Hot Fuzz

Originally Written  at Epinions.com on 4/21/07 with minor edits.

In 2004, British director Edgar Wright and his co-screenwriter Simon Pegg scored a massive cult hit with a zombie movie spoof Shaun of the Dead. The film, that also starred their Spaced co-stars Nick Frost and Jessica Stevenson, was a spoof and homage to the zombie films of George Romero that brought laughs and new energy to the genre. The film's cult success grew as fans anticipated for the next Wright/Pegg project. In 2007, the duo along with Frost re-teamed to create another spoof, the buddy cop movies for the film Hot Fuzz.

Directed by Edgar Wright and co-written with Simon Pegg, Hot Fuzz is about a cop who gets transferred to a quiet British town where his new partner is the chief's inept son. Learning of a crime plot going on in the quiet little town, the two action-film loving cops decide to take on the crime itself with style. An homage yet satire of every cop film and its cliches, Hot Fuzz revels in its humor and love of action with Pegg and Nick Frost playing the lead characters. Also starring Jim Broadbent, Paddy Considine, Anne Reid, Bill Nighy, Timothy Dalton, Billie Whitelaw, along with cameos from Steve Coogan, Martin Freeman, Stephen Merchant, and two other cameos by big stars (not going to tell ya). Hot Fuzz is a funny, satirical action-comedy that pays homage and laughs to the American action film genre.

Nicholas Angel (Simon Pegg) is a police officer in London. So good, so dedicated, that he makes everyone in the police force look bad. Really bad. Angel's dedication is so powerful that his superiors (Martin Freeman, Steve Coogan, and Bill Nighy) decide to transfer him to a sleepy village in the North of England called Sandford. Angel is forced to move as his ex-girlfriend (Ecat Chettblan) has moved on with a new boyfriend. Arriving into Sandford, his new superior Inspector Frank Butterman (Jim Broadbent) introduces him to the local force that includes Angel's new partner and Butterman's son Danny (Nick Frost). The town hasn't had a recorded murder for twenty years as Angel finds himself out of place with the town. Even by his local forces that included detectives Andy Wainwright (Paddy Considine) and Andy Cartwright (Rafe Spall), officers Doris Thatcher (Olivia Colman) the aging Bob Walker (Karl Johnson) and Tony Fisher (Kevin Eldon).

Angel also has gotten the attention of local supermarket owner Simon Skinner (Timothy Dalton), who has been saying mysterious things, while being head of the Neighbourhood Watch Alliance along with Joyce Cooper (Billie Whitelaw), Dr. Robin Hatcher (Stuart Wilson), Reverend Phillip Shooter, (Paul Freeman) and Tom Weaver (Edward Woodward) who surveys everything in the town. Angel also meets local florist Leslie Tiller (Anne Reid), journalist Tim Messenger (Adam Buxton), and local millionaire George Merchant (Ron Cook). Angel finds himself getting into weird situations including trying to get a swan for its owner (Stephen Merchant) as he wonder where is the crime. Then after stopping a couple (David Threlfall & Lucy Punch) for speeding, he learns that Inspector Butterman wants Angel and Danny to go see them at their play. Then, a murder has occurred but has been covered up as an accident. Angel doesn’t believe it was an accident though the rest of the police staff laugh it off.

Feeling no respect for his work, only Danny seems to become his friend despite his lack of experience. Yet, Danny’s love for American action films including Point Break and Bad Boys II gives Angel something to take a break off. Then when another murder occurred at George Merchant's home, Angel becomes suspicious. Even more when more are murder including one witnessed by Angel, Angel wants to know what goes on. He suspects Skinner for the killings but doesn't get any proof. With Danny being the only help he has, he doesn't get any respect from anyone including Inspector Butterman who believes it's all a bunch of accidents. Angel continues his investigations where after an attack by one of Skinner's henchmen. He then learns not only that Skinner is involved but other people as well including those from the N.W.A. and a surprise member. There, Angel, Danny, and the rest of the force decide to get the law into order and with a bang.

When people see action films, they don't expect anything serious but blow-them-up and lots of stunts. Yet, they can get too serious and end up becoming parody. In the case of this film, Edgar Wright and Simon Pegg doesn't exactly take a p*ss on the American action genre. They glorify them while making fun of every cliche that's been seen in those films and have fun with them. The film's plot is easy to follow though a bit slow at times to move the story. It's only because the character of Angel is merely a satire of the cops seen on action films who takes himself too seriously at times and not be loose at the same time. Then when he is influenced by the action films Danny shows him, he becomes a different animal.

Edgar Wright clearly goes for style with this film rather than substance. Yet, it all works to convey the humor of what he's trying to do. He’s taking a p*ss at every cliche, every action film shot, every buddy cop movie. Yet, it's all in good fun. Even getting the likes of respected, British actors like Billie Whitelaw, Anne Reid, Jim Broadbent, Stuart Wilson, Ron Cook, and Edward Woodward to do something that isn't expected of them. It's because he knows that these actors are often seen in British dramas or Shakespeare but here, he lets them have guns, shoot people, and whatever. All in good fun. Plus, there's moments of gore that's also a bit extreme for the American action fan but that's the way the British does it. In some respects, Wright knows what he's doing and he's giving the audience something to have fun with while paying some respect to action directors and such.

Cinematographer Jess Hall does excellent work with the stylish, slow-mo camera work that's often done in action films while bringing a colorful look the British village. Editor Chris Dickens even goes for style with the kind of rapid-cutting that's seen in a lot of action films that are hyper-kinetic. There at least, the editing is all in good fun and plays to that action film style. Production designer Marcus Rowland and Liz Griffiths add a nice look to the film’s countryside while costume designer Annie Hardinge brings a nice look to the British cop clothes. Makeup artist Candice Banks does great work in playing with the gore as well as those cool mustaches Paddy Considine and Rafe Spall wear. Sound designer Craig Butters and sound editor Julian Slater play off to the film's action style in its sound while visual effects supervisor Richard Briscoe does some great special effects for some of the film's action scenes. Composer David Arnold also plays off to the genre with a stylish, orchestral score. The film's soundtrack also has kick with music by Adam Ant, XTC, Supergrass, the Kinks, Sweet, Arthur Brown, and Jon Spencer to add energy to the film.

The film's cast couldn't have been inspiring. The cameos from Steve Coogan, Martin Freeman, Bill Nighy, Stephen Merchant, and an Academy Award-winning director (ain't telling you), along with an Academy Award-winning actress (still ain't telling you) are funny to watch. The performances from veteran actors like Stuart Wilson, Anne Reid, Ron Cook, Edward Woodward, Billie Whitelaw, and Paul Freeman are fun to watch as they engage themselves in gore and have fun shootouts without taking themselves too seriously. Other small performances from Tim Barlow as Skinner's henchmen, Alice Low as Skinner's secretary, David Threlfall, Lucy Punch, and Adam Buxton are excellent. Fellow cops Olivia Colman, Karl Johnson, and Kevin Eldon are given some great funny moments as well as some great action scenes. Paddy Considine and Rafe Spall are hilarious as the mustache Andys who play the detective who love to make fun of Angel and his city-ways.

Jim Broadbent is wonderfully funny as the easy-going yet shady Inspector Butterman who doesn't want to believe anything that's wrong while trying to make Angel fit in. Broadbent is given great moments in both the action scenes and in the funny stuff where's given a lot to do and have fun at the same time. Playing against the James Bond role he's known for, Timothy Dalton is great as another shady individual as the villainous Skinner who is trying to do anything but to cover up his plans. Dalton is great while getting to do things he wouldn't have done as Bond, where he looks like he's having fun.

Nick Frost is really the funniest person on film. His character doesn't take things seriously and is like a kid when it comes to action movies and idolize them. He's like the cop that wants to be the superbad cop he idolizes in the cop movies. Frost brings a lot of fun to the role and makes himself relatable to audiences. Simon Pegg is also great as the straight man of the film who takes himself too seriously when doing things as Pegg really shows more of a dramatic side. When his character decides to go badass, he really sells it with a lot wit and humor. The chemistry of Frost and Pegg are just a joy to watch as they make themselves one hell of a comedy duo.

While not as funny as Shaun of the Dead, Hot Fuzz is still a hilarious, witty action-comedy from the duo of Edgar Wright and Simon Pegg. With great comedy assistance from Nick Frost and a great cast of respected British actors, it's a film that gives the audience what they want. Loads of laughs and lots of violence, it's just a film that action fans can enjoy without taking it too seriously. In some ways, the British just know how to do the genre a bit better without being too serious while adding more gore to the festivity. In the end, for a film that brings laughs and a great experience to cheer, Hot Fuzz is the film to see.

Edgar Wright Films: (A Fistful of Fingers) - Shaun of the Dead - Scott Pilgrim vs. the World - The World's End - Baby Driver - The Sparks Brothers - Last Night in Soho

© thevoid99 2010

Bottle Rocket

Originally Written on 12/23/04 at Epinions.com w/ Additional Edits & Expanded Content.

The heist film genre came back in a big way thanks to Quentin Tarantino's 1992 indie-landmark film Reservoir Dogs. In 1995, Bryan Singer released The Usual Suspects to great reviews as films of crime capers and heists came back to the forefront. Often using catchy one-liners, kinetic editing, and dramatic suspense, the genre was breaking new ground with some old rules. Around the same year when The Usual Suspects came out, another heist film of sorts was in the works but unlike the character study of Singer's landmark film, this little-known heist film was more humorous with a sense of charm and optimism. From an unknown filmmaker from Austin, Texas named Wes Anderson and his college roommate and actor Owen Wilson came a hilarious, quirky caper film called Bottle Rocket.

Written by Wes Anderson and Owen Wilson with Anderson serving as a director, Bottle Rocket is about three guys from Texas who try to build their way up after a little heist into the big times. While hiding in a hotel, problems emerge along with personal directions while it leads up to an even bigger heist with help from a local crime boss. Starring Owen Wilson and his siblings, younger brother Luke and older brother Andrew along with Robert Musgrave, and the legendary James Caan, Bottle Rocket is a funny, heartwarming crime caper film that hits all the right notes while marking the debut of one of the premier new American auteur filmmakers for the next several years.

In a voluntary, psychiatric hospital, a young man named Anthony (Luke Wilson) is set to leave the hospital where his friend Dignan (Owen Wilson) is waiting outside for him to escape. Since Dignan doesn’t know that Anthony is free to leave, Anthony tells his doctor that he's sneaking out just so Dignan can see. The two leave on bus where Dignan tells his plans for a small robbery he wants to do so he can work with big time local crime boss Mr. Henry (James Caan). Dignan has a huge plan while they meet with their friend Bob Mapplethorpe (Robert Musgrave) to plan the heist. Anthony stops by only to meet up with his little sister Grace (Shea Fowler) who is disgusted with her brother's involvement with Dignan. After stopping at Bob’s house where they got harassed by his brother John aka Future Man (Andrew Wilson) and his friend Clay (Brian Tenenbaum) while Anthony talks to Future Man's girlfriend Stacy Sinclair (Jenni Tooley) about Anthony's hospital stay.

With Dignan leading the charge and Bob being the driver, Dignan and Andrew make their first heist in a bookstore where they steal a lot of cash, which was enough to pull a successful heist. The trio drives all the way to a small motel in the middle of Texas to lay low where Anthony falls for a Paraguay-born maid named Inez (Lumi Cavazos). Bob meanwhile, has learned that his brother has been arrested for being accused of a drug dealer even though he and his brother do have a marijuana field grown in their backyard. Bob secretly leaves to Dignan's surprise while he and Anthony continue to lay low while Anthony's romance with Inez blossoms. With the police still trying to find out what’s going on, Anthony and Dignan decides to leave but not before Anthony leaves something for Inez while Inez through a translator wanted to tell Dignan that she loves Anthony.

Dignan learns that Anthony left some money to Inez as he is angry that their plans to go into the big time heist business is shattered and he might not work for Mr. Henry. Dignan and Anthony go their separate ways where Anthony reunites with Bob as the two worked on several jobs while helping to pay Future Man's legal fees. Then one day, Anthony sees Dignan who offers his old friend for a job. The job is to work directly with Mr. Henry for a huge heist with a couple of Henry's associates, Applejack (Jim Ponds) and Kumar (Kumar Pallana). Anthony isn't sure until Mr. Henry tells him a story and after a while, Anthony is officially in if Bob is involved and Dignan organizes the heist. With planning for the heist with Dignan leading the charge with Anthony, Bob, Applejack, and Kumar involved, everyone gets ready but something goes wrong where Dignan wonders what happens and who screwed up?

While some of the film's quirkiness and eccentric characters might be odd to caper-film purists, Bottle Rocket succeeds in its charm and optimism. The credit goes to director Wes Anderson for his slacker-like approach about a few dreamers wanting to have what everyone wants. The film's directing style is often filled with great tracking shots and hand-held camera shots for certain movements, especially in the running scenes that would become a trademark with many of Anderson's film work. Complemented by the colorful cinematography of Robert Yeoman and production designer David Wasco for giving the film a unique, quirky look. Anderson's script that was written with Owen Wilson is filled with great one liners and a hilarious structure of how a heist is build up while in the second act, we see more of the humanity of Dignan and Anthony, notably the romance of Anthony of Inez. The structure works thanks to a nicely paced editing style from David Mortiz. The film also has a wonderful approach to music thanks to some jazz-like numbers and score pieces from Marks Mothersbaugh of Devo and a soundtrack filled with Mexican songs and tracks by Love and the Rolling Stones.

Then there's the film's wonderful cast that is filled with great small, standout performances like Jenni Tooley as flirty Stacy Sinclair, Jim Ponds as crime honcho Applejack, and Shea Fowler as Anthony's cynical little sister. Even some of the Anderson small company regulars like Brian Tenenbaum, Dipak Pallana, Stephen Dignan, and Andrew Wilson (who also serves as associate producer) each make a memorable performance in their brief time but no one brought more laughs than Kumar Pallana as a dim-witted safecracker. Lumi Cavazos is a real standout as the shy, beautiful Inez in an understated performance even though she didn't have to speak English throughout the film as she has wonderful, heartwarming scenes with the Wilson brothers.

James Caan is hilarious as Mr. Henry with his wisecracks and wisdom on heists and crime while having a great scene with Andrew Wilson proving that he's still a bad*ss. Robert Musgrave gives a wonderful performance as the cautious Bob Mapplethorpe who is often at odds with Dignan while having some great comedic scenes as he serves as the conscience of sorts of the trio. Luke Wilson is the film's most charming and likeable performance as the anguished Anthony with his hopes for a better life while trying to have something for people in his family to be proud of. Luke is the film's heart while his older brother Owen is the movie's best performance. Owen brings a charm and optimism that is so refreshing as a dreamer who doesn't quit even though he is naive and somewhat of an idiot. Yet, Owen's intense performance proves to be so entrancing, you can't help but root for him in a performance that serves as a breakthrough for him and his brother as they carry a natural chemistry together.

***The Following is Additional Content Relating to the Criterion DVD written on 8/8/10***

When Bottle Rocket came out in the new DVD format in 1998, it was the only film of Wes Anderson that was released just as a DVD with no extras. In the years since, films like Rushmore, The Royal Tenenbaums, and The Life Aquatic with Steve Zissou were released with Anderson having full control of the DVD material. Through the Criterion Collection distribution company, those three films were released with loads of extras and commentary from Anderson and associates as they were very popular with fans of the director. Yet, Bottle Rocket remained as a DVD with no extras until 2008 after years of fans wanting a proper DVD release of Anderson’s first film.

The Region 1 2-disc Criterion DVD for Bottle Rocket presents the film in the 1:85:1 widescreen aspect ratio format with a restored high-definition transfer and remixed Dolby Digital 5.1 soundtrack all supervised by Wes Anderson and cinematographer Robert Yeomen. The transfer is truly exquisite in its look as the colors look sharper and more pristine. The only special feature, aside from the film, that appears in the first disc of the DVD is a full-length audio commentary track from Anderson and the film’s co-writer/actor Owen Wilson.

The commentary is mostly a loose conversation between Anderson and Wilson as they’re both taking a break from the projects they were working. The two reminisce about the making of the film as well as some of the things that went on when they were trying to make the film. They also talk about the people that helped them like James L. Brooks and Polly Platt who discovered them through the short film they prior to the feature film. Wilson talks about not wanting to watch the film on TV because he would end up watching and do a running commentary of his own.

The two also talk about the collaborators they would work in Robert Yeomen, who they love for his work in Gus Van Sant’s Drugstore Cowboy, and David Wasco. The latter of which, they met when they were invited to the set of Pulp Fiction were they also met Quentin Tarantino. Anderson and Wilson also talked about how they wanted Bottle Rocket to be different from the other heist/crime films of the time. Notably because they wanted to have the characters be innocent individuals who are dreamers.

Anderson also reflects on his hatred for test screenings which led to him re-shooting Bottle Rocket where some of the film’s early scenes were material that was re-shot. Anderson and Wilson talked about the test-screening in Santa Monica where they first met Mark Mothersbaugh, who would become one of their key collaborators. The commentary overall is fun to hear as the two reflect on the film and are often surprised at how popular it’s become. Notably with Martin Scorsese who listed it as one of his favorite films of the 1990s.

The second disc of the DVD includes loads of supplements relating to the film. The first of which, is a making of film with new interviews by Wes Anderson, Owen Wilson, other cast members, crew, and producer James L. Brooks. The near 26-minute special shot by Barry Braverman, who was one of the original cinematographers of the Bottle Rocket short, has Anderson, Owen Wilson, and everyone else including Luke and Andrew Wilson discussing the development of the film. The doc also include some deleted scenes that didn’t make it to the original short along with a rare footage of Kumar Pallana’s audition with Luke Wilson and Stephen Dignan, a friend of Wes and Owen who later appeared in the first three films of Anderson.

The script development for the feature took two years were Wes and Owen lived at an office run by James L. Brooks with Polly Platt helping along as a producer. By the time the film started to get into production, it was rough at first but Brooks and Platt let Wes Anderson try to maintain his vision. Then there was the story about the infamous test screening that Mark Mothersbaugh attended. People left during the screening as Luke recalls comments about the film from other people. Making things worse when the film was being re-worked after the disastrous screening was when Brooks tried to get the film submitted for the 1996 Sundance Film Festival where it got rejected. The film did come out where it was Kenneth Turan’s review for the L.A. Times that not only praised the film but called out Sundance for rejecting it.

The documentary overall is fun as the cast and crew also talk about how shocking the film has done well over the years. Yet, it ends with James Caan not happy over not getting a call from Wes to appear in another film which was a very funny moment.

The other big special feature in the second disc is the original 1992 short film for Bottle Rocket that made its premiere at the 1993 Sundance Film festival. Shot in black-and-white in 16mm, the short features early versions of a few key scenes. Notably the scene where Dignan and Anthony steal items from Anthony‘s home along with the gun scenes with Temple Nash Jr. as the gun salesman, and the scene of Dignan planning the robbery where Bob looks over the gun. The short also includes a different ending and jazz music as the score that features a couple of pieces by the Vince Guaraldi trio. The short is truly incredible of what it aims for and what would become later on in the feature film version. The section for the short also includes loads of pictures and storyboards created by Anderson.

Eleven deleted scenes that includes Bob washing his car and another of him talking to Anthony about the job so he can get away from his brother. Other scenes including Dignan, Anthony, and Bob talking about the crop of marijuana that Bob is growing along a scene of Dignan wanting to talk to a girl while he’s in the car with Bob and Anthony. Another deleted scene is a recreation of the gun salesman talking that was from the short where the gun salesman talking about guns. One big scene that got cut which is a scene where cops stop at Bob’s neighborhood where Dignan talks with a cop that eventually leads to Dignan, Bob, and Anthony leaving. That leads to another deleted scene of the trio leaving on a car during the day time with Dignan trying to get everyone to be positive.

A scene of Bob feeling frustrated about Dignan is a funny moment because of Dignan overhearing a part of the conversation that is followed by a scene of Bob talking to Dignan about bailing out Futureman. One cut scene has Anthony professing his love for Inez to Dignan while Dignan talks to Mr. Henry on the phone. The last scene is Dignan and Applejack looking out at Bob’s house just before Dignan would talk to Anthony. A lot of the scenes are shown in rough versions but are fun to watch though it’s obvious why they got cut. Another deleted scene that’s shown in the making-of feature is a scene of Kumar doing his plates trick.

One notable special feature is the Anamorphic test scene where Wes Anderson and cinematographer Robert Yeoman make a test scene at a motel during pre-production to get an idea of how Anderson envisioned the scene. It’s a great little deleted scene that gets an idea of how Anderson frames his scenes with some parts shot very roughly. Another special short is The Shafrazi Lectures, No. 1: BOTTLE ROCKET where Tony Shafrazi discusses about seeing the film for the first time while displaying the movie through an art-like presentation in various forms. It’s definitely one of the most interesting lectures about a film as he also discusses how it’s framed while putting the film on a wall and other objects to display it.

Another short that appears in the second disc is a 1978 short film by Barry Braverman called Murita Cycles that was an inspiration to the people involved during the making of the Bottle Rocket short. The 30-minute short is essentially a portrait of Barry’s eccentric father Murray, a laborer who likes to collect objects while running an old bike shop. The short also has interviews with people talking about Murray along with old family footage. It’s a strange short but one that is certainly interesting about a man and his eccentricities. Two other special features are in the form of galleries. First is a storyboard gallery of storyboards by Wes Anderson in how he wants to frame the film. The second gallery is a collection of photos and behind the scenes shots from Laura Wilson, the mother of Luke, Owen, and Andrew Wilson. The photos date back to 1992 from the early rehearsals at the Wilson home to the editing of the film in 1995.

Along with artwork packaging by Ian Dingman for the sleeve and cover of the DVD is a booklet that features Dignan’s 75-year plan and two essays. The first is from Martin Scorsese that originally appeared in the March 2000 issue of Esquire. In the essay, Scorsese talks about his love for Bottle Rocket and Wes Anderson as he also discusses about Rushmore and its ending. It’s a short piece but certainly one of the best praise about a film from one of cinema’s finest directors. The second is from producer James L. Brooks from the Rushmore screenplay book in 1999 that served as an introduction to that book. Brooks talks about his first meeting with Wes Anderson and Owen Wilson as well as what went on production including the infamous test screening it had. Brooks also praises Kenneth Turan for his review and championing Bottle Rocket. It’s a wonderful little piece that exemplify the importance of the film. The DVD overall is one of the best of the Criterion Collection and a must-have for fans of Anderson.

***End of DVD Content***

While Bottle Rocket didn't get great reviews or good box office numbers when it came out in 1996, the film did receive a great word-of-mouth commentary from a small group of filmgoers as the film became a hit on video. The movie helped gain Wes Anderson a Best New Filmmaker award at the 1996 MTV Movie Awards while Luke and Owen Wilson became big time actors. Since its release and the recent success of Anderson's later films, 1998's Rushmore and 2001's The Royal Tenenbaums, Bottle Rocket has remained a cult favorite with fans. Anyone who enjoys a caper film with loads of laughs and a lot of heart will find Bottle Rocket enjoyable while it's a nice introduction into the world of Wes Anderson.

Wes Anderson Reviews: Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

© thevoid99 2010

The Royal Tenenbaums

Originally Written and Posted at Epinions.com on 10/6/04.

Since arriving onto the independent film scene in 1996 with the quirky caper film Bottle Rocket, Austin, Texas filmmaker Wes Anderson has been known for his hilarious, sentimental views on the world and life in general. Co-written with actor Owen Wilson, Bottle Rocket became a cult hit as it earned Anderson the Best New Filmmaker award at the 1996 MTV Movie Awards. In 1998, Anderson helmed his sophomore feature, Rushmore about a young high school kid who begins to compete with a millionaire over the affections of a grade school teacher. Written with Owen Wilson, Rushmore was hailed as a landmark film for its absurd views on life and ambitions from an underachieving kid that also gave Anderson the prestigious New Generation Award from the L.A. Critics Association while comedian Bill Murray was receiving numerous acclaim for his role as the eccentric millionaire. In 2001, Anderson returned with a more ambitious ensemble film about a family crumbing from its own failures with the father desperately trying to save them for his own reasons until he realizes his own faults.

Entitled The Royal Tenenbaums based on a script from Anderson and Owen Wilson, it's a multi-layered story of the scheming, cruel Royal Tenenbaum trying to scam his family while seeing their own failures after 20 years of problems. Inspired by the works of J.D. Salinger, the film is Anderson's most offbeat project to date that features sentimental references and ideas that drives the dysfunctional Tenenbaum family. Starring Anderson regulars Owen and Luke Wilson, Kumar Pallana, Seymour Cassel, and Bill Murray along with Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Danny Glover, and Alec Baldwin as the narrator. The Royal Tenenbaums is a stark, funny tale of healing and redemption.

The story begins where after years of marriage, Royal Tenenbaum (Gene Hackman) and wife Etheline (Anjelica Huston) are separating with Royal leaving the house. With Royal gone from the house though he frequently visits the children, Etheline chose to raise them herself. The eldest Tenenbaum child Chas (Aram Aslanian-Perisco) had become a successful real estate agent when he was very young while creating a breed of Dalmatian mice. Their adopted child Margot (Irene Gorovaia) graduated high school at an early age and became a successful playwright where she received a Braverman Grant of $50,000 in the ninth grade. The youngest, Richie (Amedeo Turturro, son of actor John Turturro) was a junior tennis player champion and eventually won the U.S. nationals three years in a row while trying to develop as a painter. Yet, the brilliance of the young Tenenbaum children would be erased by 20 years of betrayal, failure, and disaster.

22 years since Royal's separation from Etheline, the Tenenbaum family is all but estranged. Royal had become a litigator till the mid-1980s while staying at the Lindbergh hotel. Etheline had become an archeologist while being around numerous suitors before she finally considers one in an accountant named Henry Sherman (Danny Glover). Richie (Luke Wilson) had since retired from tennis after a public breakdown where he is sailing across the oceans where he only contacts his old childhood friend-turned-successful novelist Eli Cash (Owen Wilson) through telegram. Margot (Gwyneth Paltrow) did more plays but for years, she hadn't done one while being married to neurologist Raleigh St. Clair (Bill Murray), who is working on a project for his new book. Chas (Ben Stiller) has become paranoid about safety after the death of his wife in a plane crash where he's raising his two sons Ari (Grant Rosenmeyer) and Uzi (Jonah Meyerson). Chas chooses to move back into the old Tenenbaum home with his children to the surprise of Etheline.

Margot also decides to move in as her marriage to Raleigh is disintegrating and at the same time after the doctor, Royal tells Etheline he's got six weeks to live while suffering from stomach cancer. Etheline tells the news to the family including Richie via telegram where he comes home and Royal tells the kids about the news. He also learns from the family's longtime servant Pagoda (Kumar Pallana) about Henry, who is in pursuit of having a serious relationship with Etheline. Royal later gets kicked out of the Lindbergh hotel where with help from bellhop Dusty (Seymour Cassel), he gets a chance to move back to the Tenenbaum house to the disgust of Chas, who sued his father years earlier over money. For a week, Royal tries to connect with his family where he would often go into recklessness with Ari and Uzi while visiting the grave of Chas' wife and Royal's mother. Then Royal notices that Margot is having an affair with Eli, while Raleigh is seeking Richie's help in finding out about the affair.

After Henry exposes Royal's scam, Royal leaves the house with Pagoda where his departure would mark tragic consequences. After learning about Margot's secret life including her first marriage and her numerous affairs including Eli, Raleigh is distraught and Richie attempts suicide after being found by Raleigh's current subject Dudley (Stephen Lea Sheppard). Margot, who broke off her affair with Eli, was exposed where the family is in shock and after Richie escapes from the hospital where he briefly decides to have a secret affair with Margot, he turns to his father for help. Royal, who now works as an elevator operator at the Lindbergh hotel, realizes the problems his family is suffering and decides to try and help them all, even Eli, who is suffering from a drug problem after the failure of his recent book.

What makes The Royal Tenenbaums such an interesting, fascinating film is its mix of humor and melancholy through Wes Anderson's offbeat world. While the movie echoes the works of Hal Ashby and Louis Malle along with references to the late Charles Schultz Peanuts comics, it's a film that really explores the dysfunction of families. Though some had complained the film was too strange to get into, it's a film that really has no clear genre but Anderson is truly a storyteller who brings in sentimental moments of life. Directing-wise, Anderson really captures a different New York City that doesn't feature any landmarks while showing some strange, idiosyncratic moments that involve family or quirks. Anderson's script that was co-written with Owen Wilson is part character study kind of film while it reveals what drives the family into failure and the resentments they have brought upon each other. It's a very smart, intricate kind of film.

Anderson's directing style is truly captured visually by the work of cinematographer Robert D. Yeoman, who brings in a bleak but colorful look of New York City and the quirky world of the Tenenbaum home on 111 Archer Avenue. Helping Yeoman visually is production designer David Wasco and art director Carl Sprague for the look of the colorful, wooden world of the Tenenbaum house that also features artwork from Wes's brother Eric who does the paintings of Richie's room and the paintings of Margot. Wasco also provides the strange set designs of Margot's early plays while in Eli's room, we see strange paintings from Mexican artist Miguel Calderon. With Yeoman using a blue filter for the disturbing scene of Richie attempting suicide, there's a fine use of the jump cut editing from Daniel R. Padgett and Dylan Tichenor, who brings a more traditional, straightforward approach to editing that helps the story moves. Also giving credit with the film's look is costume designer Karen Patch for her look on the Tenenbaum family's look from Richie tennis player look, Margot's long dress, and Chas's Adidas sports suit.

If there's another Wes Anderson has done great with all of his films, it's his choice of music with a wonderful, melancholic score from Devo co-founder Mark Mothersbaugh for its mix of jazz and traditional orchestra. With music supervisor Randall Poster on the helm, the film's soundtrack is a mix of lush jazz scores of the Vince Guaraldi trio and orchestral work from Ysaye Quartet to more rock stuff from the Clash, the Ramones, the Velvet Underground, Nico, Elliot Smith, Nick Drake, Bob Dylan, Emitt Rhodes, Van Morrison, John Lennon, the Rolling Stones, and a wonderful orchestral version of the Beatles'"Hey Jude" in the film's opening prologue.

With the film featuring a diverse cast of actors that includes small parts from Anderson regulars, leading the pack in the cast are the children. The performances of the young Tenenbaum children by Aram Aslanian-Persico, Irene Gorovaia, Amedeo Turturro, and James Fitzgerald as the young Eli Cash are all naturally performed with Grant Rosenmeyer and Jonah Meyerson both having wonderful moments in their gracious performances as Ari and Uzi Tenenbaum, respectively. Stephen Lea Sheppard brings a quirky performance as Raleigh's strange subject Dudley with his off-color performance while Anderson regular Seymour Cassel is great as Dusty. Kumar Pallana brings a great performance as Pagoda in his scenes with Gene Hackman and even steals the show in a scene where he stabs him after the two get kicked out the Tenenbaum home. Danny Glover meanwhile, is the film's straight man where he gives the most normal and straightforward performance of the film with his disciplined, clean-cut manner and sensitive portrayal of Etheline's suitor who proves to have more than what is expected, especially from her troubled marriage to Royal.

Bill Murray delivers a wonderfully deadpan performance as the neurologist Raleigh St. Clair with his sad, devastating role as Margot's neglected husband while Murray got to show a bit of his quirks in his scene with Sheppard. It's truly one of Murray's best performances where he can do so little and be touching at the same time. Owen Wilson is hilarious as the paranoid, quirky Eli Cash with his strange theories about General Custer and the world while we see that he's filled with sadness to since he always wants to be a member of the Tenenbaum family and is yearning for their approval by sending Etheline his grades and clippings.

Luke Wilson gives a wonderful performance as Richie who seems to be the only one close to Royal while he learns why his siblings aren't where he tries to save the family at first but his own problems and his feelings for Margot get in the way as Luke brings in his most complex performance to date. Gwyneth Paltrow gives a wonderfully restrained, troubled performance as Margot who is lost in her own depression and we learn why she smokes and have affairs along with the story of her finger and the neglect she suffered from Royal. Paltrow brings in a lovely, subtle tone to a character that is deeply troubled and someone we feel for.

Ben Stiller is funny and sad in his role as Chas with his sense of paranoia and fear while we see him go out of control when things go wrong. Stiller, who is often funny in several of his films, goes for a more dramatic approach and it works very well here since he's just playing a man who lost his wife and is frustrated by the lack of love he gets from his father. Anjelica Huston is amazing as Etheline Tenenbaum with her complex feelings of love where she's still in love with Royal even though she despises him at the same time while she realizes there's love from Henry. Huston proves herself to be more than just a wife and mother by playing a woman who is independent yet is trying to find answers.

Gene Hackman is truly the film's best performance with his role as Royal Tenenbaum with his scheming ways and macho-like ways. Hackman brings sympathy to a character we're not really supposed to like but we end up loving him because he's a man that's trying to do right for himself and his family. Hackman has wonderful scenes with not just the children but also with Huston, Paltrow, and Glover, the Wilson brothers, and Stiller while he's truly in charge in a role that allows him to be funny, sad, and wise at the same time. Hackman is truly an actor who continually brings in performances that actors should be giving, as he gets better and more eccentric with each performance.

From the film's 2002 Criterion DVD release, The Royal Tenenbaums features a 2-DVD set filled with extras and the actual movie. The first disc only includes the movie with a widescreen digital transfer supervised by Wes Anderson along with Dolby Digital and DTS 5.1 Surround Sound. The only other feature that appears in the first disc is an audio commentary from Wes Anderson who gives in some great insight to the film and its references including the dog Buckley that was named after Jeff Buckley and was a tribute to Snoopy. The film's commentary is Anderson being a bit funny but also insightful in the inspiration behind the characters including Etheline, which is partly inspired by his mother.

The film's second disc is filled with many features including a 30-minute IFC-produced special that shows Wes Anderson making The Royal Tenenbaums where it's an insightful special on how the film is being made while we see Anderson work closely with his collaborators. Also featured are interviews with the film's main cast that gives great insight from the actor's perspective on their characters with Bill Murray being the more eccentric with his answers while being more straightforward while Danny Glover was actually a bit funnier on the set. The film also includes a few outtakes that included a dangerous scene involving Anjelica Huston's hair nearly being burnt by a birthday cake candle and Bill Murray talking about the Dalmatian mice and Kumar doing his tricks.

One of the strangest features is a fake interview with Peter Bradley (Larry Pine) who talks to Kumar Pallana and his son Dipak plus Stephen Dignan, Sanjay Mathew, and Brian Tenenbaum who aside from Kumar played smaller roles while Brian is awaiting the arrival of the third Wilson brother, Andrew. Along with theatrical trailers and TV spots, the film also includes a collection of Eric Anderson's drawings, a photo gallery from set photographer James Hamilton, and designs from the movie plus the works of Miguel Calderon including a radio interview from the painter on Studio 360. This DVD is clearly one of the best works from the Criterion Collection and a must-have for Anderson fans.

Overall, The Royal Tenenbaums is a majestic, sprawling film from Wes Anderson with a great cast and crew on the helm. Though some might be turned off by its offbeat tones and quirkiness, Anderson has helmed a sentimental yet funny story that is filled with depth-driven characters and multi-layered storylines that is wonderfully narrated by Alec Baldwin. With a great soundtrack, evocative cinematography and look, it's a movie that makes Wes Anderson one of the most creative and eccentric directors of his generations. While films like Rushmore and Bottle Rocket delivers more laughs, The Royal Tenenbaums at least can give you something more to cheer about.

Wes Anderson Films: Bottle Rocket - Rushmore - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

© thevoid99 2010

Old Epinions.com Reviews Coming to Blog

Due to my issues with Epinions.com.  I've decided to post my old reviews little by little for the blog where they will all be copyrighted under my thevoid99 alias.  New reviews will be coming soon but not frequently for the time being.

Meanwhile, some of my old film reviews will be re-edited and polished to complement their DVD releases.  Notably the films of Wes Anderson for its Criterion DVDs along with extended DVD reviews of other Criterion-related releases for films like Che by Steven Soderbergh, Andrei Tarkovsky's Solaris, and Krzysztof Kieslowski's The Double Life of Veronique as they will be given proper treatment for their DVD reviews.

Safe

Note:  Originally Written and Posted at Epinions.com on 4/27/04 w/ Additional Edits.

One of the most renowned independent filmmakers of his generation, Todd Haynes has always been a subversive filmmaker among his peers. In 1987, Haynes directed a short film called Superstar: The Karen Carpenter Story about the tragic singer of the Carpenters. The film had a cast performed by Barbie dolls and the controversy surrounding the short proved to be huge when Karen's brother Richard and the company Mattel sued Haynes from getting the film released. Despite the controversy, Superstar became a bootleg classic as Haynes' 1991 feature-length debut Poison with frequent collaborator and producer Christine Vachon drew more controversy for its homo-erotic themes and subtexts. Despite the controversy, the film helped helm the New Queer Cinema movement of the early 90s as Haynes was becoming more experimental with his short film Dottie Gets Spanked for PBS in 1993 as he began work on one of the decade’s most disturbing films, Safe.

Written and directed by Haynes with Vachon as producer, Safe is a harrowing drama about a Southern California housewife whose perfect world crumbles as she becomes ill with diseases due to chemicals and environmental surroundings as she is forced to go to a New Age facility to cure herself. Starring Julianne Moore, Safe is set in the late 80s with some analogical references to AIDS and the environment that plays up to a sense of fear and paranoia in the late 20th Century as Haynes becomes more unconventional with storylines and his directing style. The film is partially a satire as well as a thriller and a drama as it bends genres in a complex style that disturbing yet compelling. One of the most eerie films of 1995, Safe is a cautionary film of isolation and manipulation.

It's 1987 and for Carol White (Julianne Moore), her idyllic, mid-upper class lifestyle in Southern California with husband Greg (Xander Berkeley) and stepson Rory (Chauncey Leopardi) seems to be just perfect. While her husband is at work and Rory in school, Carol is trying to finish work on renovating her house with new couches and a kitchen. Carol also enjoys life outside of her house as she picks up her laundry and goes to aerobic classes with her friend Sarah (Sarah Davis) where she notices that Carol never sweats during the exercises. Then one day as the day of the new couches were to arrive, they came in the wrong color and she goes out to the store to correct the order and run errands as suddenly while driving behind a truck with smoke coming out, she starts to cough erratically as she goes to a parking lot and collapses.

For Carol, her life begins to crumble as she tries new things like a fruit diet with Sarah and getting a perm at a hair salon where at the place, she started getting nosebleeds. She goes to Dr. Reynolds (Peter Crombie) who ran a few tests on her and said that she was fine but Carol isn't fine. Suddenly, the symptoms gets worse as she begins to have headaches frequently as Greg is annoyed and one morning as he tries to comfort her, she begins to vomit and is in tears over her illness. Carol tries to go on with her life as she begin to have trouble trying to ignore her problem until she saw a flyer about fumes as she briefly tried to talk to counselors over her problem. Carol's illness then worsens as during a baby shower, she begins to have trouble breathing and finds herself becoming increasingly ill.

Dr. Reynolds keep running tests and insists that she’s fine and the illness is due to stress and paranoia as Greg felt the same way. Carol though wants to look for answers, as she would go to seminars that revealed that she was suffering from environmental illness due to chemicals. She would go to seminars ran by a counselor (Beth Grant) as her lifestyle changed suddenly as she told Sarah, she can't wear makeup anymore and is forced to live in a room that is free of chemicals with an oxygen tank on her side. One day as she went to the dry cleaners, the place was being sprayed with fumes as all of a sudden, Carol goes into a shock as she is sent to the hospital and her paranoia of fumes increases as Dr. Reynolds has no idea what's going on. While resting at the hospital, Carol sees a TV ad for a New Age place called Wrenwood run by a guru named Peter Dunning (Peter Friedman) in New Mexico.

Carol goes to the place by herself where she meets counselor Claire (Kate McGregor-Stewart) as she learns that Peter is an AIDS-living man who is filled with positive thinking and Carol becomes overwhelmed by the place’s loving tone. Carol befriends a fellow patient named Chris (James LeGros) as she tries to learn about her symptoms while wondering if there's a cure. She also befriends Peter as they look at a man who is afraid to live or even breathe while Greg, during a visit, is wondering if Peter is for real as he is disturbed by Peter's self-love tactics. One day after a patient died, Carol sees an igloo-shaped house where she decides to move in as she begins to isolate herself from her past.

What makes Safe such a harrowing thriller without the conventional rhythms of past thrillers is in Todd Haynes' unconventional, linear tone that just smooth out the edges for something anti-climatic rather than being overtly shocking. The unconventional tone also relates to its pacing. It's slow yet works to convey the sense of paranoia and fear in Carol White. Haynes though, was merely trying to present the film as a cautionary tale by exploring Carol White's psychological turmoil rather than the disease itself. In that presentation, Safe comes off as original with its themes of paranoia and strange references to the environment and AIDS while bringing satire to the cult-like elements of Peter Friedman's guru character. These elements and restrained emotional drama bring strength to Haynes' complex, dour screenplay. Particularly in its pop culture references to the 80s as in one scene, Carol is listening to Rory's report on gang violence in Los Angeles in gory detail showing her naiveté and meek persona.

If Haynes' ability as a screenwriter is unorthodox in its approach as a storyteller, then Haynes' approach to directing is even more amazing. In many aspects, Haynes is channeling the directing style of the late Stanley Kubrick, as an auteur director who is looking for what kind of emotion he wants from the characters and what response the audience should have. In many scenes, the camera is often placed away from the actual place where the actors are. Here, there's a sense of detachment as the audience plays the role of the third person watching this poor, naïve woman disintegrating through her own illness. There are very few close-up shots in the film and that sense of detachment is even more amazing in the film's directing style. Even for the fact that the scenes of reference of environmental TV ads, radio, and all sorts of media play up to that detachment. In many respects, this is a definitive ideal of what a director should be.

If Haynes' directing style is obtuse in its town, then it is complemented perfectly by the vast cinematography of Alex Nepomniaschy. Nepomniaschy plays up to the film's eerie, isolation tone from its shots of Southern California suburbia and its idyllic tone to the smoggy world of downtown Los Angeles and its highways with shots of cars in traffic. Plus, the shots of the American Southwest with its sunny-like deserts and the orange tone of Wrenwood is masterfully shot as it plays up to the eeriness of late 20th Century paranoia.

James Lyons' editing also plays to that tone with its elliptical yet engrossing style of dissolves, fade-outs, and such where it has a style that works to Carol's state of mind. While the slow pacing might annoy audience and taste their patience. Patience is the key to understand White's state of mind as Lyons' editing is superb.

Adding the elements of paranoia is the film's score composer Ed Tomney whose score of shimmering, dense synthesizer is extremely haunting in its scenes that captures an ambient but space-like tone to the film as if it plays up to a sci-fi film gone horribly wrong. Tomney really captures that late 20th Century world of isolation and fear that is relevant now in the 21st. There's also a track from ambient pioneer legend Brian Eno in the film as well as some 80s pop hits from Madonna, George Benson, Kenny Loggins, and Belinda Carlisle that seems to be placed in a very offbeat way as if something is about to go wrong in the way Haynes plays with music.

The film's cast is wonderfully played in its small roles from its performances from Sarah Davis as Moore’s best friend, Chauncey Leopardi as the stepson, and Peter Crombie as the doctor to the more well-known actors like James LeGros as a fellow patient and the always enjoyable Beth Grant as a counselor. In the role of Claire, Kate McGregor-Stewart is wonderful as Moore's Wrenwood counselor who shows her its okay to be overwhelmed in a very touching scene where Moore breaks down. Peter Friedman is almost hilarious, even though his performance wasn't meant to be comedic, as the optimistic guru. Friedman plays up to the film's satire while balancing the self-love and self-blame persona on his characters that is very ambiguous in its approach as he blurs the perception of whether he's really trying to help them or he's just another false guru. Xander Berkeley is excellent as Moore's caring but ignorant husband as the audience understand how he feels about her although it's likely he could've done more but doesn't understand even though he really cares for her.

The film's most striking performance of course goes to Julianne Moore who brings a complex and harrowing performance as Carol White. Moore doesn't make Carol pathetic or selfish but rather as a woman who isn't very bright and is kind of meek but with good intentions. There's also a naiveté about Carol that makes her innocent while we see her develop as a woman having trouble with isolation and the illness that surrounds her. Moore puts a lot of herself and anguish into a performance that is masterful in its raw form and restraint. This film would really put her in the spotlight as she since have gone back and forth with big-budget Hollywood films and landmark independent films with a huge degree of success.

While it's not a film for everyone, Safe is still an evocative and haunting film from Todd Haynes helmed by his masterful presentation and Julianne Moore's eerie performance. Haynes since then would follow-up Safe with 1998's glam-rock film Velvet Goldmine before reuniting with Moore in 2002 for their crowning achievement, the Douglas Sirk-inspired melodrama of Far from Heaven. Though Far from Heaven is a more accessible film in its look, tone, performances, and style, Safe will likely draw to more serious film aficionados. In the end, the credit goes to Todd Haynes and Julianne Moore for their contributions to this film as Safe remains one of the 1990s’ most original and disturbing films of the decade.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Velvet Goldmine - Far from Heaven - I'm Not There - Mildred Pierce (TV miniseries) - Carol - Wonderstruck - Dark Waters (2019 film) - The Velvet Underground - The Auteurs #3: Todd Haynes

© thevoid99 2010

Inception

Ever since scoring a breakthrough with 2000’s Memento, Christopher Nolan has been considered to be one of the finest new directors making films at this time. 2002’s remake of 1997 Norwegian film Insomnia ensured Nolan’s place as one of the top new directors as he was selected to revive the Batman film franchise. In 2005, Batman Begins was released to a lot of acclaim as did its 2008 sequel The Dark Knight that is currently the third highest grossing film in the U.S. While 2006’s The Prestige was a break from the franchise that also maintained Nolan’s viability and anticipation running high for the third Batman film. Nolan returns to more original material with a film about mind extractions and other strange occurrences with Inception.

Written and directed by Christopher Nolan, Inception tells the story of a man who steals ideas from a company by extracting into their mind. In his job, he is also trying to deal with the death of his wife while hoping to do one last job before returning to his family. During this job, he encounters trouble as he tries to escape from his own guilt and everything else. A psychological drama of sorts mixed in with elements of heist films, Nolan crafts a film with a lot of ambition filled with dazzling visual effects and a complex story line that recalls some of his early films. Starring Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Tom Berenger, and Pete Postlethwaithe. The film also stars such Nolan regulars as Ken Watanabe, Cillian Murphy, and Michael Caine. Inception is a remarkable, visually-stunning film from Christopher Nolan and company.

Dom Cobb (Leonardo DiCaprio) is at a party for a Japanese businessman to talk about his job which is to extract ideas from other people’s minds. Joining Dom is his right-hand man and researcher Arthur (Joseph Gordon-Levitt). At the party, Dom sees his wife Mal (Marion Cotillard) where things go wrong. All of a sudden, Dom and Arthur have woken up in the middle of another world with Saito and an architect named Nash (Lukas Haas). When it is revealed that Saito really has nothing to be extracted from, it is clear that Saito used Dom and Arthur as an audition for what he really seeks. He wants to inject an idea into the mind of a corporate rival which is known as inception as he offers Dom something he couldn’t refuse.

The offer was for Dom to finally return to America if he takes the job. Dom’s inability to return to the U.S. to return to his kids was due to the death of his wife whom he’s been seeing frequently in his own dreams. Seeking guidance from his father-in-law and mentor Miles (Michael Caine), Miles gives Dom a new architect to work with in a young student named Ariadne (Ellen Page) who becomes part of his new team. Learning about how to construct dreams, Ariadne enters into a new world as she is joined by a forger named Eames who takes on various disguises and a chemist named Yusuf (Dileep Rao) who has created a powerful sedative for deep dream sleep. Saito joins the team as Arthur finds the target in Robert Fischer (Cillian Murphy), the son of Saito’s corporate rival Maurice Fischer (Pete Postlethwaithe), who is currently dying.

During the planning, Ariadne learns of Dom’s troubles as she would often see Mal or something from Dom’s memories into his subconscious as he could be a liability to the upcoming mission. Realizing that Ariadne is the one who knows what might’ve happened, Dom realizes that he needs her to keep him on check. With the entire team including Saito boarding a 747 plane with Robert Fischer on board, Fischer gets drugged as the whole team goes into his subconscious. Upon their arrival into Fischer’s subconscious, trouble ensues as they realize that Fischer has put some defenses. After kidnapping Fischer in his own subconscious, Eames disguises himself as Fischer’s godfather Peter Browning (Tom Berenger) to get some information.

Instead, it becomes more troubling as Fischer and the team have to go into another subconscious with Yusuf keeping an eye out for trouble. Inside becomes more complicated as Dom and everyone goes into levels of subconscious minds to get what’s inside the safe of the Fischer family. Yet, Dom becomes more troubled by his own past and the presence of Mal as he confesses his own guilt as he realize what he must do.

For a film as ambitious and complex as Inception is, what is more surprising is how simple the plot of the film. It’s about a man doing one more heist job by going into someone’s mind so he can go home. While that plotline seems simple, nothing in the mind of Christopher Nolan is simple as he fleshes out ideas that are truly complex and layered. Notably for the fact that he takes the audience into a journey that revolves around a man’s guilt as well as his attempts to break into people’s minds.

While the screenplay and concepts recall some of the work of Charlie Kaufman, Nolan creates a story where he distorts the idea of where people are at.  The film starts with a sequence of Cobb arriving into the home of an old man which would be revisited towards the end. Yet, it cuts to a scene of Cobb at a party with Arthur and Saito where the audience thinks its real. Then comes the realization that they’re all in someone’s subconscious and then what is going on now is someone else’s subconscious. While at first, what happens is hard to follow. Nolan is just giving the audience an idea of what is real and what is fiction. Immediately, the audience gets a chance to figure things and there’s a character that sort of becomes their guide in the form of Ariadne, the new member of Cobb’s team.

Ariadne is one of several supporting characters that does get a chance to stand out as she doesn’t just serve as a Greek chorus in a way for the audience. She is also the one person who goes deeper into Cobb’s mind and tries to help him deal with it. While another supporting character in Arthur does have an idea about Cobb’s state of mind, he only backs away just so he can do his job. Arthur, like Cobb, does become a mentor for Ariadne so she can be guided into what subconscious she’s in. Others like Saito, Fischer, Yusuf, and Eames don’t get as much development yet they’re characters that audiences do get to care about and get to know them a bit. Yet, it’s Cobb that is the man that drives the film as he is dealing with his own guilt over his wife’s death as well as his reasons to want to go home. When the audience is introduced to Mal, we see a woman who seems angry yet there’s a reason for her anger that is rooted in what Cobb might’ve done to her.

If Nolan’s creation of characters, environments, and how they interact to the different subconscious worlds they’re in. It’s Nolan’s direction that really takes the story to a level that is truly stunning. When the film is shown, it’s clear that Nolan uses his ambition to tell a story that is truly mesmerizing. In creating cities and places where things can fold on top of another or action sequences that involves a fight where the hallway is spinning around. Nolan is going for tricks where he doesn’t have to use CGI entirely by getting sets built and actually make sure it doesn’t look it’s being made by computers.

Nolan still utilizes certain framing styles and compositions along with close-ups and zooming shots to make audiences know that they’re watching a Christopher Nolan film. Still, it’s clear that the film the audience is watching is by a director who is refining his craft while learning new tricks to create something that is fascinating and jaw-dropping. Even in the visual-effects driven sequences about the recreation of cities where there’s a scene where a city folds on top of itself that looks truly amazing. Even as he uses visual effects for more than just spectacle but use it as a form of storytelling. What Nolan does overall with the film whether its creating high-octane action sequences reminiscent of chase movies or even James Bond-inspired action sequences. Even if it’s just a simple scene where they set up the heist. This film proves that Nolan is clearly at the top of his game as he is becoming one of the best filmmakers working today.

Nolan’s longtime cinematographer Wally Pfister does spectacular work with the film’s lighting design and visual look. Pfister’s photography is stunning in its wide scope along with dark shades for interior and exterior scenes to create a chilling mood. For the first inception subconscious sequence in the rain, the look of the film is dark but also pristine but without any kind of polish. It’s truly some of the best photography captured on film as Pfister is definitely becoming one of the best cinematographers in the business.

Another noted Nolan collaborator in Lee Smith does some fantastic work with the film’s editing. Taking on a mostly, leisurely pace for a majority of the film so it can move quite seamlessly without anything moving very fast or going too slow. Smith pretty much slow things down once the action sequences are done so audiences can have a breather. There’s even dramatic scenes where the cutting is fast but only to intensify what is happening in the heist while the action is fast but not hyperactive so the audience can have an idea of what is happening. The work that Smith puts into the editing is masterful and an example of how it should be done.

Production designer Guy Hendrix Dyas, along with set decorators Larry Dias and Doug Mowat plus supervising art director Brad Ricker, does amazing work with set design for the film. While some of the film is shot on location in Tokyo, Paris, Los Angeles, Tangiers, parts of England, and in Canada. Many of the interiors for some of the subconscious scenes, including the zero-gravity sequence, were built with a look that is polished but not in a bloated manner. The designs of the buildings and for Saito’s Japanese style home is superb as the art direction is truly stunning.

Costume designer Jeffrey Kurland does some excellent work with the look of the costumes that complement the visual look of the art direction. While a lot of the clothes is mostly casual in several scenes. Some of the scenes have the characters were suits or evening gowns to convey the sense of atmosphere in the subconscious the characters are in. Visual effects supervisor Paul J. Franklin is phenomenal in the use of CGI that doesn‘t look fake. For several of the subconscious-driven sequences, notably the folding building scene. Franklin, along with his team, succeed in not going overboard in visual effects as it’s an example of how it should be done.

Sound designer Richard King does amazing work in the film‘s sound editing and design to create broad layers for the locations the characters are in. Notably the action scenes that are layered with sounds of heavy rain, tire squeals, gunshots, and trains railing on the ground as the layering is phenomenal. King’s work is definitely another of the film’s technical highlights. The film’s music by Hans Zimmer is a haunting yet eerie score piece that is filled with broad orchestral arrangements mixed in with down-tempo yet smooth electronic textures. Adding flourish to the sound on guitar is legendary guitarist for the Smiths in Johnny Marr. The guitar textures Marr brings to Zimmer’s score is incredible while the rest of the soundtrack includes the drone-based score music of Zack Hemsey and the Edith Piaf song Non, Je Ne Regrette Rien that’s played throughout the film.

The casting by John Papsidera is definitely spellbinding as it‘s definitely one of the best ensemble cast team ever assembled. Small roles from Claire & Taylor Geare as different ages of Dom’s daughter Phillipa and Magnus Nolan & Taylor Geare as his son James are excellent for their small, face-less appearances. Others include Talulah Riley as a blonde in a subconscious fantasy scene and Tai-Li Lee as a man who helps people sleep longer in a brothel of sorts. Notable small but memorable appearances include Lukas Haas as Nash, an architect in an early sequence while Michael Caine makes a cameo appearance of sorts as Dom’s father-in-law/mentor who gives him advice about what to do. Tom Berenger is very good as Fischer’s godfather who tries to go into the secret code of Fischer’s vault while Pete Postlethwaithe is also good as Fischer’s hardened father whom Fischer has a strained relationship with.

Dileep Rao is excellent as Yusuf, a chemist who helps Dom and the team in their mission by creating a sedative for long sleeps while they’re on the job as he also gets in the action for a brilliant car chase scene. Tom Hardy, of Bronson fame, is great as Eames. A humorous forger who takes on various disguises while being the guy who goes into the action and be the shooter as Hardy’s performance is a real standout. Cillian Murphy is wonderful as Robert Fischer, the target of the inception who wonders what’s going on as he ends up becoming part of team despite his reluctance. Ken Watanabe is brilliant as Saito, the businessman who hires Dom for the inception as he also takes part in the action not knowing about the stakes of what has to be done.

Marion Cotilliard is phenomenal as Mal, Dom’s deceased wife who appears in Dom’s subconscious and others who seems to have a vendetta over the idea that Dom has abandoned her.  Cotillard’s performance is definitely complex as a woman who has no idea what happened to her but is determined to get into Dom’s head. Joseph Gordon-Levitt is great as Arthur, Don’s right-hand man and researcher who helps organize the job while taking in part of the action. Gordon-Levitt proves to be able to stand with the likes of DiCaprio while getting involved in one of the film’s best action sequences as it’s another solid performance from the young actor. Ellen Page delivers what is probably her best performance to date as Ariadne, the new architect for the team. While not displaying the wit she had in Juno a few years ago, it’s definitely a more mature performance as she plays the observer and conscious of sorts. Even as she plays DiCaprio’s anchor where she shows her true dramatic talents in working with DiCaprio as it’s definitely a winning supporting turn.

Finally, there’s Leonardo DiCaprio in what is definitely one of his greatest performances to date. In the role of Dom Cobb, DiCaprio brings a tour-de-force performance as man struggling to get home while dealing with the death of his wife. There’s a sense of restraint and anguish to his performance while maintaining a sense of professionalism when he’s on the job. DiCaprio definitely shows his presence in doing physical stunts and such while he has a great camaraderie with the entire cast. It’s clear how far DiCaprio has grown as an actor since the days of Leo-mania when Titanic was the highest-grossing film of all-time back in 1997. His role as Dom Cobb proves that Leonardo DiCaprio is becoming one of the best actors working today.

Inception is a marvelous yet jaw-dropping film from Christopher Nolan and company. Featuring amazing technical work and a solid ensemble cast led by Leonardo DiCaprio, it’s a film that definitely that challenges the audience of what can be done with a blockbuster. Particularly in an era where 3D and low-concept films with silly gimmicks are expected to bring asses in the seats. Fortunately, Nolan nor his cohorts believe in that as Inception is a film that is smart enough for audiences of moderate taste that they can follow. In the end, Inception is a remarkable film that shows that ambition doesn’t have to be presented with loads of CGI and gimmicks. All that is needed is a story and a vision that is unique as it comes from the spectacular mind of Christopher Nolan.

Christopher Nolan Films: Following - Memento - Insomnia (2002 film) - Batman Begins - The Prestige - The Dark Knight - The Dark Knight Rises - Interstellar - Dunkirk - Tenet - Oppenheimer - The Auteurs #13: Christopher Nolan

© thevoid99 2010

Update: 7/20/10

Due to some situations relating to Epinions.com, which has become an un-enjoyable to work at.

I will finally be posting some new reviews here just for the time being.  There will finally be some reviews though not frequently for now.

New Restructuring

Since I am now currently on hiatus from various projects and from Epinions.com due to personal matters. Whatever new writing material that has been completed will be released here for the time being. For now, this blog is on hiatus for the time being.

EXCLUSIVE: Yeah Yeah Yeahs-It's Blitz! Review

When the Yeah Yeah Yeahs released their debut album Fever to Tell in 2003 following two acclaimed EPs. They were one of the hot new bands from the New York City garage scene that also included the Strokes. Though they were signed to a label with affiliations with the major label Interscope, the Yeah Yeah Yeahs were still considered indie by critics and their growing legion of fans. An unexpected hit in the song Maps gave them some mainstream attention as they were set to work on their second album. Vocalist Karen O was already going through high profile relationships with the Liars frontman Angus Andrew and film director Spike Jones.

Working with Jones’ brother Sam Spiegel for the Show Your Bones album, the band wanted to reinvent themselves musically as they leaned towards more acoustic instruments, broader arrangements, and diverse styles. The resulting album received some acclaim from fans and critics but some felt the album lacked the primal intensity of Fever to Tell as well as its cohesiveness. It was around the time that tension within the band was becoming troubling as Karen O, guitarist/multi-instrumentalist Nick Zinner, and drummer Brian Chase were dealing with fame and personal turmoil. 2007's Is Is EP featured re-recorded songs written from the Fever to Tell tour was produced by Nick Luanay. The famed producer who worked with acts like Nick Cave & the Bad Seeds, Public Image Ltd., and the Slits.

The record brought new inspiration from the band as they took a break to do side projects. In 2008, the band decided to return to the studio to work with Nick Luanay and their Fever to Tell producer David Andrew Sitek of TV on the Radio, who did additional production on Show Your Bones. For the next record, the Yeah Yeah Yeahs decided to reinvent themselves once again by trading guitars for synthesizers for some tracks. At the same time, the band explore the dance-punk sub-genre as well as more elements of post-punk for what is probably the band’s best work to date entitled It’s Blitz!

Written & performed by the Yeah Yeah Yeahs with production by Nick Luanay and David Andrew Sitek, It’s Blitz! is an album filled with hypnotic, synthesizer-driven dance-punk songs, haunting ballads, and genre-bending cuts. With Karen O’s vocals more confident and engaging than in previous albums without the screeches of early albums. The musicianship of Nick Zinner on guitars, bass, keyboards, and synthesizers and Brian Chase on drums and other percussive-driven instruments reaches new heights in its performance and precision. The album features guest appearances from Sitek’s TV on the Radio cohorts Tunde Adebimpe and Kyp Malone, the Birds and the Bees instrumentalist Greg Kurstin, Yeah Yeah Yeahs touring bassist Imaad Wasif, and from the Antibalas Afrobeat Orchestra, trumpet player Eric Biondo and saxophonist Stuart Bogie. The result isn’t just a new defining step for the Yeah Yeah Yeahs but also one of 2009's most surprising albums.

The album opens with its leading single Zero, a song that opens with a shimmering, menacing synthesizer line with Karen O’s sensual vocal lead the way. With Brian Chase’s thumping, throbbing beats and hi-hat cymbal crashes, the song becomes this full-on, dance-punk song with a wailing synthesizer accompaniment as Karen sings lyrics of loneliness meshed with her high-octane vocals. The track features wonderful arrangements by Nick Zinner on a guitar and synthesizer that includes a melodic, buzz-laden synthesizer solo. Heads Will Roll is an upbeat, electro-punk track with Chase’s throbbing, rhythmic drum beats, Zinner’s hypnotic synthesizer layers with swift, arpeggio guitar melodies in the background. Yet, it’s Karen’s vocals that is filled with wailing, energetic cries and a soft, silky range that is filled with partying lyrics for a song that is truly a dance number with a unique punk energy. Soft Shock is a mid-tempo number with melodic synthesizer tracks and smooth, thumping rhythms from Brian Chase’s drums. With a flute-like synthesizer solo in the background that sounds like a guitar, Karen’s vocals are smooth and calm as she sings imagery-laden lyrics filled with wonderful description along with Zinner’s swirling, melodic guitar accompaniment.

The ballad Skeletons is one of the album’s chilling highlights with its ambient-like synthesizer shimmers and wailing accompaniment as Karen’s somber yet seductive vocals being the major highlight of the song. Filled with melancholic lyrics, it’s a ballad that is earnest in its melancholia with Brian Chase bringing in soft yet powerful tom-tom beats and tapping sticks along with Zinner’s wailing, woodwind-like synthesizer solo that recalls the early synthesizer experiments of late 70s era David Bowie. Dull Life starts off as a haunting, melodic ballad led by Zinner’s guitar and Karen’s haunting vocals filled with dark lyrics as it becomes a more intense, mid-tempo track with thumping beats. With its swift, energetic performance of rollicking drums and driving guitars, it’s the band getting back to their old sound but in a refined fashion due to the crisp, layered production of Nick Luanay and David Andrew Sitek.

Shame And Fortune is a mid-tempo song with fuzzy bass lines and Chase’s shimmering, hi-hat beat accompaniment. With Chase’s pounding drums and Zinner’s bass-driven presentation driving the song, it’s Karen’s sinister, wailing vocals filled with angry lyrics that reveal the band being confrontational but without any of their old fury. Instead, Zinner’s screeching guitar solo and simple rhythms show a new side to the band without going into their old punk energy. Runaway is a piano-ballad of sorts featuring Greg Kurtsin playing a haunting piano accompaniment with Karen’s soothing vocals filled with evocative notes in her vocals. With a momentum-building arrangement from Zinner’s sliding, ethereal guitar, a cello performance from Jane Scarpantoni, and Chase bringing in a thumping drum track. It’s a new sound to the band that has them getting into darker territory with its somber lyrics and broad presentation that is fierce but also seductive.

Dragon Queen is a mid-tempo, funky track that features TV on the Radio vocalist Tunde Adebimpe on backing vocals and guitarist/vocalist Kyp Malone an accompanying tambourine. With Zinner’s melodic, swanky guitar and swirling synthesizer accompaniment with throbbing beats from Chase as Karen and Tunde Adebimpe sings the song’s verse. With its colorful, abstract lyrics, it features funky guitar breaks in the chorus with Karen’s lush, evocative vocals leading the way. Hysteric is another mid-tempo track that features thumping beats, vibrato guitar riffs, and melodic synthesizer notes as Karen sings in a cool, ethereal vocal. For its soothing chorus with a lush synthesizer accompaniment, Karen’s vocals take on a new world with her dreamy lyrics as she’s later accompanied by saxophonist Stuart Bogie and trumpeter Eric Biondo in the second half of the song as it’s one of the album’s great cuts. The album closer is the somber, acoustic-ballad Little Shadow that features Karen’s soft, dreamy vocals filled with melancholic lyrics. With the band’s auxiliary musician Imaad Wasif playing a melodic acoustic guitar track, it’s Chase’s slow, vibrant tom-tom drums that creates a building momentum. Then the track becomes bigger with Zinner’s ambient-like synthesizer swirls and dreamy guitar as it accompanies Karen’s somber vocals to its evocative ending.

What makes It’s Blitz! superior than its predecessors is its consistency, flow, and the production of Nick Luanay and David Andrew Sitek. Whereas Show Your Bones had a sluggish flow and production that was too sparse despite an array of great songs. It’s Blitz! is a record that has the band taking on someone as experienced like Nick Luanay along with longtime cohort David Andrew Sitek to shape their album. Along with dabbling their experiment into more synthesizer-driven sounds and re-shaping their art-punk sound. It’s Luanay’s experience in working on various different musical styles and Sitek’s experimentalism that actually gives the album a balance previous albums didn’t have. The result is something that’s more fluid and songs that range from dance-punk, arty ballads, and hybrid songs that often range from bands like the Smiths to the Cure.

At the same time, there’s a renewed sense of confidence in the band in their performance as Brian Chase’s drums delve into more rhythms as he plays with a precision and energy that wasn’t really heard in Show Your Bones. Nick Zinner proves to be the band’s key musician as he’s really the drive to what makes this album unique whether he’s playing guitar or synthesizers while making the instruments sound each other. Then there’s Karen O as the screeching, grunts, and yelps of her vocals in previous album have changed for something more sensual, lush, and evocative as she truly is the heart of the album. Yet, it’s a Yeah Yeah Yeahs record at the fullest form as all three create something that really shows a unique progression that is surely going to make them a band to watch in the years to come.

It’s Blitz! is far and beyond a masterpiece from the Yeah Yeah Yeahs that goes all over the place and doesn’t lose sight of what it achieves. Fans of the band will be surprised by what the album sounds like in its different styles yet be amazed they haven’t lost their energy or eclectic sound. It’s a record that is filled with dance tunes, funk songs, ballads, and romps that all fit in at the right place at the right time. Thanks in part to the superb production of Nick Luanay and David Andrew Sitek, it’s a record that is enjoyable in every note and sound as it makes it enjoyable and fresh with repeated hearings. In the end, It’s Blitz! is an album that proclaims that the Yeah Yeah Yeahs are fulfilling their potential and more.

YYYs Reviews:

Yeah Yeah Yeahs EP: http://www.epinions.com/content_108272455300

Machine: http://www.epinions.com/content_109033066116

Fever to Tell: http://www.epinions.com/content_98296761988

Maps: http://www.epinions.com/content_462539165316

Gold Lion: http://www.epinions.com/content_224252300932

Show Your Bones: http://www.epinions.com/content_462706347652

Is Is EP: http://www.epinions.com/content_400106425988

Atlanta, GA-Echo Lounge 11/10/03: http://www.epinions.com/content_3594690692

Atlanta, GA-The Tabernacle 10/14/06: http://www.epinions.com/content_4873101444