The film revolves around titular heroes and a few of their family members who create a device to make contact with the Quantum Realm only to be sucked in as they deal with not just a growing rebellion but also this evil figure known as Kang the Conqueror. It is a film that has a lot happening as it plays into a family not only dealing with this evil figure but also what he plans to do with the multiverse. Jeff Loveness’ script does do enough to establish some of the characters as well as insight into what Janet Van Dyne (Michelle Pfeiffer) had been doing in the Quantum Realm for 30 years. It unfortunately gets bogged down by not just a lot of exposition but not enough urgency into the stakes over how dangerous Kang the Conqueror is where Janet would unveil her own fears towards Kang. A key sequence during the film’s second act about Janet’s first encounter with Kang does play into why Janet never told her husband Hank and their daughter Hope/the Wasp (Evangeline Lilly) about her time in the Quantum Realm. Yet, it features a lot of exposition into Kang’s true motivations but also something much bigger though it ends up being clunky while there’s not enough weight into this rebellion towards Kang and his empire.
Still, the script does focus on Scott Lang/Ant-Man (Paul Rudd) who hasn’t done much since the Battle of Earth as he’s written a memoir and sort of became a celebrity but hasn’t done enough to bring attention to his daughter Cassie (Kathryn Newton) who has become an activist. Yet, it is an invention she had developed during the Blip with Hank’s help that would suck everyone into the Quantum Realm where she and Scott would meet these people in the Quantum Realm who are rebellion against Kang where Cassie wants to help them. The script unfortunately doesn’t do enough to establish these people living in the Quantum Realm where Lang and Cassie not only deal with Kang but also a mysterious being known as M.O.D.O.K. who is someone that Scott and Cassie knew. There is also a lack of humor throughout the film as some key characters from past films doesn’t appear in the film but are barely mentioned as the few moments in the attempt of humor is uninspired and forced at times. Notably a scene where Lang tries to retrieve an object for Kang where he meets multiple versions of himself that is suspenseful but its attempt to be funny doesn’t work.
Peyton Reed’s direction does have some incredible moments in terms of the visuals and world-building though he is bogged down by its clunky script. Shot largely at Pinewood Studios in Buckinghamshire in Britain with additional shots set in San Francisco and parts of Turkey, Reed opens the film with Janet’s time in the Quantum Realm and how she first met Kang which then cuts to what has Lang done since the events of the Battle of Earth. While a lot of Reed’s compositions are grand in the way he presents the Quantum Realm with its wide and medium shots, Reed does maintain some intimacy in the close-ups to play into the character interactions as well as their reactions to their surroundings. Reed does manage to infuse energy into the action scenes along with some moments of suspense as it relates to Kang in his initial meeting with Lang. Yet, the need to try and infuse humor in some of these moments don’t work as it gives the film an inconsistent presentation where it wanted to be all of these things only to not find balance in blending all of these genres.
Reed’s direction does suffer from not just the exposition that does drag the film in bits of the film as there isn’t enough weight into the stakes of what Kang wants and how he used Cassie to force Lang to retrieve this energy source that he needed for his own personal mission. While Reed does provide enough back story into Kang but also revealed how he came to meet Janet, the fact that there isn’t enough urgency into defeating him other than Janet’s own warnings doesn’t give the film that intensity that it needed. Though its third act with its grand set pieces allow Reed to go all out where there are a few funny moments but also some intense ones. Its aftermath is clunky where Reed isn’t sure how to end things since Kang is a much bigger threat than everyone realizes while there’s also this sense of confusion into whether the good guys have won or they just created something worse. Overall, Reed crafts a wondrous but undercooked film about a two superheroes and their families dealing with a new threat in the Quantum Realm.
Cinematographer William Pope does brilliant work with the film’s cinematography with its approach to stylish lighting for many of the exterior scenes set in the Quantum Realm as well as its approach to natural lighting for the scenes on Earth. Editors Adam Gerstel and Laura Jennings do terrific work with the editing as it does play into some fast-cutting for some of the action scenes but also in some stylish moments when the characters are sucked into the Quantum Realm. Production designer Will Htay, with set decorator Richard Roberts and supervising art director Nick Gottschalk, does amazing work with the look of some of the places the characters go into at the Quantum Realm as well as Kang’s home base. Costume designer Sammy Sheldon does fantastic work with the costumes from some of the clothes that the Van Dyne/Pym clan would wear in disguise as well as the super-suits that Lang, Hope, and Cassie would wear.
Hair/makeup designer Jan Sewell does nice work with the look of the characters such as Janet’s hair during her time in the Quantum Realm and her white-hair look following her return from the Quantum Realm. Special effects supervisors Paul Corbould and Noah Meddings, along with visual effects supervisors Axel Bonami, Cristian Camaroschi, Jeff Campbell, Alex Cancado, Jesse James Chisholm, Russell Earl, Roy Malhi, John Mangia, and Malte Sarnes, do excellent work with the look of not just some of the creatures and people in the Quantum Realm but also the look of it as it is a major highlight of the film. Sound designer Kimberly Patrick does superb work with the sound design in not just creating sound effects in some of the weapons, vehicles, and creatures at the Quantum Realm but also in the way natural sound would be presented in the Quantum Realm. The film’s music by Christophe Beck does wonderful work with the music as its usage of orchestral bombast help play into the action and suspense that include some soaring themes that relates to Kang while music supervisor Dave Jordan provides a low-key soundtrack as it features John Sebastian’s theme song to the 1970s show Welcome Back Kotter.
The casting by Sarah Halley Finn is incredible as it feature some notable small roles and appearances from Randall Park in a cameo as FBI Agent Woo, Gregg Turkington as Lang’s old boss at Baskin-Robbins, and Ruben Rabasa as a coffee shop attendant who mistakes Lang for Spider-Man. William Harper Jackson and Katy O’Brien are terrific in their respective roles as Quantum Realm freedom fires in the telekinetic Quaz and the warrior Jentorra who both meet the Langs while doing what they can to fight Kang’s forces. David Dastmalchian is superb as the slime-like creature Veb who is fascinated by holes while proves to very powerful during the film’s climax. Bill Murray’s performance as a Quantum Realm governor in Lord Krylar is pretty much a waste as he is an old friend of Janet that works for Kang where he doesn’t really do anything in the one big scene he’s as it is a real waste of Murray. Mark Weinman’s on-set performance as M.O.D.O.K. is quite funny at times though it is the reveal of its identity that provides laugh as a guy who has a grudge towards the Langs yet is also forced to face his own faults.
Kathryn Newton is fantastic as Cassie Lang as Scott’s daughter who has become an activist in her time in her desire to help people have created something she had hoped would’ve gotten her father back years earlier where Newton does provide some humor but also a lot of weight as someone who does feel responsible for her actions and wanting to make up for it as she would become her own superheroine in Stature. Michael Douglas is excellent as Dr. Hank Pym as the scientist who created Pym Particles who doesn’t just deal with the chaos of what is happening but also discovers something that happened around him during the moment he and his family got sucked into the Quantum Realm that would play a key part in the film’s third act. Evangeline Lilly is good as Hope Van Dyne/the Wasp as Lang’s partner who doesn’t just deal with the chaos of the Quantum Realm but also the stakes though Lilly’s character doesn’t really get much to do but react and take action while sporting an awful haircut. Paul Rudd is brilliant as Scott Lang/Ant-Man as this superhero who can shrink himself as the size of an ant who has chosen to not really do anything until he’s in the Quantum Realm where he deals with what is happening as he is trying to protect Cassie but also deal with the evil force that is Kang.
Michelle Pfeiffer is incredible as Janet Van Dyne as Hank’s wife and Hope’s mother who had been in the Quantum Realm for 30 years as she is eager to not return only to get sucked in with her family and the Langs as she is forced to reveal a terrible secret while also being cunning in trying to save her family from this terror that is Kang. Finally, there’s Jonathan Majors in a phenomenal performance as Kang the Conqueror as a man who is eager to destroy everything including variants of himself in the hopes to just conquer and destroy those who oppose him as Majors has this commanding presence that is chilling to watch as he just owns every moment he is in.
Ant-Man and the Wasp: Quantumania is a terrible film from Peyton Reed. While it is a film that does feature some entertaining moments, incredible visuals, and stellar performances with Michelle Pfeiffer and Jonathan Majors being the major standouts. It is a film that unfortunately tries to be a lot of things but doesn’t deliver in terms of its stakes while also lacking a lot of the humor that made its predecessors enjoyable to watch. In the end, Ant-Man and the Wasp: Quantumania is an underwhelming and bloated from Peyton Reed.
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Captain Marvel - Avengers: Endgame - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings - Eternals - Spider-Man: No Way Home - Doctor Strange in the Multiverse of Madness - Thor: Love and Thunder - Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
© thevoid99 2023
The film is about a group of people who travel to Sweden for an event that happens every 90 years in which is part of a midsummer festival where a couple hope to repair their relationship following a young woman’s family tragedy. It is a film that explore these people who are attending an once-in-a-lifetime event that is filled with all sorts of intrigue as one of them is from that world as he invites his friends to this ceremony unaware of its intentions. Ari Aster’s screenplay is largely straightforward in its narrative and structure yet he also brings in a lot of complexities not just into these ceremonies at this event in the middle of Sweden but also the people attending this event as well as the inhabitants in the small and tranquil community that is cut off from the modern world. Even as they hold certain rituals that are dark and violent that is shocking to its outsiders who would all unknowingly play a role into this big midsummer event. The film opens in the U.S. during the winter where its protagonist Dani Ardor (Florence Pugh) is trying to reach her mentally-ill sister while calling her parents only to learn that her sister had killed them and herself in a murder-suicide event that left Dani traumatized.
Her boyfriend Christian Hughes (Jack Reynor) is spending time with her despite the fact that he’s thinking about breaking up with her as he is hoping to go to Sweden for this event for his anthropology studies where he would join fellow students Mark (Will Poulter) and Josh (William Jackson Harper) for the trip as they’re invited by their friend in the Swedish student Pelle (Vilhelm Blomgren) who is from this remote community. Dani joins in much to the reluctance of everyone except Pelle who wants to help her with her grief as they arrive at the rural area of Halsingland in this ceremony known as Harga as they meet a British couple in Simon and Connie (Archie Madekwe and Ellora Torchia, respectively) who are the few outsiders attending this event. Yet, things do become weird that involve certain psychedelics and such while Dani, Christian, and their friends witness these events that are considered shocking and violent as it leads to all sorts of trouble. Some would want to leave only to disappear mysteriously while revelations would occur during the event with Dani dealing with her relationship with Christian.
Aster’s direction is definitely mesmerizing in terms of not just his meticulous approach to framing and compositions but also the atmosphere he presents. With the scenes in the U.S. shot on location in Utah and Brooklyn, New York, much of the film is shot on location in Hungary with some of it shot on location in Sweden to play into the Scandinavian landscape as well as the fact that there’s barely any nighttime in this world that these characters are in. The first 20 minutes is set in the U.S. where Aster creates these tight compositions that do play into Dani’s own drama as well as a scene where her family are killed by her own sister along with this unique tracking shot of Dani walking into the bathroom of her own apartment and then being in a bathroom inside an airplane where she is having an emotional episode. When the film arrives in Sweden at this tranquil and open-spaced community, Aster’s direction definitely gets broader as it is shot largely during the day.
The usage of wide and medium shots add to the scope of the commune as it include houses and such where people live but also landscapes and such for certain ceremonies. Even in how Aster would create these careful framing and compositions such as a scene where Josh is trying to get a closer look into a book that relates to the ritual as he is shown in a close-up in one room and then it cuts to the same close-up but in another room. It is among these moments that play into Aster’s style but there are also these surreal moments such as a scene late in the second act where Dani takes part of a contest that would be crucial to the film’s third act. Even as it lead to revelations about her own tragedy as well as her own relationship with Christian who would go into his own personal journey that has him playing a key role in the third act. Notably as it play into this final ceremony as there is so much at stake with everyone playing a role with Dani being the most crucial as it follows her own journey from tragedy and heartache. Overall, Aster crafts an evocative yet eerie film about a group of college students including a young couple attending an once-in-a-lifetime event that is filled with dark rituals.
Cinematographer Pawel Pogorzelski does incredible work with the film’s cinematography with its emphasis on low-key lights for the scenes in the U.S. in its interior settings including at the house in Sweden while a lot of the exterior lighting in Sweden that is filled with vibrant colors that are heightened with some natural lighting in some scenes. Editor Lucian Johnston does excellent work with the editing as it has some stylish moments but also some straight cuts that help play into the suspense and drama. Production designer Henrik Svensson, with set decorators Klara Alfredson Jofs Svensson and Zsuzsanna Svertecki plus art directors Csaba Lodi, Richard T. Olson, Nille Svensson, and Eszter Takacs, does amazing work with the look of the houses at the commune as well as a few places and such that serve as a sense of importance to the commune. Costume designer Andrea Flesch does fantastic work with the costumes such as the white clothing for all of the people at the commune including the casual look from its visitors.
Hair supervisor Monika Toth and makeup supervisor Katalin Jakots, with prosthetics makeup designer Ivan Poharnok, does brilliant work with the look of a key character in the film as well as the design of some of the gory elements in the film. Special effects supervisor Gabor Kiszelly and visual effects supervisor Gergely Takacs do terrific work with the visual effects as it play into some of the psychedelics the visitors take as it adds a surreal element to the film. Sound designer Ruy Garcia and sound editor Gene Park do superb work with the sound as it help play into some of the natural elements of the location as well as other sounds that help add to the sense of horror in the film. The film’s music by Bobby Krlic is phenomenal for its haunting and eerie music score that relies largely on vocals and folk instrument that play into the sense of tradition in this ritual that these characters deal with while music supervisor Joe Rudge compiles a couple of songs such as a piece of music by Freez at a restaurant early in the film and Frankie Valli and the Four Seasons’ The Sun Ain’t Gonna Shine (Anymore) for the film’s final credits.
The casting by Jessica Kelly and Jeanette Klintberg is wonderful as it feature some notable small roles from Klaudia Csanyi as Dani’s troubled sister Terri, Zsolt Bojari and Gabriella Fon as Dani’s parents, Liv Mjones as a commune resident in Ulla, Hampus Hallberg as a young man in Ingemar who invited Simon and Connie, Mats Blomgren as an elder in Odd, Isabelle Grill as a red-headed young woman in Maja who takes a liking towards Christian, and Bjorn Andersen as an old man who plays a key role in one of the first rituals at the event. Archie Madekwe and Ellora Torchia are superb in their respective roles as the young British couple Simon and Connie as two people who are invited by Ingemar to this event unaware of what is going on as they would later disappear. Will Poulter is fantastic as Mark as a college student who is more interested in getting stoned and getting laid where he ends up rubbing some of the residents at the commune the wrong way.
William Jackson Harper is excellent as Josh as an African-American anthropology student who is hoping to learn more for his thesis only to be at odds with Christian over who should write the thesis as he is hoping to get all of this information into the outside world. Vilhelm Blomgren is brilliant as Pelle as a Swedish student who invites everyone to Sweden for this big event without stating their intentions while is also hoping to help Dani as he too endured his own family tragedy. Jack Reynor is amazing as Christian Hughes as Dani’s boyfriend and an anthropology student who is eager to go to Sweden for his studies but is also secretly hoping to break-up with Dani where he finds himself as an object of affection for a young woman at the commune unaware of the role he’s playing. Finally, there’s Florence Pugh in a phenomenal performance as Dani Ardor as an American psychology student troubled by family tragedy as she is unaware of Christian’s intentions where she travels to Sweden as a way to escape from her issues only to deal with a lot. It is a performance that showcases Pugh at her most vulnerable as well as someone that is trying to find some form of solace and a sense of belonging as it is a career-defining performance from Pugh.
Midsommar is a spectacular film from Ari Aster that features a great leading performance from Florence Pugh. Along with its supporting cast, gorgeous locations, ravishing visuals, themes of loss and trauma, and its eerie yet evocative music score. The film is truly an intoxicating yet haunting film that explore people attending this once-in-a-lifetime event that is filled with dark rituals and violence that play into a world that is disconnected with the modern world. In the end, Midsommar is a magnificent film from Ari Aster.
Ari Aster Films: Hereditary - Beau is Afraid
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Set largely from 1998 to 2015, the film is about the real-life battle between corporate defense attorney Robert Bilott and the chemical manufacturing company DuPont over water contamination in the small town of Parkersburg, West Virginia as the former’s grandmother lived there where she told a farmer to call Bilott over the deaths of his cows. It is a film that explore this man who is asked by his grandmother to help this farmer who is needing help as he had lost a lot of cows while showing evidence of deformed body parts. The film’s screenplay by Mario Correa and Matthew Michael Carnahan is largely straightforward yet it follows a long period that play into legal battles and how Bilott kept fighting despite the strain it puts into his family life, his health, and issues involving the firm he works for as it’s a firm known for defending corporations. While the film briefly opens with a few people skinny-dipping onto a lake in 1975 where they’re forced to leave by a couple of men wearing jumpsuits as they spray something in the water. It sets the tone of what Bilott would discover as well as many revelations about what kind of chemicals DuPont has creates where Bilott at first is just doing his grandmother a favor even though his firm works for DuPont.
When the farmer Wilbur Tennant (Bill Camp) reveal some of the locations as Bilott gets a closer look into the graveyard that Tennant had created for his dead cows as well as witnessing a cow being killed after acting crazy. Despite the lack of support he gets from the Taft Stettinius & Hollister law firm over his case, they do get eventually on board when the firm’s supervising partner Tom Terp (Tim Robbins) realizes what is at stake as well as the chemicals that DuPont had created known as perfluorooctanoic acid, that is used for Teflon non-sticking frying pans and carpet flooring, as the source that’s been contaminating not just the water at a nearby landfill in Parkersburg but at the town’s water where many of its locals are ill. Though the years of litigation, independent testing, and such would be long and arduous as well as reveal so much where Bilott realizes that he must fight despite the fact that it takes away a lot of his time from his family that includes his wife Sarah (Anne Hathaway).
Todd Haynes’ direction definitely has elements of style in his overall presentation but he also knows when to keep things straightforward. Shot on location in Cincinnati, Ohio as well as locations nearby including parts of areas in Ohio as Parkersburg, West Virginia, Haynes makes these locations central to the film as the small town of Parkersburg with several locals including the real Robert and Sarah Bilott as well as other characters do appear in the film in cameos. There are wide shots in some of the locations including shots of the DuPont chemical plant and the buildings in Cincinnati including the one where Bilott worked at. Still, much of Haynes’ direction emphasizes on intimacy in the close-ups and medium shots while also employing some unique dolly and tracking shots for some scenes to play into the atmosphere of a location whether it’s a local church in Parkersburg or a building hallway. Haynes’ direction also play into the dramatic suspense but also this feeling of a moment in time as it mainly from the late 90s to the 2010s as the Bilott home would often change that also feature a humorous bit where one of the sons isn’t happy about having to go to hardwood floors instead of carpet.
Still, Haynes maintains this sense of drama including moments where people representing DuPont want to target Bilott as well as locals from Parkersburg who feel that Bilott is disrupting their livelihood since they depend on DuPont for employment where they take it out on Tennant and another local in Darlene Kiger (Mare Winningham). While the third act does feel overwritten and at times does drag which Haynes definitely aimed for as it play into how long litigation gets where cases take years to do including data research. It does play into the struggles that Bilott went through but also revelations about his own worth and the sacrifices he made despite all of the strain he put on himself and his family all because he became concerned about a farmer. Overall, Haynes crafts an evocative yet haunting film about a corporate defense lawyer who fights for a farmer against a gigantic chemical manufacturing company.
Cinematographer Edward Lachman does brilliant work with the film’s cinematography with its usage of blueish colors for some of the daytime exteriors as well as the emphasis on sepia-like lighting for some of the interior scenes at night. Editor Affonso Goncalves does excellent work with the editing as it features some jump-cuts, dissolves, and a montage where Bilott explains to his wife in his discovery. Production designer Hannah Beachler, with set decorator Helen Britten and art director Jesse Rosenthal, does amazing work with the evolving look in the interior of the Bilott family home as well as the Tennant farm in its exteriors to play into its decayed look. Costume designer Christopher Peterson does fantastic work with the clothes that play into the evolving style that Sarah would wear throughout the film with everything else from the suits that Bilott wears to the regular and casual clothing of the people at Parkersburg.
Prosthetic makeup effects designer Michael Marino does nice work in some of the film’s minimal effects involving not just the look of a few characters but also in the mutated animal internal organs that Tennant showed Bilott. Special effects supervisor Bob Riggs and visual effects supervisor Ed Chapman do terrific work with some of the film’s visual effects which is mainly bits of set-dressing but also in the video footage that Tennant had filmed in his farm. Sound designer Leslie Shatz does superb work with the sound as it help play into the way characters in locations sound including a few court rooms as well as some of the video that Bilott watched that Tennant film. The film’s music by Marcelo Zarvos is wonderful for its ambient-based score that play into the drama but also the sense of dread that emerges in the film while music supervisor Randall Poster creates a soundtrack that largely feature country music from acts like Willie Nelson, John Denver, Waylon Jennings, Reba McIntyre, and Deana Carter as well as music from Kenny Loggins, Stan Getz, and John Milton Barrett.
The casting by Laura Rosenthal is great as it feature some notable small rules and appearances including real-life people were involved in the case such as Rob and Sarah Bilott as a couple at a posh party, the deformed Bucky Bailey as a man asking Rob for sports scores, Jim Tennant as a diner patron, Darlene and Joe Kiger as church attendees, Elizabeth Marvel as the voice of a doctor talking to Bilott late in the film, the trio of Aidan Brogan, Nathan Slaughter, and Graham Caldwell in their respective roles as the eldest to youngest version of Teddy Bilott, Beau Hartwig and Jacob Bukowski in their respective roles as the oldest and youngest version of Tony Bilott, Keating P. Sharp as the 11-12 year old version of Charlie Bilott, Louisa Krause as the attorney Clara Pfeiffer who is one of the few that supports Bilott in his case, William Jackson Harper as a colleague of Bilott who is baffled by Bilott working on the case, Kevin Crowley as a local West Virginian attorney in Larry Winter who helps Bilott, Denise Dal Vera as Tennant’s wife Sandra, Richard Hagerman as Joe Kiger, Jim Azelvandre as Jim Tennant, and Bill Pullman in a superb performance as Harry Dietzler as an attorney who helps Bilott in the cases as he raises many questions about DuPont.
Mare Winningham is fantastic as Darlene Kiger as a woman who lives in Parkersburg who turns to Bilott over something she received as she realizes something isn’t right while also knowing that the town will go against her in her fight against DuPont. Victor Garber is excellent as an attorney for DuPont who at first helps Bilott out only to become confrontational and denying everything Bilott is asking for. Tim Robbins is brilliant as Tom Terp as a managing partner of the Taft Stettinius & Hollister law firm who isn’t supportive of Bilott in this case until he realizes the severity of Bilott’s discoveries as he realizes that they must sue DuPont or else they would look even worse by supporting them. Bill Camp is amazing as Wilbur Tennant as a farmer whose cows had died due to the poisoned water from a nearby landfill as a man who just wants justice despite the fact that he would be ill from the water in his land.
Anne Hathaway is incredible as Sarah Bilott as a housewife/former lawyer who is concerned about her husband’s work as well as what he discovered where she tries to deal with all of it but also defend him when people are going after him as it is Hathaway at her strongest and most stern. Finally, there’s Mark Ruffalo in a tremendous performance as Robert Bilott as a corporate defense attorney for the Taft Stettinius & Hollister law firm who is asked by his grandmother to help this farmer only to realize a lot of things went wrong where Ruffalo plays into this man’s own desperation to do what is right even if it brings a strain to his family as it is an engaging and somber performance from Ruffalo.
Dark Waters is an incredible film from Todd Haynes that features great performances from Mark Ruffalo, Anne Hathaway, and Bill Camp. Along with its supporting cast, gorgeous visuals, a chilling music score, and its exploration over a real-life legal war against a giant corporation and the chemicals they created. It is a film that is a haunting drama that explore a man whose job is to protect corporations only to fight against a corporation that has harmed not just a small town but everyone forcing this man to fight for the good of the world. In the end, Dark Waters is a marvelous film from Todd Haynes.
Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Safe - Velvet Goldmine - Far from Heaven - I'm Not There - Mildred Pierce (2011 TV Miniseries) - Carol - Wonderstruck - The Velvet Underground – The Auteurs #3: Todd Haynes
© thevoid99 2022
