Based on the Marvel comic Jack Russell series by Gerry Conway, Mike Ploog, Jean Thomas, and Roy Thomas, Werewolf by Night is the story of a group of hunters who participate in a game to kill a monster with the prize being the new leader of monster hunters as things become problematic. Directed and scored by Michael Giacchino and teleplay by Heather Quinn and Peter Cameron from a story by Quinn, the Disney+ TV special from Marvel is a homage to monster and horror movies of the past as well as an exploration into monsters. Starring Gael Garcia Bernal, Laura Donnelly, Kirk R. Thatcher, Eugenie Bondurant, Leonardo Nam, Daniel J. Watts, Al Hamacher, Carey Jones, and Harriet Sansom Harris. Werewolf by Night is an exhilarating and stylish TV special from Michael Giacchino.
The TV film revolves around a group of hunters who are invited to attend a memorial service for a revered hunter as well as participate in a hunt to see who will lead this group of hunters as they all deal with things relating to the hunt. It’s a TV special that explore the world of monsters as they as these monster hunters gather for a key event as they’re all aware of their own exploits but have no clue on the monster they have to kill while the appearance of the legendary hunter’s estranged daughter creates tension during the hunt. The teleplay by Heather Quinn and Peter Cameron is largely straightforward as it opens with this memorial ceremony for Ulysses Bloodstone (voice of Richard Dixon) as his widow Verussa (Harriet Sansom Harris) leads the preceding as well as organize this hunt where the hunters have to find and kill the monster as well as retrieve an object from the monster where the winner becomes the new leader. Bloodstone’s daughter Elsa (Laura Donnelly) reluctantly participates despite her own issues with both her father and stepmother while one of its participants in Jack Russell (Gael Garcia Bernal) is hiding a secret of his own.
Michael Giacchino’s direction definitely has a visual style that serves as a homage to old monster movies and horror films from the 20th Century including Universal monster movies and the horror films from the British studio Hammer from the late 1950s and 1960s. Shot in black-and-white at the Trilith Studios in Atlanta, Giacchino maintains a look and tone that play into old horror though it is set in a modern world where the first images involve the Avengers and how they are revered despite not fighting any monsters. Giacchino uses a lot of wide and medium shots to get a scope of the locations including a labyrinth where the monster is hiding as there are elements of practical and digital visual effects to play with the look as well as the reveal of the monster (Carey Jones). Even as the visuals would have scratches and cigarette burns on the film stock though it is shot digitally where Giacchino creates some meticulous shots including close-ups that play into the suspense.
Through the usage of the black-and-white film stock, it allows Giacchino to use moments of gory violence to great extremes but with an air of restraint in its look though its impact is intense as it leaned towards beyond the realm of TV-14. Most notably a scene in which a werewolf is fighting Verussa’s guards as it is shot entirely in one take in a room on a static wide-medium shot as it zooms slowly towards the room where blood is then shown on the camera. The only color that is present in the TV film is red and from the Bloodstone as it is a MacGuffin of sorts due to the power it contains but there’s a reason that Elsa wants it more than anyone as it relates to her meeting with Russell and their growing friendship in the course of this one night. Giacchino doesn’t just maintain this sense of horror and suspense but also infuse it with bits of humor as its ending does lead up to not just new opportunities for its key characters but also a world they might step into. Overall, Giacchino crafts a thrilling and intense TV film about a hunter and a famed hunter’s daughter trying to deal with an ugly ceremony that involves killing monsters and other dark things.
Cinematographer Zoe White does incredible work with the special’s black-and-white cinematography with its stylish usage with the lighting for some of the exterior scenes as well as the interior scenes at night as well as the small usage of color of red for the Bloodstone. Editor Jeffrey Ford does excellent work with the editing with its emphasis on fast-cuts to play into the action and graphic violence as well as knowing when not to cut for some key shots including the scene of the Werewolf by Night fighting Verussa’s guards. Production designer Maya Shimoguchi and art director Lauren Rosenblum do amazing work with the look of the Bloodstone estate as well as some of the art work in the film’s opening narration sequence as it relates to the Avengers and the legend of monster hunters. Costume designer Mayes C. Rubeo does fantastic work with the costumes with the clothes the hunters wears as well as the lavish clothes that Verussa wears.
The special makeup effects work of Howard Berger, Addison Foreman, Louis Kiss, and Greg Nicotero is brilliant for the look of the characters including some of the makeup Russell wears as well as the one Verussa has for the final ceremony and the final look of the Werewolf by Night character. Special effect supervisor Daniel Sudick, along with visual effects supervisors Andy Boyd, Joe Farrell, and Om Kangone, does tremendous work in not just the usage of practical effects mixed in with digital effects for the look of the monster named Ted but also in the look of the Werewolf by Night in some spots as well as some of the visuals such as film scratches and cigarette burns. Sound designer Josh Gold does superb work with the sound in the way some of the creatures sound but also in the way weapons sound when they’re used and other bits throughout the film. The music by Michael Giacchino is phenomenal as Giacchino creates not just a thrilling orchestral mix for the opening Marvel theme but also his usage of orchestral flourishes, brass instrument arrangements including the sound of a tuba on fire, and other elements that help play into the horror and suspense as it is a major highlight of the film while music supervisor Dave Jordan brings in a soundtrack that features music from Vera Lynn, Irving Berlin, and Judy Garland.
The casting by Sarah Halley Finn and Krista Husar is marvelous as it feature some notable small roles from David Silverman as the flaming tuba player, Rick Wasserman as the voice of the narrator in the opening sketches sequence, Richard Dixon as the voice of the late Ulysses Bloodstone with its body created and performed by puppeteer Eric Beck, Al Hamacher as the Bloodstone servant Billy Swan, and Carey Jones in a superb performance as the monster known as Ted who is just a harmless creature with voice work by editor Jeffrey Ford. The quartet of Daniel J. Watts as Barasso, Leonardo Nam as Liorn, Eugenie Bondurant as Azarael, and Kirk R. Thatcher as Jovan as the four other monster hunters who participate in this hunt as they’re all powerful with Thatcher being a bit of a comic relief at first until he’s in game mode.
Harriet Sansom Harris is incredible as Verussa Bloodstone as the widow of Ulysses Bloodstone and Elsa’s stepmother who organized a hunt to find the new leader of her home while is also someone that is thirsting for power as she also despises Elsa for leaving the family leading to some tension. Laura Donnelly is phenomenal as Elsa Bloodstone as Ulysses’ estranged daughter who isn’t fond of the family tradition as she has reasons for wanting the Bloodstone as she becomes an ally to Russell while also proving to be a formidable fighter who can kick ass with weapons. Finally, there’s Gael Garcia Bernal in a spectacular performance as Jack Russell/Werewolf by Night as a man who is asked to participate with many knowing about his reputation but are unaware of his real reasons for showing up as there’s some charm and anguish into his character as well as someone who is trying to maintain control of his other persona who is a murderous monster but only when he is threatened as it is a quintessential performance for Bernal.
Werewolf by Night is a sensational TV special from Michael Giacchino that features a great leading performance from Gael Garcia Bernal in the titular role as well as tremendous supporting performance from Laura Donnelly and Harriet Sansom Harris. Along with its ravishing visuals, Giacchino’s sumptuous music score, its effective usage of practical/digital visual effects, its story on monsters and its hunters, and its willingness to present elements of graphic violence. It is a TV special that isn’t just a fun and exciting presentation made for Halloween season but it is also a special that finds the heart of a monster and the real monsters they have to deal with. In the end, Werewolf by Night is a phenomenal TV special from Michael Giacchino.
Written, co-starring, and directed by Nacho Vigalondo, Los Cronocrimenes (Timecrimes) is the story of a man who finds himself in a time loop as he tries to stop versions of himself from living. The film is sci-fi thriller that play into the world of time loops where a man finds himself dealing with a bunch of things that play into his own future and things that he realizes would destroy everything around him. Starring Karra Elejalde, Candela Fernandez, and Barbara Goenaga. Los Cronocrimenes is a riveting and inventive film from Nacho Vigalondo.
Told in the span of a day, the film revolves around a man who witnesses something outside of his home only to be chased by a mysterious figure in a mask and then hide inside some chamber only to realize he stepped into a time machine where he finds himself in a time loop. It’s a film that explore a man who would relive an entire day where he would see himself while realizing the trouble he is causing as he tries to stop his other versions of himself from creating the same mistakes. Nacho Vigalondo’s screenplay is largely straightforward as it begins with its protagonist Hector (Karra Elejalde) arriving at home bringing things for his wife Clara (Candela Fernandez) as they’re renovating their home. While Clara leaves to get more supplies, Hector sits in a chair watching his surroundings with a binocular as he sees a topless woman where he gets a closer look as it leads to chaos involving a mysterious masked man. He would hide at a place where there’s a lab where meets a lab technician (Nacho Vigalondo) who would hide Hector in this chamber unaware that it is a time machine where Hector finds himself reliving the same day but also seeing versions of himself on that day.
Vigalondo’s direction is stylish as it is shot largely on this suburban location in Spain with the exception of the film’s opening shot at a nearby shopping building as it then cuts to Hector arriving with the trunk of his car open where all of the things he bought had fallen off. A lot of Vigalondo’s compositions are simple with its close-ups and medium shots while there are some wide shots of these locations as it include a forest, a house where the lab are set in, and other things that play into the film. It is clear that Vigalondo is working with a low budget yet he manages to use the locations and re-create scenes that were filmed the first time around and then film them again where Hector sees himself sitting on a lawn chair and looking at everything through the binoculars. It all play into what a version of Hector is doing from the first timeline to the one who is doing things in the time loop that he’s in as the scientist is trying to help Hector make sense of what he’s doing.
The usage of repetition is key to the film as it play into the idea of a man in a time loop as it also adds a lot of intrigue into who is the man in the mask from the first act and why this young woman (Barbara Goenaga) took off her clothes as Hector found her naked the first time around. Even as the second act has Hector not only deal with what his previous version was doing but also have revelations into what else had been going on and why time travel is a complicated concept. Vigalondo maintains that air of intrigue in the third act in which Hector has to deal with the actions he had taken as well as being aware of what he does to change the past as well as the future. Yet, Vigalondo also reveal the many complexities into the dangers of time travel as well as Hector having to make some decisions knowing the chaos he is creating as well as what he has to do. Overall, Vigalondo crafts a compelling and imaginative film about a man traveling through a time loop where he would encounter versions of himself.
Cinematographer Flavio Martinez Labiano does excellent work with the film’s cinematography as it has a bit of a desaturated look in some of the coloring aspects of the film while it would have elements of grain for some of the exterior scenes at night. Editor Jose Luis Romeu does nice work with the editing as it has some unique jump-cuts and rhythmic cutting to help play into the suspense as well as these inspired moments of repetition. Art directors Jose Luis Arrizabalaga and Biaffra do amazing work with the look of the lab the young scientist runs including the time chamber that he has created. Hairstylist/makeup artist Susana Ibarretxe, with special makeup artists Oscar del Monte and Nacho Diaz, does brilliant work with the different looks that Hector would endure during his travels through time as he would also showcase different wounds and scars he would encounter with these mysterious figures.
Special effects supervisor Anthony C. Ciccarelli and visual effects supervisor Marcos Onaindia do terrific work with some of the film’s visual effects as it relates to the mask the mysterious killer is creating as well as other bits that play into the suspense. Sound designer Roberto Fernandez does superb work with the sound in the way music is heard from afar as well as other sparse elements that help play into the suspense. The film’s music by Eugenio Mira is wonderful for its low-key yet thrilling electronic score filled with ambient-inspired synthesizers and some orchestral strings to help play into the suspense while the only other piece of music used in the film is Blondie’s Picture This.
The film’s incredible ensemble cast features a notable small role from Juan Inciarte as both the mysterious man in the mask as well as a double for Hector while Nacho Vigalondo is fantastic as a young lab technician who has created a time machine while he is also aware of the many dangers that go into time travel. Barbara Goenaga is excellent as a young woman who would unknowingly play a role into the chaos as she would be nude unaware of what Hector wants and such. Candela Fernandez is brilliant as Hector’s wife Clara as a woman who is just trying to renovate her home while is later confused by all of the chaos that is happening around her. Finally, there’s Karra Elejalde in a phenomenal performance as Hector as a man whose curiosity into the things he sees gets him into trouble as he then deals with being a time traveler as well as some of the chaos he creates as it is a performance with some humor but also a man who also rationalizes on what he is dealing with.
Los Cronocrimenes is a marvelous film from Nacho Vigalondo. Featuring a great cast, effective ideas on time travel, and its witty approach to suspense. It is a film that play into the idea of time travel as well as what a man tries to do for his own future while also having to deal with the events of that day. In the end, Los Cronocrimenes is a remarkable film from Nacho Vigalondo.
Written and directed by Veronika Franz and Severin Fiala, Ich seh, Ich seh (Goodnight Mommy) is the story of a woman who returns to her home following cosmetic facial surgery to her twin boys who are convinced that the woman at their home is not their mother. The film is a psychological horror as it play into a woman dealing with what had happen to her as well as her twin sons who are troubled by the appearance of this woman claiming to be their mother. Starring Susanne Wuest and the duo of Elias and Lukas Schwarz. Ich seh, Ich seh is an eerie and intoxicating film from Veronika Franz and Severin Fiala.
The film is the story of twin boys whose mother has returned from cosmetic facial surgery as they notice something about her is off as she is distant around them raising their suspicions that the woman in the house isn’t their mother. It’s a film with a simple premise as it largely takes place in and out of the house as it play into these twin boys as they deal with their mother’s return but are wondering what is going on due to her odd behavior. The film’s screenplay by Veronika Franz and Severin Fiala is largely straightforward though it opens with a clip from The Trapp Family where a song is sung by the family as it would a key proponent of what Lukas and Elias (Lukas and Elias Schwarz, respectively) are dealing with as it relates to the proof into the identity of their mother (Susanne Wuest). Still, their mother is just trying to deal with the pain of her surgery as she is also acting aggressive over what the boys do as it would relate to their collection of pet cockroaches and other things. Even as she is also dealing with other things including the fact that she was in a serious accident that forced her to get surgery and getting a divorce.
Franz and Fiala’s direction does have elements of style in the way it opens with a clip from The Trapp Family but also this exploration of family dynamics in which twin boys deal with the presence of a woman whom they’re convinced isn’t their mother. Shot on locations in the countryside in Austria including a small town, nearly half of the film is shot in this house as it is this character in the film as it this arty yet kind of posh house with lots of windows where there’s also a lot of blinds to cover the sunlight so that the mother’s skin doesn’t get any damage as she recovers. There are some wide shots to play into some of the locations outside of the house including a pond, corn fields, and other farm area while much of the film inside the house has Franz and Fiala use medium shots and close-ups. Notably as there’s some eerie scenes that play into the suspense and drama that include a terrifying shot of the boys putting a cockroach onto their mother’s bed as she is sleeping with her bandages around her head.
The direction also has this air of intrigue as well as a scene in the room where the mother asks one of the twins to not talk to the other as the camera focuses on what is happening outside of that room from the other twin’s perspective. It is among these moments in the film where it does ask a lot of question into what is going on and why the twins are suspicious towards this woman who could really be their mother. Even as there’s a picture of their mother with a woman who looks like her that adds to this suspicion along with a video as things intensify during the third act where there are also bits of violence in the film. Its climax is also intense as it play into some serious revelations but also something much more between this woman and these two boys inside this house. Overall, Franz and Fiala craft a harrowing and entrancing film about two twin boys being suspicious at the woman who claim to be their mother upon her return from surgery.
Cinematographer Martin Gschlacht does amazing work with the film’s cinematography as it is largely straightforward for some of the daytime exterior scenes on a sunny day along with some low-key usage of shades and shadows for a lot of the film’s interior scenes in the day and night. Editor Michael Palm does excellent work with the editing as it does have bits of style to play into the suspense yet it allows shot to lingers to help play into the dramatic aspects of the film. Production designer Hubert Klausner and Hannes Salt do brilliant work with the look of the house such as the living room with some unique art work as well as the room of the boys and the bedroom that the mother sleeps in. Costume designer Tanja Hausner does fantastic work with the costume as it is largely straightforward from the pajama pants the twins often wear to some of the clothes that the mother wear.
Special effects supervisor Tissi Brandhofer, with visual effects supervisors Klaus Krall and Martin Stegmayer, does terrific work with some of the film’s visual effects with a few involving the cockroaches and some dangerous moments as well as a surreal scene of the mother walking naked through the forest as it play into this idea that she is an imposter. Sound designers Erik Mischijew and Matz Muller do superb work with the sound as it play into the suspense as well as how voices are heard from another room or from outside as it help add to the drama. The film’s music by Olga Neuwirth is wonderful for its low-key ambient music score as it feature some soothing keyboards as it only appears sparsely to play into the dramatic elements of the film.
The casting by Eva Roth is marvelous as it feature some notable small appearances from Hans Echer as a local priest, Elfriede Schatz and Karl Purker as a couple of Red Cross donation collectors, and Georg Deliovsky as a food supplier early in the film. The performances of Elias and Lukas Schwarz in their respective roles as Elias and Lukas are incredible as the twin boys who deal with the presence of a woman claiming to be their mother with the former being conflicted over whether believing this woman while the latter is a bit more confrontational prompting both boys to figure out what is going on as they both exhibit some unique physical traits and movements. Finally, there’s Susanne Wuest in a phenomenal performance as the mother as a woman trying to recover from facial surgery as she also copes with a lot more as well as the strange behavior of her sons where it is clear that she knows that something is off as well where it is a chilling performance of a woman just trying to tell the truth but is also ambiguous in the things she says and does.
Ich seh, Ich seh is a tremendous film from Veronika Franz and Severin Fiala that features great performances from Susanne Wuest and the duo of Elias and Lukas Schwarz. Featuring some eerie visuals, themes of identity and terror, and its haunting setting, the film is definitely an unconventional psychological horror film that play into twin boys dealing with a woman who could really be their mother or someone pretending to be as it also play into other things they’re dealing with. In the end, Ich seh, Ich seh is a sensational film from Veronika Franz and Severin Fiala.
For the 39th week of 2022 as part of Wandering Through the Shelves' Thursday Movie Picks as it’s Halloween season. We go into the subject of horror film themes/scores as music is a key proponent of horror. It helps build up the suspense and terror that occurs throughout the film. Here are my three picks as they’re all score pieces in films from John Carpenter with music by John Carpenter:
The theme to Carpenter’s 1980 film is definitely eerie in terms of its mixture of synthesizers, pianos, drum machines, and organs. It has this eerie tone that is perfect for a film that is set in a small seaside town where a lot of bad shit is going to happen. There’s a richness to the music as the theme does set the mood while it also has a tone that is intoxicating to listen to.
Made in collaboration with regular collaborator Alan Howarth, the theme to his 1986 horror-comedy-action romp is definitely one of his most fun films. Notably as it’s about a trucker and his friend who try to retrieve the girlfriend of the latter from some mysterious Chinese sorcerer who has 3 bad dudes who are willing to help him. There’s a lot of crazy shit that goes on with Kurt Russell just being a hilarious badass. The theme itself entitled Pork Chop Express is just this great mix of 80s rock and synth-funk with a bit of synth-pop as it just feels right for the film’s insanely chaotic tone.
Carpenter’s extremely-underrated 1994 film that was sadly overlooked is truly his most metaphysical to date in terms of how he blurs reality and fiction as it was inspired by the works of H.P. Lovecraft. Notably as it involves an insurance investigator trying to find a reclusive horror writer who had gone insane to explore the phenomenon of his own work believing his new manuscript will cause chaos. The theme Carpenter created with Howarth is this eerie mix of metal and soothing electronic music that play into the sense of terror and suspense that looms throughout the film as it is Carpenter’s most overlooked film.
Based on the novel by Joyce Carol Oates, Blonde is about the tumultuous life of Marilyn Monroe told through elements of fiction, legends, and exaggerations that play into a woman’s struggle with her identity. Written for the screen and directed by Andrew Dominik, the film is an unconventional character study that play into the life of Marilyn Monroe and her struggle to be this persona as well as who she is as she is portrayed by Ana de Armas. Also starring Adrien Brody, Xavier Samuel, Bobby Cannavale, and Julianne Nicholson. Blonde is a haunting and provocative film from Andrew Dominik.
The life and career of Marilyn Monroe is a story that’s been told through many films, documentaries, and in books that ponder how a woman who was one of the biggest film stars in the 1950s die so tragically in 1962 through an overdose of barbiturates. There have been a lot of stories about Monroe that wonder a woman who had entertained millions of people yet was also insecure about her skills as an actress as well as having to please people through three failed marriages as well as many rumors about her life. What Andrew Dominik does with this story of Monroe is take Joyce Carol Oates’ largely fictional novel about the film star and turn it into this unsettling and discomforting film that is mainly the anti-bio-pic. Notably as the film is more about the woman who inhabits the role of Marilyn Monroe in Norma Jeane Baker who would find success as Monroe but would have trouble trying to balance in being Baker and Monroe.
Dominik’s screenplay is straightforward in its narrative as it goes from Baker as a child (Lily Fisher) living with a mentally-ill mother in Gladys (Julianne Nicholson) to her final years being all alone and searching for her father (Tygh Runyan) whom she had never met yet would receive letters from him during her period of stardom as it becomes an obsession she has in trying to find him. The first is about Baker’s life as a child and then a pinup model who also did nude photos as she aspires to be an actress where she would get early film roles and attention as well as be in a polyamorous relationship with Cass Chaplin (Xavier Samuel) and Eddy Robinson (Evan Williams) who are the sons of famous actors. Yet, Baker’s desire to have a normal life and a family would often be pushed aside for her career as its second act is about her relationship with a former baseball player, in this fictionalized version of Joe DiMaggio (Bobby Cannavale), who would later be angered by the attention she gets as a sex symbol. The third act begins in New York 1955 when she met a playwright (Adrien Brody) who would treat her kindly and give her a life away from the glitz and glamour but tragedy and addiction would lead to her downward spiral.
Dominik’s direction is definitely stylish in not just the overall presentation with the usage of different aspect ratios with the 1:33:1 and 1:66:1 aspect ratios used commonly throughout the film. Shot largely on location in Los Angeles and areas in Southern California, Dominik creates a film that play into a woman being caught in the middle of this idea of fantasy and reality as one notable sequence in the first act is when the 7-year old Baker is woken up by her mother to see the Hollywood Hills being burned where Gladys claims that Baker’s father lives there. Yet, it is this scene that do play into a world that Baker is going into where she would later describe as Hell as it would be followed by Gladys having a mental breakdown. There are some usage of the 1:85:1 and 2:39:1 aspect ratios in a few scenes that play into Baker’s own ascent but also her own desires to have some freedom as she becomes an adult. Dominik’s usage of close-ups and medium shots do help play into Monroe not only interacting with people but also showcase a woman whose desire for stardom also would have her in some degrading moments. Notably as she meets a studio boss who pulls down her panties and fucks her up in the ass in an act of rape.
The film’s sexual content isn’t exactly explicit except for a scene late in the third act involving an American president (Caspar Phillipson) that doesn’t exactly show anything but it is clear what Monroe is doing as it is later followed by an unseen act. Dominik doesn’t shy away from the fact that Monroe is seen as an object of desire that men want but there are also moments that are surreal where there’s a shot of the playwright’s face being blurred along with men’s jaws getting larger during a film premiere. It is among some of the surreal elements that includes an image of a womb in Baker’s stomach that play into her desire to have a family but the specter of Monroe overtakes Baker’s first chance while there is a more gruesome depiction of abortion late in the film that is also surreal yet terrifying as it add to Baker’s own declining mental state.
It is clear that the film isn’t just about a woman coping with mental illness and misogyny at a time when women didn’t get much say in their role in the entertainment industry. It is really a film that blends genres in not just drama but also horror as it play into this nightmare that Baker had put herself into. Even as Monroe would become this troubled figure that is difficult to work with on film as she struggles to connect with someone who will see her as just Baker. Though there are men such as Cass, Eddy, the playwright, and her assistant Whitey (Toby Huss) who do treat her kindly along with care and love. They were unable to deal with the chaos that is Monroe and her road to self-destruction as well as being used by others who treat her like meat or just another woman they can just fuck and find the next piece of ass they can sodomize. Overall, Dominik crafts a visceral and harrowing film about a woman wrestling with a persona that she created that gave her everything as well as nothing.
Cinematographer Chayse Irvin does incredible work with the film’s cinematography with its usage of black-and-white stock for some scenes in the film to play into the period of the times as well as some colorful work including the Hollywood Hills fire scene as well as some scenes at Monroe’s home in her final days. Editor Adam Robinson does excellent work with its usage of slow-motion shots, jump-cuts, and other stylish cuts to play into the drama. Production designer Florencia Martin, with set decorator Erin Fite and art director Peter Andrus, does amazing work with the look of the apartment that the young Baker and her mother lived in as well as the homes and film sets that Baker/Monroe would be in. Costume designer Jennifer Johnson does fantastic work in creating some of the clothes that Baker/Monroe wear including some of her iconic clothing in the films she’s been in.
Makeup artist Tina Roesler Kerwin does brilliant work with the look of Baker/Monroe from the hair and the look she would having including aspects of her body during her final years. Special effects supervisor Jeremy Hays, along with visual effects supervisors Jindrich Cervenka, Jason Melcher, and Phillip Moses, does terrific work with some of the visual effects including the design of Baker’s womb in her stomach as well as some of the surreal bits in the film. Sound designer Leslie Shatz does superb work with the sound in the way flash bulbs pop and other sparse elements in the sound to play into the drama and horror. The film’s music by Nick Cave and Warren Ellis is phenomenal in this haunting and disconcerting music score that mixes elements of electronic and ambient music that help play into Baker’s own psyche as it is a highlight of the film.
The casting by Victoria Thomas is marvelous as it feature some notable small roles and appearances from Chris Lemmon as his father Jack, Michael Masini as Tony Curtis, Scoot McNairy as Tommy Ewell, Garrett Dillahunt in an un-credited appearance as a film producer, Ravil Isyanov as filmmaker Billy Wilder, Lucy DeVito as the ex-athlete's niece who is one of the few in his family that is kind to her, Eric Matheny as Joseph Cotten, Sara Paxton as Gladys’ neighbor who brief takes the young Baker in, Tygh Runyan as a picture of Baker’s father, Lily Fisher as the young Norma Jeane, Dan Butler as an industry boss of Monroe in I.E. Shinn, and David Warshofsky in a fictionalized version of Darryl F. Zanuck who would rape Baker/Monroe in their first meeting. Toby Huss is terrific as Monroe’s personal assistant Allan “Whitey” Snyder who helps with her makeup as well as doing what he can to help including getting her pills. Caspar Phillipson is superb in his brief role as a fictionalized version of JFK as a man who is trying to run a country but also fuck as many beautiful women as he can as he treats Monroe like shit.
Xavier Samuel and Evan Williams are fantastic in their respective roles as Charles “Cass” Chaplin III and Edward “Eddy” G. Robinson Jr. as the sons of two film icons who become Baker’s lovers as they help her with their acting career but also do what they can to protect her despite their own flirtation with danger. Julianne Nicholson is excellent as Gladys as a woman that feels cursed by being daughter to a young girl as she exhibits serious mental problems while feeling distant when she meets Baker as an adult. Bobby Cannavale and Adrien Brody are brilliant in their respective roles as the fictionalized versions of Joe DiMaggio and Arthur Miller with Cannavale displaying a man that does love Monroe but becomes troubled by her fame as a sex symbol while Brody exhibits a sensitivity as a playwright who cared about her but is pushed away as he is unable to help her.
Finally, there’s Ana de Armas in a phenomenal performance as Norma Jeane Baker/Marilyn Monroe as a woman who is just trying to find love and be accepted as who she is only to go into a tumultuous and chaotic world where she is unable to really be herself. It is a performance that has de Armas take on an American accent as well as display that sense of anguish and longing of a woman that is desperate to be loved. Even as she had to endure not just humiliating moments but also moments that are degrading and horrifying as she succumbs to madness as well as a loss of identity in having to play a persona that ends up being just a nightmare. For de Armas, this is definitely a career-defining performance for the Cuban-Spanish actress who definitely proves that there’s a lot she can do while it is also proof that she’s really just getting started.
Blonde is an outstanding film from Andrew Dominik that features a towering leading performance from Ana de Armas. Along with its ensemble cast, rapturous visuals, a brooding music score, and its exploration of misogyny, identity, madness, and fame. It is a film that isn’t easy to watch while it is also willing to provoke the idea of myth and legend by showcasing a woman being trapped in a nightmare where she had no control of. In the end, Blonde is a magnificent film from Andrew Dominik.
Well, the summer has ended and it’s still somewhat warm here in the South. I’m fucking tired of mosquitoes and I’m waiting for the cold to arrive. Well, the world is still into chaos with Italy going into the far-right which is not a good thing. Didn’t they go through that a long time ago and it went to shit? Britain just lost their queen and there’s a new king but there’s still some bullshit along the way in the way they treat Megan and yet allow Prince Andrew to be involved which is horseshit. Inflation is kicking in and man, it’s kicking everyone in the ass as my mother is just unhappy with this inflation shit. I don’t like it either as it is making things harder as whatever money I get from my EBT card isn’t enough. I don’t just buy food for my mother and I but also fruits for my niece and nephew as they just love to eat fruit. They love to eat rice and beans. They love to eat ice cream every once in a while. This is all El Pendejo’s fault.
Then there’s the world of professional wrestling as the month began with complete and total anarchy in the worst way and it left me with disappointment and anger. Labor Day weekend not only had WWE feature one of the best matches they had shown ever in WALTER vs. Sheamus for the WWE Intercontinental Championship in Cardiff, Wales for Clash at the Castle as that match is proof that HHH is doing good with the fans. AEW would follow WWE the next day with a show of their own in 2022’s All Out that definitely had a solid card and some excellent matches with the big match of the night being Swerve in Our Glory vs. the Acclaimed for the AEW World Tag Team Championship not only stealing the show but it made the Acclaimed superstars even though they lost yet they just won those tag titles at the AEW Grand Slam event in Queens, New York at Arthur Ashe stadium.
They went from being this comedy act of sorts showing up on AEW Dark during the pandemic with Max Caster doing the rapping and Anthony Bowens being charismatic as both guys could work. It was this combination of who they are, their work ethic, and connecting with the crowd even though they started off as heels. It was one of these things that can’t be scripted as not being taken seriously and injuries didn’t stop their momentum while they teamed up with Billy Gunn and his sons Austin and Colten as a faction of sorts just to help the Gunn Club get over. Instead, the fans chose the Acclaimed because of Caster’s rap disses with an injured Bowens showing more charisma in his pinky than a lot of other wrestlers these days as he came up with things like “Scissor me Daddy Ass”. It was one of the dumbest things ever yet it worked and they’re hot right now as definitely a team that fans love.
Unfortunately, what happened at All Out should’ve been this great moment and celebration for AEW. Instead, it got followed by a disastrous media scrum that really should’ve forced Tony Khan to act more like a boss and be more of a businessman instead of acting like a fan. After winning the AEW World Heavyweight Championship at All Out, CM Punk at the media scrum just unloaded on everything and everyone as he made Khan look powerless while he’s munching on pastry and air out a lot of dirty laundry. Whether he was hurting from injuries he had suffered from the match, Punk’s behavior and the things he said weren’t just disrespectful but also unprofessional. Later on while Khan was talking the press, Chris Jericho went to Khan and whispered “some shit just went down” and everything fell apart where a backstage brawl between Punk, Matt and Nick Jackson, and Kenny Omega just came in where Punk’s friend Ace Steel bit Omega in the arm while Elite cohorts Michael Nakazawa and Brandon Cutler tried to stop the brawl along with producer Pat Buck and talent relations official Christopher Daniels.
It was an ugly event that really made AEW look bad and while I wasn’t happy with some of the creative decisions in recent time when it came to Punk. The backstage brawl and the media scrum just made me really disappointed and angry at Punk for not just acting like a whiny bitch but also not acting professionally and just spewing out things that is none of anyone’s business. While there are indeed issues as it relates to communications as well as those talking to the press in secret over things. That whole incident is just an ugly way to end someone’s wrestling career and it definitely exposed a lot of things that happened. The aftermath did have Punk, the Bucks, Omega, Steel, Cutler, Nakazawa, Pat Buck, and Daniels suspended over what happened yet Cutler, Nakazawa, Pat Buck, and Daniels had their suspensions lifted since investigators revealed that they did try to stop the fight.
I admit the reason I watch AEW is because I needed to fill something for my love of pro wrestling and they managed to fulfill it while not everything they did was great. They had growing pains and other things that showcased their flaws but what happened is a clear indication that Tony Khan needs to be more of a boss and have people in his circle to help run things. Fortunately, there had been talent meetings following All Out lead by Jericho, Bryan Danielson, and Jon Moxley who all stepped up and take charge in what should be done and not letting shit like this happen. Since then, AEW has managed to do well without the Elite and Punk as I think AEW doesn’t really need them. Moxley is clearly the Ace of AEW and has earned it while Jericho winning the ROH World Championship is a good business move that hopefully will get Ring of Honor a TV/streaming deal.
Then there’s Punk and the Elite as it relates to what happens to them. Punk’s friend Ace Steel should definitely be fired as he had gotten AEW into trouble with the censors and biting Omega in the arm is just ridiculous. While there have been reports that Omega was trying to stop the fight and was trying to get Punk’s dog Larry out of the chaos. Omega should remain suspended for the time being as he had been helping out behind the scenes with their upcoming video game as he had last been seen in Japan hanging out with Kota Ibushi. Yet, Omega unfortunately didn’t make himself look good during a talent meeting weeks before All Out due to a bad joke he said as it only made whatever relationship between talent and the Elite tense. Matt and Nick Jackson definitely should’ve restrained themselves but they didn’t do that and ended up making a mess into the brawl as they too were unprofessional in their actions. If there is some truth to them leaking things to media sources and such, they need to stripped of their powers as EVPs and remain suspended.
They have a reputation of acting immatures at times dating back to their time in New Japan as they really shouldn’t be talking to Dave Meltzer or anyone and leak shit. There is truth to what Punk had said at the media scrum as well as what Malakai Black has been saying as he is taking an extended leave of absence from AEW to deal with personal issues. Then there’s Punk as it is clear he started all of this and didn’t make himself look good in front of everyone. People will point the finger at Hangman Adam Page over a promo made back in May towards Punk but that is really Tony Khan’s fault for not telling Page to not say those things. Punk however didn’t act well to that promo and there were plans for him to feud with a returning MJF throughout the rest of the year but that is pretty much dead.
After Double or Nothing this past May, this should’ve lead to another Summer of Punk but because of a stupid stage dive that he did. Punk ended up injuring his foot and creating a mess with the AEW World Championship after his match with Moxley for that championship. His actions following All Out not only forced AEW to strip him from the title but also forced the company to have the title vacated leading to a tournament that was recently won by Moxley who never should’ve lost the match at All Out as he had been the one carrying this company this past summer and was the one busting his ass off which is why he earned that title as Ace. The Trios championship was also vacated after what happened as it was recently won by Death Triangle (Pac, Rey Fenix, and Penta el Oscuro) as it was created for the Elite but it really should’ve belonged to Dark Order.
I think in all of this, it is clear that there’s some talent that is willing to step up and prove to everyone that they don’t need Punk and the Elite while there are still things behind the scenes that need to be taken care of. WWE had every right to shit on AEW over what happened and it’s all in fair game. The Elite should not be around for a while and let other talent gain their spots while Punk should just fuck off. He has no business being a top champion since his body is unable to carry all of that responsibility while he is also someone that clearly has a lot of anger issues and often finds something to bitch about. There is no fucking way he will return to WWE and I don’t think HHH would want him as I’m sure a lot of the things HHH said about Punk are true and doesn’t want to deal with him. I don’t want to see Punk in New Japan as it is likely he wouldn’t catch up with any of the talent physically and mentally as he would be bitching about being in pain all of the time. I was excited when Punk made his return to wrestling but I am disappointed in how he chose to end it as I really don’t want to see him back in professional wrestling ever again. In fact, I would rather not see him anywhere anymore as I don’t want to see or listen to someone that is filled with bitterness and anger who is never happy over anything. I don’t need that shit in my life.
In the month of September 2022, I saw a total of 28 films in 17 first-timers and 11 re-watches with two of those first timers being films directed/co-directed by women as part of the 52 films by women pledge as it is down from last month mainly because I’m taking care of my niece and nephew as they’ve become unruly in all sorts of fun ways. One of the highlights of the month has been my Blind Spot in Devi. Here are the top 10 first-timers that I saw for September 2022:
A short film by Evan Rachel Wood in collaboration with choreographer Angela Trimbur as a love-letter to songs from Fiona Apple’s Fetch the Bolt Cutters is a great piece that expresses the love for Apple but also dance. Wood’s direction definitely help capture the intensity of the dancing lead by Trimbur and others as it is set in different locations. Trimbur’s dancing definitely has that sense of movement that is unconventional but also with an air of grace as it is good to see ERW showing that she can do more than just act, sing, and kick ass.
Classic Albums: Suede: Coming Up
The Classic Albums documentary series is something I enjoy watching as it has musicians talking about great albums and those who created it as this episode is the one I’ve been looking forward to since its announcement last year. Often overlooked when compared to albums by Pulp, Oasis, and Blur, Suede’s third album is really a crown jewel of Britpop in terms of a band not only being re-energized following the departure of a key member and the struggle to find themselves after a difficult second album. Especially as they aimed to create an album with nothing but hits as Brett Anderson, Mat Osman, Simon Gilbert, Richard Oakes, and then-new member Neil Codling are interviewed in how they created some of these songs and how the album brought new life to a band many in the press thought were finished after Bernard Butler’s departure.
Remembering
A short film from Disney+ that is mainly an advertisement for a virtual/artificial app. The short film is still an interesting one that features Brie Larson as a young woman trying to get ideas while a young child is meeting a mysterious thing that plays as an idea. It isn’t a great short but it does at least feature some superb performances from the newcomer Dusty Peak and Larson.
The Girl Chewing Gum
This avant-garde from 1976 by John Smith that I watched on MUBI is a fascinating though pretentious short film shot entirely on one location where the camera moves at a certain part of that location with Smith being this voice of God commentating on everything as if he is the director. It has some interesting moments but it’s just something only fans of the avant-garde might really enjoy.
Hail, Sarajevo
One of three short segments from Jean-Luc Godard that I saw on YouTube (the other was a segment from an anthology film) is this 2-minute short film made in the early 1990s relating to the Yugoslav wars of that time. It is really Godard narrating over an image of the war in Sarajevo and how it was disconnected with the rest of the world in the aftermath of the Cold War as if nothing is happening except in Sarajevo.
ASSEMBLED: The Making of Thor: Love & Thunder
The next film in MCU documentary series showcases not just what Taika Waititi wanted to do in terms of the technical aspects of the film such as shooting in a 360 degree studio set that mixed practical sets and visual effects to give a scene a lot of room for the action to occur. It also play into the story and how Waititi was able to get Natalie Portman back into the franchise as she underwent some physical training to play the Mighty Thor. The documentary also revealed Chris Hemsworth’s evolution in playing the character from his first audition to him wanting to do something different but also maintain a big physique for the character.
In the Darkness of Time
From the anthology film Ten Minutes Older: The Cello is a piece from Godard that is definitely a late-career highlight in terms of his love for cinema but also his own views on life in the 20th Century. Featuring clips of his own work as well as images of violence and historical events, the film is really a collage that is narrated by Godard as he talks about the world in general and humanity as it is a must for fans of Godard must see.
I Like Life a Lot
This 8-minute short film consists largely of animated drawings from children living in the Roma section a small town in Hungary as they discuss about their lives at home. Notably in what the adults do in their time at work and out of work as well as things that aren’t so good. It is a film filled with imagination as its final shots involve the kids creating these drawings as it showcases a lot of truth as it is a gem worth seeking out.
Rejected
One of three short films by Don Hertzfeldt that I had never seen before at all yet I had heard of him for a long time. The short is essentially a collection of rejected animated bits Hertzfeldt created for commercials and organizations who found his hand-drawn animated work to be a bit too extreme. Honestly, I thought they were great and hilarious as it had a lot of truth in what these companies wanted. Unfortunately, it’s clear that they don’t have a sense of humor as the drawings themselves get more depressing as it goes on as it play into a humorous take into rejection.
World of Tomorrow
Another short that is really a marvel in animation as it play into a young girl who meets herself from the future who shows her a unique and strange future. A world in which cloning is part of the norm where they would upload their memories into their new bodies and such. The animation showcases a mixture of hand-drawn and 3D computer animation where Hertzfeldt definitely does more but also find new ways to tell a story that transcends genre as the short is the first of a three-part trilogy.
The Meaning of Life
The third and final short by Hertzfeldt that I saw on YouTube is an absurdist take on the idea of life itself. It is a film that isn’t about humanity but also about aliens and all sorts of creatures in how they live and how they try to be part of something. Even when things go wrong as it has an air of crudeness in its look while there are also bits that are just fucking hilarious. Hertzfeldt is someone that needs to be seen for those who had never seen any of his work.
The hate this show is getting from a bunch of whiny fanboys with sand in their vaginas is proof that they just can’t handle anything in which women are at the helm. You have them complaining about this, that, this, and that. Oh, they also have a problem with She-Hulk twerking with Megan Thee Stallion. I think agree with one of those people who were shown on the film among those who complained as that one guy said “I don’t know about y’all but I’d smash”. I’m with you buddy. This show is awesome as it play into Jennifer Walter’s internal conflict in being She-Hulk but also wanting to be accepted as herself as Tatiana Malsany really brings a lot of complexities to the character as well as having some strong supporting work. Notably Jameela Jamil as Titania as this hilarious antagonist who is trying to make money off of the She-Hulk name and be a thorn in Jen’s side.
Andor (episodes 1-4)
The new show from the Star Wars franchise that is a prequel to Rogue One as it focuses on the character of Cassian Andor and how he joined the Rebellion. Four episodes in so far and it is definitely a different show in comparison to the other shows from Disney+ as it is more about drama and character study with a small emphasis on action and suspense. Yet, Diego Luna reprising the role as Andor not only feels right but we get to know more about his character and what he is trying to find while there are subplots about key individuals such as Genevieve O’Reilly reprising her role as Mon Montha who is aware she’s being watched by the Empire. It is a show that doesn’t just explore Andor’s early life but also the world of corporations controlled by the Empire as it is definitely a show Star Wars fans need to watch.
Wrestling Match of the Month: Swerve in Our Glory vs. the Acclaimed w/ Billy Gunn for the AEW World Tag Team Championship at All Out 2022
This was a match that came into the event with little build as it was one of the last matches added to an already stacked card. While the duo of Swerve Strickland and Keith Lee have had a good run as the tag team champions since beating the Young Bucks and Team Taz for those belts. There was no question that the Acclaimed have become fan favorites for months as their association with wrestling legend Billy Gunn and his sons the Gunn Club have increased their popularity with Gunn favoring them over his sons who have been annoyed in being called the Ass Boys prompting them to turn on their father and join the Firm lead by MJF and Stokely Hathaway. The match at All Out was expected to be just a typical tag team match or maybe the sleeper match of the night.
Yet, it ended up being the moment that the Acclaimed had arrived as more than 10,000 people at the Now Arena in Chicago were chanting “oh scissor me daddy” or “whose house? Daddy’s house!” as they were rooting for the Acclaimed. It would prompt Strickland and Lee to act heelish that only had the people rooting for the Acclaimed even more. The real surprise was in the fact that the Acclaimed had found ways to really prove that they can go with any team out there as they had near-falls and moments where they really surprised everyone including wrestling fans, skeptics, and peers. Even though they didn’t win the match, it is a major breakout moment for the duo with some hoping for Tony Khan to have called an audible for a change in the results but thankfully the Acclaimed are now the AEW World Tag Team Champions as the only real challenge they have is against another popular team in the current ROH/IWGP/AAA World Tag Team Champions in FTR to see who is really the best and most over team in AEW and professional wrestling.
Well, that is all for September as fall is starting to arrive. In October, it is Halloween season meaning I will be watching some horror, suspense, and other weird shit as well as some new releases like the already-polarizing Blonde and whatever films I can find. My next Blind Spot will be Pedro Costa’s Letters from Fontainhas trilogy while I will be re-watching some Halloween-themed stuff. Before I close, I want to express my condolences to the friends of family of those we lost this month in Louise Fletcher, Coolio, Antonio Inoki, and of course, Jean-Luc Godard. We will miss them for what they’ve done for us and hope to see them in the afterlife. Until then, this is thevoid99 signing off…
Written, directed, and edited by Brett Morgen, Moonage Daydream is a documentary about the life and music of David Bowie told through rare and unreleased footage including live concert footage that are Bowie’s own personal archives. The film that is made with the approval of the Bowie estate showcases the artist’s unique evolution and many personas he had created from the mid-1960s to his death in early 2016. The result is an immersive and kaleidoscopic film from Brett Morgen.
When it comes to the subject of an artist like David Bowie, it is truly difficult to pinpoint exactly what he is and who he is as the man himself never stuck to one style let alone any style. Up till his death in January 10, 2016, the man continuously maintained a sense of intrigue as well as keep people guessing as he refused to live life by anyone’s expectations. What this film does isn’t really go into the many aspects of his life as an artist and as a person but rather a man who is often trying to find something and continue to find out whoever he is. A traditional documentary would’ve played by the numbers and sometimes tell things that people already know but what Brett Morgen does is have the man himself tell his own story through archival audio and video footage including rare and unseen material that had been kept by Bowie for years with the permission from his estate to allow Morgen to tell Bowie’s story.
Using all sorts of footage from Bowie’s lifetime including concerts, rare home films, pictures, paintings, interviews, and the films that Bowie had appeared in. Morgen creates a film that doesn’t have a traditional narrative as it play more into a man growing up and finding himself as this alien rock star from Mars, a troubled singer with a serious cocaine problem, a nomad living in Berlin, a traveler in transition as he goes around the world and do movies, a superstar who reached the masses only to compromise himself as an artist, and a man who found stability and love in all aspects of life while living in the present. Throughout the course of the film, there are these images of outer space as if the cosmos are being created as they kind of serve as structure breaks to play into Bowie moving from one persona and into another.
While the film doesn’t dwell too much into Bowie’s personal life other than bits about his early life including his love for his older half-brother Terry and later his second marriage to the model Iman. Morgen chooses to focus mostly on Bowie as he constantly changes and goes from one place to another in his own search for identity and meaning while it doesn’t include bits about Bowie’s time in Tin Machine from 1989 to 1992 which is just a minor omission as it doesn’t have any effect on the film’s unconventional narrative. Notably as it play on these key events such as Bowie’s stardom in the 70s to becoming this mega-superstar in the early 80s only to struggle with who he is as an artist and what people want in the second half of the decade. In the 1990s, Bowie found personal happiness in both as an artist and as a person up till the end of his life as he also talks about the idea of embracing chaos early and then eventually into finding some form of order with elements of chaos.
Among some of the footage shown in the film aren’t just films that Bowie starred in but also other films that play into Bowie’s own philosophies on life and art that include some of his own paintings where he explained why he never did an art gallery mainly because he considers his own paintings to be personal. Among some of the rare footage include some live performances as well as outtakes from music videos, promotional bits, his 1980 stage performance for The Elephant Man on Broadway, and other rare films including projects such as Love You Till Tuesday and the documentary Ricochet. One notably rare bit that is given some restoration is from the D.A. Pennebaker’s 1983 concert documentary film Ziggy Stardust and the Spiders from Mars that features Bowie and the band playing The Jean Genie with the Beatles’ Love Me Do with Jeff Beck that never made it to the final film and had often been shown in poor condition. What the film shows is a new look and the performance itself is among one of the gems shown.
Serving as the editor, Morgen does use a lot of footage, TV interviews, and rare footage presented and mix it with some film footage as well as some unique animated pieces by Stefan Nadelman and Vello Virkhaus that includes a rotoscope animated piece from outtakes for the music video Fame ’90 by Gus Van Sant in which Bowie is dancing with Louise Lecavalier of the Quebecois contemporary dance group La La La Human Steps who toured with Bowie in 1990 as it played into Bowie’s new outlook on life in the 1990s. Sound designers Samir Foco, Nina Hartstone, and John Warhurst help gather many of the audio from the many interviews that Bowie did in his lifetime along with excerpts from films and his music.
The film’s music is presented in a bit of a remix and collage style as it play into his many evolutions and periods in those years as a lot of it is supervised by Bowie’s longtime producer Tony Visconti with Morgan also doing some of the mixing as well. Using not just some of Bowie’s hits but also deep cuts and instrumentals made throughout his career as it adds to the dramatic presentation of the film. Even as some of the deep cuts are presented in a new lights along with some of the live performances as the music sounds not just broader but also effective in their live setting.
Moonage Daydream is a tremendous film from Brett Morgen. While for anyone that doesn’t know much about David Bowie or are new to him are going to be confused at first by its unconventional structure yet will be amazed by the footage it does provide. For fans of Bowie, this film is a must to watch in terms of the rare footage as well as the chance to experience something that is more than just an audio/visual tribute to Bowie but also as a film that play into the man and his many guises and journeys he took into being this great figure of popular culture that the universe know and love. In the end, Moonage Daydream is a spectacular film from Brett Morgen.
