with the film’s cinematography as its emphasis on natural lighting and using available light for scenes at night add to the film’s realistic tone while maintaining a sense of beauty into the photography. Editor Joe Bini does amazing work with the editing with its stylish usage of jump-cuts to play into the energy of some of the music heard on location as well as play into the chaos of the lifestyle of these kids. Production designer Kelly McGehee, with set decorator Graham Wichman and art director Lance Mitchell, does excellent work with the look of the van as well as some of the motels and homes the kids would live in as well as the homes of some of the people they try to deal with. Costume designer Alex Bovaird does fantastic work with the costumes as it has a sense of style that play into the lives of these young kids as they largely wear baggy or skimpy clothing depending on how they present themselves to the people they’re trying to sell magazines to.

Makeup designer Anouck Sullivan does nice work with the look of Star and Krystal with the former looking natural and sometimes putting stickers on her face while the latter is often seen sporting lots of makeup as a form of power play. Sound editor Nicolas Becker does brilliant work in capturing much of the recorded material as well as the way conversations would sound inside the van or how music is played on location. Music supervisor Simon Astall does superb work with the film’s music soundtrack as it largely features a lot of the music of the late 2010s that kids listen to ranging from hip-hop and country as it features music from Juicy J featuring Wale and Trey Songz, Quigley, Rhianna with Calvin Harris, MadeinTYO, Sam Hunt, Lee Brice, Kevin Gates, Jeremih, E-40, Ciara featuring Ludacris, Rae Sremmund, Carnage featuring Migos, Lapsley, OG Maco, Raury, and Lady A as well as pieces from Steve Earle, Mazzy Star, Bruce Springsteen, and the Raveonettes.

The casting by Lucy Pardee and Jennifer Venditti is marvelous as it features an ensemble cast of non-actors, unknowns, and up-and-comers in some notable small roles that include Johnny Pierce II as Star’s sexually-abusive father Nathan, Brody and Summer Hunsaker in their respective roles as Star’s step-siblings Rubin and Kelsey, Chastity Hunsaker as Rubin and Kelsey’s neglectful stepmother, Bruce Gregory as a truck driver that Star befriends and sings a Suicide song covered by Bruce Springsteen, Laura Kirk as a Christian housewife whose daughter is doing sexually-provocative dance moves in front of Jake and Star during a sale, and Will Patton as a man that Star wins over to buy her magazines. The performances of the following in Veronnikah Ezell, Christopher David Wright, Shawna Rae Moseley, Dakota Powers, Isaiah Stone, Raymond Coalson, Kenneth Kory Tucker, Garry Howell, Chad McKenzie Cox, Crystal B. Ice, McCaul Lombardi, and Arielle Holmes are incredible as these young kids who become friends with Star as they have this charisma and energy about them as it adds to the realism of their performances as they are a highlight of the film.

Riley Keough is excellent as Krystal as the business manager and organizer of this rag-tag group of kids trying to sell magazines as she is someone that knows a lot on what to do but is also cruel in what she does to the young kids at times with a bigger disdain towards Star who she sees as a threat in getting Jake’s attention. Shia LaBeouf is brilliant as Jake as a veteran salesman with a rattail hairstyle that play into his unconventional presentation yet is someone that has charisma but also a dark side to him in the way he becomes possessive towards Star as well as be someone that is immoral at times in the way he tries to sell magazines to people. Finally, there’s Sasha Lane in a phenomenal performance as Star as an 18-year old kid from the white trash area of Oklahoma trying to find herself and meaning in her young life as she goes on the road with this band of misfits where she learns how to be salesperson but also find ways to make some good money but also maintain some morality and dignity. Lane also maintains this air of tenderness but also someone that is always having fun but also can do so much when she doesn’t say anything as it is a tremendous breakthrough performance from Lane.

American Honey is a tremendous film from Andrea Arnold that features an incredible discovery in Sasha Lane. Along with its ensemble cast, dazzling visuals, an emphasis on realism and grit, an eclectic music soundtrack, and its themes of trying to find identity and hope in the idea of the American dream. The film is truly an astonishing portrait of the American life as it explore a group of people who live on the fringes of society trying to do things their own way but also deal with this sense of the unknown in a world that is often ever-changing. In the end, American Honey is a magnificent film from Andrea Arnold.

Andrea Arnold Films: Red Road - Fish Tank - Wuthering Heights (2011 film) - Cow (2021 film) - Bird (2024 film) - (Featherwood) – The Auteurs #31: Andrea Arnold

© thevoid99 2021

Halloween (2018 film)

Based on the 1978 film by John Carpenter and screenplay by Carpenter and Debra Hill, Halloween is a sequel to the 1978 film that revolves around the survivor of a killing spree as she learns that the madman has escaped and is killing again with her estranged family being the target. Directed by David Gordon Green and screenplay by Green, Danny McBride, and Jeff Fradley, the film explores a woman’s trauma and her estrangement from her daughter and granddaughter while getting ready for the madman that is coming back as Jamie Lee Curtis reprises her role as Laurie Strode with Nick Castle also returning as the killer Michael Myers along with James Jude Courtney in the same role. Also starring Judy Greer, Andi Matichak, Will Patton, and Virginia Gardner. Halloween is a gripping and terrifying film from David Gordon Green.

40 years after events in which a madman killed a bunch of people with a young woman being its sole survivor, the film is about the madman in Michael Myers being transferred to a new facility where he escapes seeking to kill once again as well as go after the young woman he was unable to kill in Laurie Strode. What he doesn’t know is that Strode is more than ready to face him once again yet she is also coping with the fact that years of paranoia has made her estranged from her daughter and granddaughter. The film’s screenplay by David Gordon Green, Danny McBride, and Jeff Fradley definitely focuses on the events of what happened in the original John Carpenter film while dismissing everything else that came between through its sequels, reboots, and remakes including rumors that Strode and Myers were siblings. Instead, it focuses on the events of a few days where Strode is aware that Myers is about to be transferred as there are those interested in his actions as well as Myers’ psychiatrist in Dr. Ranbir Sartain (Haluk Bilginer) who was a student of Myers’ previous psychiatrist Dr. Sam Loomis.

Much of the action takes place in the span of three days with the first act being set two days before Halloween while its second and third act is set on Halloween as they play into Myers’ arrival back into the town where he had previously killed a bunch of people. Strode rarely steps out of her home as she would get wind about a bus accident knowing that Myers was on that bus as she warns her daughter Karen (Judy Greer) about what is to happen while Karen’s daughter Allyson (Andi Matichak) is out at a Halloween school party. Its third act is about the showdown at Strode’s home between Myers and Strode along with Karen and Karen’s husband Ray (Toby Huss) with Allyson trying to get to her home after her own encounter with Myers.

Green’s direction does have elements of style including a few visual homages to the 1978 film by John Carpenter. Yet, Green does infuse his own ideas in terms of the compositions he creates as well as the atmosphere he maintains throughout the film. Shot largely on location in and around Charleston, South Carolina, Green opens the film in the prison where he uses a lot of great wide shots to get a scope of the locations including the prison atrium where two British podcasters try to contact Myers. Throughout the entirety of the film, Myers’ real face is barely shown as Green wanted to maintain his mystique and intrigue as well as the idea that Myers might not be the one lurking to create this idea of misdirection. Even in the usage of close-ups and medium shots for moments of intimacy as it help play into the suspense while Green’s approach to the violence isn’t about gore but rather the impact and its act where he wouldn’t really show what is happening.

Green also creates these intense tracking shots that includes a scene of Myers walking to other people’s houses and just killing people at random including a scene in one person’s house as he kills someone yet there’s someone else there but he just ignores it. Green also emphasizes on the aftermath of a murder as it just adds to the terror while its second act that is about Myers just killing random people with Deputy Frank Hawkins (Will Patton) pursuing Myers having been the man who arrested Myers 40 years ago with Dr. Sartain also pursuing Myers but for his own reasons. The third act is about Strode and her family confronting Myers as Strode knew what was to come but also some revelations about why Strode and her daughter became estranged as the latter realizes what she must do as well. The showdown definitely recall visual traits from the 1978 film but also in maintaining that air of horror and suspense as well as the stakes of what Strode and her family has to face. Overall, Green crafts a riveting and haunting film about a woman protecting her family from the man who tried to kill her during a killing spree 40 years ago.

Cinematographer Michael Simmonds does excellent work with the film’s cinematography from the usage of low-key and available light for some of the exterior scenes at night as well as for some eerie scenes in some of the homes at night. Editor Tim Alverson does terrific work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense and terror. Production designer Richard A. Wright, with set decorator Missy Berent Ricker and art director Sean White, does fantastic work with the look of Karen’s home as well as the home that Strode lives in with all of its locks and security settings as well as the rooms of some of the characters in the film. Costume designer Emily Gunshor does nice work with the costumes including Halloween costumes that random people wear for Halloween including Allyson’s Halloween costume.

Makeup effects designers Christopher Allen Nelson and Vincent Van Dyke does brilliant work with the makeup in some of the gory effects that are presented in the aftermath as well as the ragged look of Strode. Visual effects supervisor Simon Maddison does superb work with the visual effects as it is mainly some set dressing that include a few scenes of violence in the film. Sound designers P.K. Hooker and Chris Terhune, along with co-sound editor Will Files, do amazing work with the sound in creating that tense atmosphere for the suspense and terror as well as the sounds of people outside trick-or-treating and the scenes in the film’s climax.

The film’s music by John Carpenter, Cody Carpenter, and Daniel Davies is incredible for its eerie and hypnotic electronic-based score that includes the original theme composed by John Carpenter while he, his son Cody, and Daniel Davies provide a lot of eerie textures into the music to build up the suspense and drama as it is a highlight of the film. Music supervisor Devoe Yates provide a decent music soundtrack that features an array of contemporary music from electronic dance music and country that is played in the background in the school party scene.

The casting by Sarah Domeier Lindo and Terri Taylor is wonderful as it feature some notable small roles from Jimbrail Nantambu as a young boy Allyson’s friend Vicky is babysitting for, Miles Robbins as Vicky’s boyfriend Dave, Drew Scheid as a friend of Allyson’s boyfriend in Oscar, Dylan Arnold as Allyson’s boyfriend Cameron, Omar Dorsey as the local head sheriff named Barker, Sophia Miller as a young Karen through flashbacks, Jefferson Hall and Rhian Rees in their respective roles as British true crimes podcasters Aaron Korey and Dana Haines who both try to get information about the murders 40 years ago from Myers and Strode, and Will Patton in a terrific performance as Deputy Frank Hawkins as the man who arrested Myers 40 years ago as he is eager to help Strode and stop him for good. Haluk Bilginer is superb as Dr. Ranbir Sartain as a student of Dr. Sam Loomis who has been Myers’ psychiatrist as he pursues him following Myers’ escape from a bus accident hoping to understand more of Myers’ state of mind.

Virginia Gardner is fantastic as Allyson’s friend Vicky who is aware of Allyson’s family history as she doesn’t do Halloween due to a babysitting gig yet she proves to be a kind person who knows something isn’t right. Toby Huss is excellent as Karen’s husband/Allyson’s father Ray Nelson as a man who is uneasy about his mother-in-law’s paranoia until things do become deadly as he helps her out in trying to deal with Myers. Andi Matichak is brilliant as Allyson as Strode’s granddaughter/Karen’s daughter as a teenage girl who is still trying to get to know her grandmother while would also have an encounter with Myers late in the film as she realizes what she has to do. Judy Greer is amazing as Karen Nelson as Strode’s estranged daughter who still harbors some resent towards her mother over how she was raised until she becomes aware of Myers’ presence prompting her to join her mother and take action.

In the role of Michael Myers, James Jude Courtney and Nick Castle are incredible in playing the character with the latter providing a brief appearance of Myers on a window and through his breathing while the former does much of the physical work and eerie presence that is crucial to the character as this killer who refuses to die. Finally, there’s Jamie Lee Curtis in a phenomenal performance as Laurie Strode as a survivor of Myers’ killing spree 40 years before who has become a troubled woman with PTSD and bad memories as she is aware that Myers will return as she is ready for him to come back and finish the job as it is a new layer to an iconic character that only Curtis could bring.

Halloween is a sensational film from David Gordon Green that features a great performance from Jamie Lee Curtis. Along with its ensemble cast, low-key approach to suspense and horror, study of trauma and fear, mesmerizing visuals, and a chilling music score. It’s a film that feels like a true sequel/companion piece to the 1978 film by John Carpenter as well as being a horror film that is more about atmosphere and characters rather than cheap scares and gore. In the end, Halloween is a phenomenal film from David Gordon Green.

Related: Halloween

David Gordon Green Films: George Washington - All the Real Girls - Undertow - Snow Angels - Pineapple Express - (Your Highness) – (The Sitter (2011 film)) – (Prince Avalanche) – Joe (2013 film) - (Manglehorn) – (Our Brand is Crisis) – (Stronger (2017 film)) – (Halloween Kills) – (Halloween Ends)

© thevoid99 2019

After Hours

Directed by Martin Scorsese and written by Joseph Minion, After Hours is the story of a man who goes out in New York City where he would have a series of misadventures during the course of an entire night. The film is a look into a man trying to get back home when a planned date with another woman doesn’t go as he hoped it would be as he would meet various strangers during the course of this night. Starring Griffin Dunne, Rosanna Arquette, Linda Fiorentino, John Heard, Verna Bloom, Cheech Marin, Tommy Chong, Teri Garr, and Catherine O’Hara. After Hours is a wild and exhilarating film from Martin Scorsese.

Set in the span of 24 hours, the film follows a computer word processor who meets a woman at a diner and later asks her out late one night and then everything goes into complete chaos due to a series of misunderstandings, mistaken identity, loss of money, and all sorts of fucked-up shit. It’s a film that is a misadventure set in the Soho section of New York City where this man is in a world that is very spontaneous and unpredictable which is foreign to him as he spends much of time working. Upon meeting this woman on a night after work as she notices a book he’s reading, he thinks he gets a chance to break from his monotonous life. The film’s screenplay by Joseph Minion, with contributions by Martin Scorsese, plays into this 24-hour time span where it begins at an office where Paul Hackett (Griffin Dunne) is showing a new employee what to do as he copes with the outcome of how the rest of his life would be at work.

In meeting Marcy Franklin (Rosanna Arquette), he feels like this is someone who might want to go out with but things start to go wrong when he rides a cab and loses a $20 bill that he was supposed to be for the cab driver. During his date with Marcy, he learns about some things about her that disturbs him while he also meets Marcy’s sculptor roommate Kiki (Linda Fiorentino) whose paperweight sculptures is something that Paul wants. The night would only get worse when he meets a bartender (John Heard), an oddball waitress (Teri Garr), a woman that is part of a vigilante group, and other assortment of characters where Paul is later accused of burglary and gets himself into these horrible situations.

Martin Scorsese’s direction is definitely stylish in the way he would present the film as it is shot on location in New York City with much of it shot in the Soho section of the city. While there are some wide shots of the locations as well as scenes that play into the suspense and paranoia that Paul would go through for much of the film. Scorsese would utilize some close-ups and medium shots to play into Paul’s interaction with the people he would meet during the course of the film as it is shot on some actual locations as well as a few sets that are created. Scorsese wouldn’t just create this world that is unpredictable which is far removed from the world of clean and spacious apartments and work places that Paul is known as it’s not just the diners and bars he would go to but also a club that is quite arty and chaotic. 

Notably for the fact that some of the characters he meet are either from the world of art or are part of this sub-culture that is Soho. The direction is also stylized for some crazy scenes such as scene in the cab where it’s sped-up to play into the maniacal world that Paul is about to embark. Even as there are elements of repetition that play into the suspense and paranoia that include encounters with a couple of burglars as well as local vigilante group who believe he is a burglar. The element of humor is key to the film as it add to the craziness that Paul endured all because he wanted to go on a date with a person he doesn’t know. Overall, Scorsese creates a thrilling and exciting film about a man’s bad night in Soho.

Cinematographer Michael Ballhaus does brilliant work with the film’s cinematography for the way many of the exteriors at night look and in how some of the interiors are lit while the few daytime shots outside of Soho are presented in a more naturalistic look. Editor Thelma Schoonmaker does amazing work with the editing as it has a lot of style in the usage of dissolves, different frame speeds, jump-cuts, and other stylized moments to play into the humor and manic suspense. Production designer Jeffrey Townsend, with set decorator Leslie Pope and art director Stephen J. Lineweaver, does fantastic work with the look of the art-punk club known as Berlin as well as the loft apartment Kiki and Marcy live as well a diner and a bar that Paul would go into.

Costume designer Rita Ryack does nice work with the costumes as it is mainly straightforward to play into the different sub-cultures of Soho from the art-punk look of Kiki to the more 60s-inspired look of the waitress Julie. Sound editor Skip Lievsay does superb work with the sound in maintaining a lively atmosphere to some of the locations as well as how music sounds in a location. The film’s music by Howard Shore is excellent for its eerie electronic score that play into the suspense and drama while the film’s soundtrack would feature an array of different musical styles at it include some classical pieces from Wolfgang Amadeus Mozart and Johann Sebastian Bach as well as jazz pieces from Cole Porter and the Gershwin brothers plus contemporary music from Joni Mitchell, the Monkees, Peggy Lee, and Bad Brains as well as some classic blues and rock music.

The casting by Mary Colquhoun is wonderful as it feature some notable small roles and appearances from Bronson Pinchot as an employee Paul is trying to teach, Larry Block as the cab driver, Dick Miller as a diner waiter, Rocco Sisto as an odd coffee shop cashier, Clarence Felder as a punk club bouncer, Will Patton as Kiki’s boyfriend Horst, Tommy Chong and Cheech Marin as the two burglars who constantly steal things, and Verna Bloom in a terrific role as a woman at a club named June that Paul meets very late in the film. Catherine O’Hara is superb as a woman named Gail who helps Paul at first until she suspects him as a burglar while Teri Garr is fantastic as Julie as a bar waitress who hates her job while wanting to be an artist due to the drawings she makes. John Heard is excellent as Tom Schorr as a bartender who offers to help Paul out in getting a subway token as he would cope with sudden news that would shape his life.

Linda Fiorentino is brilliant as the oddball sculptor Kiki who dresses in punk clothes as she is also someone who has an abstract view on art. Rosanna Arquette is amazing as Marcy as a woman that Paul meets and goes on a date with as she is someone with some secrets as it relates to her past which disturbs Paul. Finally, there’s Griffin Dunne in an incredible performance as Paul Hackett as a man who works at an office who goes on a date only to endure the craziest night of his life as he deals with all sorts of shit as it’s a very manic and energetic performance from Dunne.

After Hours is a sensational film from Martin Scorsese. Featuring a great cast, a thrilling and offbeat premise, a killer music soundtrack, and stylish visuals, the film is definitely a wild yet fun film that explore what happens when a date night goes horribly wrong. In the end, After Hours is a phenomenal film from Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – Boxcar Bertha – (Mean Streets) – Italianamerican – Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York – American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas – Cape Fear - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home – The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) – Silence (2016 film) – (The Irishman (2018 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2017

A Mighty Heart

Originally Written and Posted at Epinions.com on 6/24/07 w/ Additional Edits.

Following the attacks of 9/11/01 and the uproar over terrorism that included Al-Qaeda and other terrorists affiliates in Afghanistan and parts of Pakistan. There was a frenzy in the world of journalism on information into what was going on. The motives, who were people working for, and such. One of those journalists who was in Pakistan covering the world of terrorism was American journalist Daniel Pearl. In late January 2002, Pearl was kidnapped by a terrorist group on his way to interview a terrorist leader. Pearl was later killed on February 1, 2002 just days after photos of him handcuffed and with a gun to his head were shown. His body cut into pieces, and the horror of his death sent shockwaves around the world. Around this time, his wife Mariane was pregnant with their son Adam who would be born later in May 2002. A year later, Mariane Pearl released a memoir about her husband's life and death in the book entitled A Mighty Heart where years later, it's become a film of the same name.

Directed by British auteur Michael Winterbottom with an adapted script by John Orloff with screen story credit by Sarah Crichton. A Mighty Heart tells the story of Daniel and Mariane Pearl's time in Pakistan following the attacks of 9/11 that would eventually led to Daniel Pearl's death. The film is a detailed account based on Mariane Pearl's memoirs and the time of her husband's death. Playing the roles of the couple are Capote screenwriter Dan Futterman and Angelina Jolie in their respective roles of Daniel and Mariane Pearl. Also starring Archie Panjabi, Jillian Armenante, Irfan Khan, and Will Patton. A Mighty Heart is a powerful yet harrowing drama from Michael Winterbottom.

Following the attacks of 9/11 and the war against Al-Qaeda and the Taliban in parts of Pakistan, journalists all over the world are covering the war on terror as well as terrorism itself. Among them are the Pearls, Wall Street journalist Daniel Pearl and his French-born, multiracial wife Mariane, who is pregnant with their child. Living with another Wall Street journalist in Asra Nomani (Archie Panjabi) in Karachi, Pakistan, Daniel Pearl uncovers a possible link between a terrorist organization in Pakistan to the shoe-bomber Richard Reid, who tried to blow up a plane. On January 23, 2002, Daniel Pearl leaves for another typical assignment as he hopes to meet contacts to a man named Sheikh Gilani (Ikram Bhatti). He would never be seen again where on that day, Mariane went shopping for dinner waiting for her husband.

The next day, he doesn't come home as Mariane, Asra, and others wonder where is he as they call the police to report him missing. A police captain (Ifran Khan) is called upon to supervise the investigation with help from FBI agents Maureen Platt (Jillian Armenante) and Randall Bennett (Will Patton) who met Daniel on the day he disappeared during Daniel's meeting on whether or not he should meet the contact. The suspicions arises when everyone tries to find out where is Daniel and if he's alive. Finally, photos of him had surfaced through suspicious emails claiming to have Daniel Pearl in custody. The captain goes further into the city of Karachi as he tries to find the locations of computers and such. Wall Street journalist Steve LeVine (Gary Wilmes) and editor John Skelton (Demetri Goritsas) join in to help Mariane.

With Mariane often contacts Daniel's parents Judea (Jeffry Kaplow) and Ruth Pearl (Perrine Moran) for news, she helps along in the investigation since she too, is a journalist. When Sheikh Gilani is caught, the captain and Bennett learn that Gilani is not the man but bait. Another contact Daniel was supposed to meet for Gilani was a man named Bashir whose real name is Ahmed Omar Saeed Sheikh (Aly Khan). After capturing several associates, the captain learns that Omar has been caught already as he is interrogated to see if he knows where Daniel is. Time goes by when finally, a video tape was surfaced through a Pakistan journalist giving it to an American when the truth is uncovered breaking the hearts of everyone including Mariane.

A film like this based on a real-life tragedy could've been handled with a heavy-handed approach into melodrama. Fortunately, in the hands of the very prolific Michael Winterbottom. The film doesn't stray into traditional or conventional, Hollywood territory of huge dramatic moments and endings that aren't realistic. With John Orloff's adapted script based on Mariane Pearl's novel, the film is less plot-driven but rather plays itself as an unconventional thriller filled with suspense of what happens. While the audience knows what happens in the end, Michael Winterbottom goes for the same documentary-like style to tell the story. While the cinema verite style might not be everyone's cup of tea, the immediacy and intensity of Winterbottom's direction makes it feel like the audience is watching everything unfold.

The direction of Winterbottom with the film shot in India, rather than Pakistan for security reasons, is wonderfully handled. While not much is revealed on the film's politics though the film opens with reports of the world following the events of Pakistan. The film is not about politics but rather about this woman trying to cling on to some kind of hope that her husband is alive only to be wrecked by tragedy. Yet, the aftermath of Daniel's death shows it strength in the character of Mariane who gives a fascinating speech about terror that isn't preachy at all. Even the use of flashbacks about Daniel and Mariane's life shows the strength of that character. While the film has shots of Karachi, the locations as well as the hand-held camera style really gives the film a unique style that wouldn't work by Hollywood standards or in the hands of lesser director. In the end, it's Winterbottom's strength as a director and his unique style that brings a lot of attention to the film's story and drama.

Cinematographer Marcel Zyskind and his digital-camera photography really adds nuance to many of the film's locations with its natural, documentary-like photography on many of the film's exterior sequences. For the interior scenes, notably in the home base of the Pearls, the film looks very intimate while doesn't go into too many close-ups to capture the drama. Editor Peter Christelis does excellent work on using jump-cuts to bring an unconventional rhythm to the film's pacing while using stock footage to convey what was going on in early 2002. Production designer Mark Digby and art director Christopher Sull create a wonderful look to the home of the Pearls that include a marker board that creates a puzzle for the investigation. Charlotte Walter goes for realism in the film's look of clothes that shows the personality of Mariane and her connection to Daniel.

Makeup artist Toni G and hair stylist Adruitha Lee do wonderful work in recreating Angelina Jolie into the character of Mariane Pearl with her perm hair, dark eyes, and her unique look. Sound editor Joakim Sundstrom definitely captures the atmosphere of Karachi that includes the morning prayer blasted through the city as well as some of the film's highly, emotional moments. The film's score is by Harry Escott and Molly Nyman. Mostly using acoustic guitars to convey the suspense as well as a low-key orchestral score, the film also includes a wonderful piano piece by Nyman that reveals the film's emotions and Mariane's love for Daniel.

The film's cast is wonderfully assembled that features small performances from Denis O'Hare as John Bussey, Zachary Coffin as Matt McDowell, Jillian Armenante, Perrine Moran, Jeffry Kaplow, Demetri Goritsas, Gary Wilkes, Amy Shindler as Daniel's sister Michelle, and Chad Chenouga as Mariane's brother Satchi. In the roles of the suspects, Aly Khan and Ikram Bhatti are wonderfully performed, especially for not being portrayed as villains but real-life human beings. Will Patton gives an excellent performance as Randall Bennett, the FBI agent who is part of the investigation who tries to help things out while having a funny one-liner about the investigation. Archie Panjabi gives an amazing performance as Asra Nomani, the Wall Street journalist and friend who tries to use her connections to help the investigation while being the sympathetic friend for Mariane.

Ifran Khan is also great as the captain who leads the investigation while not being afraid to be rough in order to interrogate. Khan brings a presence that is very alarming to the film as a man who wants to do what is right for not just Mariane but his country who is starting to look real bad in front of the world. Dan Futterman is wonderful as Daniel Pearl where he's often seen mostly in flashbacks as a man who seems like a professional journalist and a good husband. Futterman definitely sells the wonderful human being that is Daniel Pearl to the way he adores Mariane and how he is with his fellow journalists.

In what has to be her best film role since her Oscar-winning performance in James Mangold's 1999 film Girl, Interrupted, Angelina Jolie definitely disappears into the character of Mariane Pearl. While some parts of Pearl's French accent may not be perfect nor does she look like Mariane. Jolie still manages to portray this woman like anyone who would go through a tragedy like this. What is more striking about her performance is how restrained she is through most of the film as she strips down all layers of her public persona and goes into character. When the moment of tragedy occurs, it's Jolie's strength in that character that is really shocking and powerful. Overall, it's a fantastic performance from Angelina Jolie.

While not up to par with films like Wonderland, 24 Hour Party People, or In This World, A Mighty Heart is still a powerful movie by Michael Winterbottom. Fans of Angelina Jolie will no doubt find her performance to be one of her best. Fans of Winterbottom will be amazed that the director didn't change his style, even to a film that is involved by the likes of Jolie and producer Brad Pitt. Yet, the film isn't about Jolie, Pitt, or Winterbottom but rather the Pearls. Daniel, Mariane, and Adam Pearl as their life may be marred by tragedy but its outcome proves that all you need is love. In the end, A Mighty Heart is a film that is mighty in itself.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of an Angel)

© thevoid99 2012

Meek's Cutoff

Directed by Kelly Reichardt and written by Jonathan Raymond, Meek’s Cutoff is the story a group of settlers in 1845 traveling across the Oregon trail where they become lost due to their eccentric guide. The film is based on a historical incident that occurred where power struggles become involved its small band of settlers as they try to go through the treacherous trail. Starring Michelle Williams, Bruce Greenwood, Shirley Henderson, Neal Huff, Zoe Kazan, Paul Dano, Tommy Nelson, Rod Rondeaux, and Will Patton. Meek’s Cutoff is an entrancing film from Kelly Reichardt.

A group of settlers are walking on the Oregon trail to reach towards an unknown destination as they’re led by the eccentric Stephen Meek (Bruce Greenwood). With Meek taking them to a shortcut near the Cascade Mountains, the trail goes much longer than it seems raising suspicions in its settlers including Emily Tethrow (Michelle Williams). While her husband Solomon (Will Patton) would often confer with the other men in William White (Neal Huff) and Thomas Gately (Paul Dano) about where Meek could be leading. Emily remains suspicious bringing worry to William’s wife Glory (Shirley Henderson) and Thomas’ wife Millie (Zoe Kazan) along with William and Glory’s son Jimmy (Tommy Nelson).

While sees a lone Indian (Rod Rondeaux) walking around, he’s eventually captured by Meek and Solomon as Emily thinks he can get them to a place where there’s water. Still, troubling encounters with the treacherous land along with suspicions about the Indian lead to more uncertainty about what is ahead.

While the film is loosely based about an incident that revolves around a group of settlers, an eccentric guide, and an Indian who would become part of this journey. It’s all about a journey into the unknown where mistrust and confusion would occur as these settlers find themselves lost. During this journey, an Indian would pop up as he’s captured where one of them starts to trust this Indian instead of this guide who is very ambiguous. Does Stephen Meek really know where good land is or is he just this ignoramus who has no idea what he’s doing?

That’s what screenwriter Jonathan Raymond is trying to figure out as he creates a script that is very unconventional. There’s not much plot to the story as it’s all about these people going walking along into unknown land as they search for water and a place to start somewhere. Yet, Raymond does delve into these themes of anxiety, fear, resentment, and power struggle as it focuses on this group of people dealing with being lost in a land they’re not familiar with. Tension does arise but it’s notable between Meek and Emily where the latter believes that Meek has no idea where he’s going as she starts to trust the one person Meek claims not to trust.

The lack of a conventional script allows director Kelly Reichardt to create a very minimalist yet evocative film that doesn’t need to rely on dialogue. Instead, Reichardt goes for a more methodical yet entrancing approach to the filmmaking to explore this key incident in the history of Oregon. Shooting the film in a 1:37:1 full-frame aspect ratio, Reichardt does allow that format to capture great scenery that is often filled with wonderful wide shots and beautiful locations that is set in Oregon. Since there aren’t a lot of dialogue or any set pieces other than covered wagons with horses, mules, and cows in order to re-create this period. Reichardt gets a chance to improvise and create these scenes where it’s all about a daily routine or moment that occurs where the men and women each have a role to play.

While there’s a lot of long shots of wandering images of these hilly locations with bits of deserts, Reichardt’s approach to the direction is to emphasize on this very tight yet methodical approach to the film. This unconventional approach would allow the film to be paced in a very slow manner as there isn’t a lot of dialogue. It would give Reichardt the chance to play up the uncertainty that these characters face as the drama intensifies in the course of the film while she frames them to see how they interact or how they would hold small meetings. With Reichardt also serving as the film’s editor where she maintains that slow rhythm to play up the suspense and drama that occurs. She creates a film that explores the people in this journey where they would face the unknown as the overall result is a mesmerizing yet harrowing film about a legendary trail.

Cinematographer Chris Blauvet does a brilliant job with the film‘s gorgeous cinematography that features lots of beautiful daytime scenes of the Oregon skylines and locations while a lot of the nighttime scenes are very dark with only available light used to maintain the naturalist tone of the film. Production designer David Doernberg and art director Kat Uhlmansiek do great work in the design of the covered wagons along with various props to create a feel of that period.

Costume designer Victoria Farrell does excellent work with the costumes to create the clothes that men wear along with colorful dresses the women as it would match up with the look of the film‘s different locations. Sound designer Leslie Shatz and sound editor Javier Bennassar do amazing work with the sound to play up the intimate sound of clanging objects and wagon creaks along with the atmosphere that surrounds the different locations in Oregon. Music composer Jeff Grace does a superb job with the music creating an eerie score led by smooth yet screeching strings to play up the ominous tone of the film.

The casting by Laura Rosenthal is outstanding for the ensemble that is created for the film. Notable small roles include Tommy Nelson as the young boy Jimmy, Rod Rondeaux as the mysterious Indian, and Neal Huff as Jimmy’s father/Glory’s husband William. Zoe Kazan is very good as the worried Millie while Paul Dano is terrific as the more determined Thomas. Shirley Henderson is wonderful as the maternal Glory while Will Patton is excellent as Emily’s resourceful yet organized husband Solomon. Bruce Greenwood is great as the eccentric Stephen Meek as Greenwood sports a huge beard and wear strange clothes as he’s a man that is certainly odd while always jabbering about everything he’s encountered. Finally, there’s Michelle Williams in a phenomenal performance as the grounded Emily Tetherow who tries to deal with the uncertainty while proving to be someone who won’t be pushed around as it’s Williams at her best.

Meek’s Cutoff is a ravishing yet engrossing western-drama from Kelly Reichardt that features an incredible performance from Michelle Williams. While it’s a film that will have fans of the western genre be baffled by its unconventional premise and slow pacing. It’s definitely a truly creative film that relies more on minimalist techniques, compelling characters, and beautiful settings. Notably as it provides a very intriguing idea about a very tiny moment in American history. In the end, Meek’s Cutoff is a haunting yet enrapturing film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Night Moves (2013 film) - Certain Women - First Cow - Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2012

Jesus' Son

Originally Written and Posted at Epinions.com on 3/6/04 w/ Additional Edits & Revisions.

Based on Denis Johnson's collection of short stories, Jesus' Son is the story of a 1970s heroin addict who tries to do good only continually mess things up as he wound encounter tragedy and redemption. Directed by Alison Maclean and screenplay by Oren Moverman, David Urritia, and Elizabeth Cuthrell, the film explores a young man trying to deal with addiction as well as doing what is right. Starring Billy Crudup, Samantha Morton, Jack Black, John Ventimiglia, Denis Leary, Will Patton, Holly Hunter, and Dennis Hopper. Jesus' Son is an extraordinary film from Alison Maclean.

A young drifter named FH aka Fuckhead (Billy Crudup) is hitchhiking as he hopes to return to Iowa to meet his girlfriend Michelle (Samantha Morton). After a horrifying car accident that he was apart of, FH looks back at his life where he recalls the moment he meets Michelle three years earlier at a party held by a guy named McInnes (John Ventimiglia) as the two later have another encounter where FH's friends Jack (Mark Webber) and Dundun (Michael Shannon) watch something horrifying happen. FH meets Michelle again a year later as the two start a tumultuous relationship as they would become full-blown heroin addicts that would have its wandering moods as it would often include FH's incompetence.

With Michelle gone, FH reaches out to fellow addict Wayne (Denis Leary) where the two make money in destroying an abandoned home and steal some cables where they both earn a good payday. The success allows FH to get back with Michelle though she presents some startling news that would prompt him to try and clean up. Working with another addict in Georgie (Jack Black) as an night-shift orderly in a hospital, the two delve into several hijinks as a doctor (Greg Germann) examines a patient with a knife in his eye where Georgie would make things worse. The two go on a road trip where they would kill a pregnant bunny as they tried to take care of the baby bunnies only for FH to screw things up as usual.

After another breakup with Michelle who leaves him to work in Mexico with a guy named John Smith (Will Patton), FH would have a strange encounter with a snakeskin-jacket man (Alan Davidson) as he tries to deal with his own relapsing drug addiction. After another reunion with Michelle that doesn't go well, FH eventually goes to rehab as he meets with a former addict named Bill (Dennis Hopper) whose story would help FH changes his life. After moving to Phoenix, he meets a former alcoholic named Mira (Holly Hunter) and works at nursing home while being entranced by a singer (Rebecca Kimball). With this new life, FH wonders about where he is going with this new life.

What makes Jesus' Son such an interesting film is in Alison Maclean's direction. While the film's script at times is hard to follow with its flashbacks and varied subplots, MacLean and the screenwriters make sure the story is appealing in its offbeat structure and tone. Even by adding elements of black comedy and drama, the film doesn't lose itself in it's pacing. In the more harrowing scenes of hallucinations, MacLean brings up the surreal tone of drug addiction at its darkest and campy. Even the film's look by cinematographer Adam Kimmel is amazingly captured in the film's three-act structure. From its blue look early on to the more colorful, hazy tone in the second to a more cleaner, enlightened tone in its final act. Even the film's music with an original score from Joe Henry as well as a wide mix of music from the 70s ranging from rock, pop, soul, and country to enhance the gritty, natural tone of the film.

The film's cast is extraordinary from its group of smaller roles played by Mark Webber, Michael Shannon, Alan Davidson, John Ventimiglia, and Greg Germann to its veterans like Dennis Hopper, Will Patton, and Holly Hunter in their small but respective roles that are performed wonderfully. Standing out in the supporting cast easily is Jack Black who delivers a hilarious, brash performance as Georgie by giving the film some much-needed comic relief. Denis Leary also provides a funny performance as Wayne as he comes out of the film like a drunk by beating people up and fucking things up as possible in one of Leary's best performances.

Samantha Morton is astonishing as Michelle by portraying a beautiful addict who can be unlikable at times yet for the British actress, Morton provides a sense of sexiness and sympathy in her troubled performance as an addict. Billy Crudup is amazing as the film's protagonist FH by being charming and loveable in his role despite being a total fuck-up. Crudup carries the film with ease and strong dramatic moments without being too vulnerable or too stupid. Crudup gives one of his best performances of his career, particularly as the film's narrator.

Jesus' Son is an entrancing yet harrowing film from Alison Maclean that features terrific performances from Billy Crudup and Samantha Morton. Along with a great supporting cast that includes Jack Black and Denis Leary, it's a film that explores the dark world of drug addiction as well as a man yearning to find redemption. Notably as it revolves a guy who tries not to live up to his namesake as incompetent fuck-up. In the end, Jesus' Son is a powerful drama from Alison Maclean.

(C) thevoid99 2012

2011 Cannes Marathon: Wendy and Lucy

(Winner of the Palm Dog at the 2008 Cannes Film Festival)

Directed by Kelly Reichardt and written by Reichardt and Jonathan Raymond based on Raymond‘s short story Train Choir, Wendy and Lucy tells the story of a young woman going on a journey to Alaska with her dog in order to find work and a new life. Along the way, she faces challenges along with the possibility of losing her dog as the film plays to Reichardt’s minimalist filmmaking style. Starring Michelle Williams, Will Patton, John Robinson, Walter Dalton, and Will Oldham. Wendy and Lucy is a heartbreaking yet mesmerizing film from Kelly Reichardt.

Wendy Carroll (Michelle Williams) is driving from Indiana to Alaska to find work that is available. With her dog Lucy, Wendy makes a stop in Oregon as she talks to a group of people including a man named Icky (Will Oldham) who tells her about the work in Alaska. The next day, Wendy’s car wouldn’t start as a security guard (Walter Dalton) helps her out where Wendy goes to a local market to get some things for herself and Lucy. Going outside to check on Lucy, who is tied by a bike post, she’s stopped by a clerk (John Robinson) who accuses her of stealing as she’s sent to jail.

Following her release, Wendy goes on the search for a dog while the local mechanic (Will Patton) takes her car to figure out what is wrong. With the help of the security guard, Wendy tries to find Lucy as she asks the local pound for her whereabouts as she offers the security guard’s number for contact. Wendy walks around town to try and find her dog where she would encounter difficulties and heartbreak.

A film about a young woman losing her dog and trying to find the dog might not seem like a compelling type of film in terms of what is expected with conventional, mainstream cinema. An idea like that would be perfect for the Italian neo-realism of the late 1940s but that is an entirely different period and cinematic style that can’t be replicated. Fortunately, Kelly Reichardt and co-screenwriter Jonathan Raymond do take that neo-realist approach but also mesh it with minimalist cinema.

The screenplay is very loose as it’s mostly about this woman wanting to go Alaska with her dog for a new life but a mistake gets her in trouble. Even worse is that she loses the dog and goes on a quest to find her. Though there would be a couple of people that would help her out, Wendy has to face the harsh economy that is surrounding her as well as the little money that she has. She’s unable to afford a hotel room as money is mostly spent on food while she hopes to save for repairs or for the dog. What happens is that the money she has wouldn’t be enough as it would lead to an ending that is expected in neo-realist cinema. Yet, Reichardt and Raymond create something where the ending is a bit ambiguous but also a bit hopeful depending on what the audience might expect.

Reichardt’s direction is truly engrossing for the way she portrays this young woman’s struggle in a town in Oregon. Due to the film’s minimalist approach, there’s a lot of scenes where there’s not a lot of dialogue as the camera always follow Wendy in her struggle to find Lucy. Reichardt goes for a lot of wide shots to bring an example of the world Wendy is in as well as close-ups to capture her state of mind. Whether it’s a few tracking shots or hand-held camera shots, Reichardt is always making the audience be engaged by this young woman’s plight. Particularly for the fact that it’s an 80-minute film with a leisured pace and very straightforward editing that is courtesy of Reichardt herself as she creates a phenomenal yet engrossing film.

Cinematographer Sam Levy, along with Greg Schmitt, does an excellent job with the photography that has a realness to the look without any stylish camera work in order to have a gritty look. Production designer Ryan Smith does a good job with the art direction with the few sets created like the mechanic shop and the objects in Wendy‘s car. Costume designer Amanda Needham does a nice job with the costumes from the realistic look the characters wear including the blue jacket and brown shorts that Wendy wears. Sound designers Leslie Shatz and Eric Offin do a great job with the sound work to capture the locations of the town and places that Wendy encounters including her humming that is heard throughout the film.

The casting by Laura Rosenthal and Ali Farrell is superb with an array of memorable appearances from Will Oldham as a guy talking to Wendy about Alaska, Larry Fessenden as a crazy man in a park, John Breen as a grocery store owner, and Deidre O’Connell and M. Blash as voice roles of Wendy’s sister and brother-in-law, respectively. Other notable small roles include John Robinson as the nosy grocery store clerk who gets Wendy in trouble and Will Patton as a sympathetic though realistic mechanic who helps Wendy out about her car. Walter Dalton is excellent as an old security guard who helps Wendy out with a phone and advice about trying to find Lucy as he knows about the trouble she is going through.

Finally, there’s Michelle Williams in what is definitely one of her finest performances of her career. Williams brings a raw yet unglamorous performance as this young woman who is on her way to Alaska for a new life with her dog. Because of a mistake, she gets into trouble and loses her dog as Williams shows the struggle of a woman trying to get her dog and wanting to get to her destination. There is nothing showy or vain in Williams’ performance as she really brings that real yet fearful quality of a woman dealing with all sorts of circumstances. Helping Williams give that kind of determination in her performance is the dog Lucy. Lucy is a remarkable dog who allows Williams to show a sense of warmth as the film belongs to both Williams and Lucy.

Wendy and Lucy is a brilliant yet evocative film from Kelly Reichardt featuring a superb performance from Michelle Williams and a dog named Lucy as the title characters. Audiences wanting a realistic yet simple tale of a woman’s struggle that is relevant with the economic crisis of the past few years will be amazed by it. Fans of Michelle Williams will no doubt see this as one of her finest performances to date. In the end, Wendy and Lucy is a powerful neo-realist drama from Kelly Reichardt and company.

Kelly Reichardt Films: River of Grass - Old Joy - Meek's Cutoff - Night Moves (2013 film) - Certain Women - First Cow - Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2011