Directed by Terry Zwigoff, Crumb is a documentary film about the life and career of underground cartoonist Robert Crumb and his eccentric lifestyle. The film explores not just his unique work in the world of art and comics but also into his family life that include relatives who are quite eccentric in their own right. All of which play into the world of a man who is considered too strange or too provocative for the world of mainstream and high-art. The result is a strange yet exhilarating portrait of one of the greatest artists to emerge in the late 20th Century.
Among one of the key figures of the American underground comic scene of the 1960s, Robert Crumb is an artist that is known for drawing all sorts of crazy things that were controversial, odd, and provocative but were also lauded by many. While he is famous for work such as the album cover Cheap Thrills for Big Brother and the Holding Company that featured Janis Joplin, the Keep on Truckin’ comics, and the original Fritz the Cat comics. He also creates work for a series of comics that expresses his own views on the world as well as society, sexuality, and other things that are considered controversial or enticing from an artistic point of view. Yet, the film isn’t just about who he is as an artist but also the man himself as it was largely shot in the early 1990s in the span of a few years where director Terry Zwigoff doesn’t just talk to Crumb but also family including his wife Aline Kominsky-Crumb, their daughter Sophie, his son Jesse from his first marriage to Dana who is also interviewed, his mother Beatrice, and two of his brothers in Charles and Maxon.
The look into Crumb’s family including his brothers in Charles and Maxon as they’re both artists as well showcases a family that is talented but also share that sense of disdain towards modern society as the former lives as a total recluse who would sadly commit suicide a year after filming was finished. The Crumb family also display some unique eccentricities as it relates to their mother but also revel into their father who was a straight-laced man that fought in World War II as he had very little understanding of his sons’ artistic pursuits. The film also feature interviews with several of Crumb’s colleagues including a few ex-girlfriends like Kathy Goodell who all talk about his work. Even some of the most controversial works where it play into African-Americans deviating themselves into stereotypes as well as his own sexual obsessions with women where it is clear that he is perverse in a lot of ways but it is done in a very innocent and fun manner.
Much of Zwigoff’s direction is intimate as well as playful as he uses a lot of close-ups and medium shots with the aid of cinematographer Maryse Alberti to capture these moments as it shot with some grainy film stock that makes it look and feel real. Especially in the scenes where Robert and Charles are talking while their mother is heard screaming in the background asking about what is going on. It’s among these aspects in the film that are quite funny but there are also these moments in the film that are quite somber as it relates to Crumb and his sort of disconnect with modern society where it is really about the fact that he can’t really understand it. He is baffled by people wearing t-shirts that features the name of its creator on it which does play into that sense of disdain for the modern world. Even as the film reveals early on where he and Aline are in the midst of leaving the U.S. to live in the South of France for good with their daughter Sophie and Jesse joining them for frequent visits.
With the aid of editor Victor Livingston, Zwigoff captures some rare home footage, picture, and a collection of Crumb’s work in comics and art as it showcases the diversity of what he does. Along with the sound work of Scott Breindel, with additional re-recording mixing by Walter Murch, to capture the atmosphere of the locations and parties plus scenes of Crumb playing music on a piano or through his massive record collection filled with a lot of ragtime, jazz, and traditional music. The film’s music by David Boeddinghaus is mainly an adaptation of some of those pieces along with some original music that was created in that style as it plays into Crumb’s own love for that music.
Crumb is a remarkable film from Terry Zwigoff about the famed artist. It’s a film that isn’t just a fascinating documentary that explores the life of an artist in his work and in his personal life. It’s also a film that is unflinching in its honesty as it showcases someone who isn’t going to conform to any style nor is he willing to play by the rules and please everyone. In the end, Crumb is a spectacular film from Terry Zwigoff.
Terry Zwigoff Films: Louie Bluie - Ghost World - Bad Santa - Art School Confidential - The Auteurs #53: Terry Zwigoff
© thevoid99 2016
Directed by Chantal Akerman, Hotel Monterey is a documentary film of sorts that has Akerman taking a look at the famed Hotel Monterey in New York City. The film is a mixture of documentary and experimental filmmaking that explores the many rooms, lobbies, and such inside this cheap yet intoxicating hotel. The result is a fascinating yet rapturous film from Chantal Akerman.
Set in a section of New York City that is near the river and at this hotel (that is now a Days Inn), the film is about the look of a hotel and its many occupants, rooms, corridors, and other aspects in the hotel. Shot with no sound, the film is largely a silent documentary where it spends a few minutes gazing into its lobby and then spend some time inside the elevator. For much of the film, the camera rarely moves where Chantal Akerman takes great time to create simple shots from the way she positions the camera inside the hotel’s corridors or in a wide shot of the rooms from inside that include a few of its occupants. It’s a film that showcases something that could be very ordinary in any manner but has something that is very extraordinary.
With the aid of cinematographer Babbette Mangolte, Akerman maintains something that is naturalistic in its imagery while shooting the film on a grainy film stock to make it feel real with whatever kind of lighting that was available. The film is broken down into sections where editor Genevieve Luciano would provide a few abrupt jump-cuts for each of these transitions including some key moments where Akerman would put the camera on a wide shot for six minutes in a corridor while an elevator would open in real time. Then it would cut to a close-up of the elevator buttons where it adds something that is unique. The scenes of the corridor where the camera would finally move as it goes into a tracking shot towards a window display what they would look like in day and night. What Akerman would do is create something where it is about simplicity but also showcase that there is magic to something that can be seen as ordinary by many.
Hotel Monterey is a phenomenal film from Chantal Akerman. It’s a film that showcases life in a cheap, remote New York City hotel from the view of a foreigner where it is quite daring but also engaging for the way it is told with such simplicity. Especially as it takes a look into this obscure and remote hotel in a city that was quite adventurous back then. In the end, Hotel Monterey is an exquisite film from Chantal Akerman.
Chantal Akerman Films: La Chambre - Je Tu Il Elle - Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles - News from Home - Les Rendez-vous d’Anna - (American Stories, Food, Family and Philosophy) - (Night and Day (1991 film)) - (A Couch in New York) - (La Captive) - (Tomorrow We Move) - (Almayer’s Folly) - (No Home Movie)
© thevoid99 2016
One of the more recent filmmakers in the past decade to make a name for himself, Steve McQueen is a figure that captures some of the dark aspects of humanity and the struggle from within. Though he didn’t start out in the world of film but rather in the world of art, McQueen would find ways to use the medium film as an artistic tool where he has already amassed a trio of celebrated works. Despite only making three feature films so far in his career, McQueen is already becoming a fascinating figure in the world of film and art though refusing to define himself in both worlds.
Born in London England in October 9, 1969, Steven Rodney McQueen was raised into a family of Grenadian and Trinidadian where he was born in the Hanwell section of West London. While he would endure dyslexia and lazy eye in his childhood as well as racism during his years at Drayton Manor High School, it was through the world of art as he would eventually go to Ealing, Hammersmith and West London College for a period and then furthered his studies at Chelsea College of Arts and at Goldsmith College. It was during a later tenure at the University of London where McQueen became interested in the world of film as he was invited to attend the Tisch School of the Arts in New York City. Yet, his experience at Tisch was disappointing where he returned to Britain where he would learn about filmmaking by himself as well as through the world of art.
More can be read here at Cinema Axis.
© thevoid99 2016
Directed by Chantal Akerman, La Chambre is an 11-minute short film set entirely in an apartment in New York City. The first of a trilogy of films set in New York City, the short is a look into the life of an apartment from the view of a woman visiting the city. The result is a simple yet fascinating short from Chantal Akerman.
The film is simply a look into a New York City apartment where Chantal Akerman is living in as the camera pans on a tripod looking into everything that is at the apartment. The camera would gaze slowly into many ordinary objects that play into the look of this apartment while Akerman is seen on her bed lying on it and later peeling an orange to eat. The fact that it is told in that kind of presentation just adds a lot to the film where it proves that simplicity can be the key to tell a story. With the aid of cinematographer Babbette Mangoite in shooting the film, it has a sort of grainy yet realistic look to it that is very beautiful to look at. Though it does seem like it was shot entirely on one take thanks to some invisible cutting by editor Genevieve Luciano who would help provide that air of illusion into the presentation of the film.
La Chambre is an extraordinary short film from Chantal Akerman. It’s a simple little short film that explores so much by doing so little as it displays Akerman’s gift as an artist. In the end, La Chambre is an enchanting film from Chantal Akerman.
Chantal Akerman Films: Hotel Monterey - Je Tu Il Elle - Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles - News from Home - Les Rendez-vous d’Anna - (American Stories, Food, Family and Philosophy) - (Night and Day (1991 film)) - (A Couch in New York) - (La Captive) - (Tomorrow We Move) - (Almayer’s Folly) - (No Home Movie)
© thevoid99 2016
Written and directed by Ingmar Bergman, En lektion i Karlek (A Lesson in Love) is the story of about a gynecologist’s marriage that falls apart after having an affair with a patient where the two meet on a train looking back on their marriage and see if there‘s a chance of reconciliation. The film is a comedy of sorts that explores the world of marriage and some of its pratfalls where a man and wife not only grow apart but also ponder if there is a future for them. Starring Eva Dahlbeck, Gunnar Bjornstrand, Yvonne Lombard, Harriet Andersson, and Ake Gronberg. En lektion i Karlek is a witty yet compelling film from Ingmar Bergman.
Set largely on a train ride from Stockholm to Copenhagen, the film revolves around a married couple whose marriage is on the rocks following a gynecologist’s affair with a patient where they suddenly find themselves riding on the same train and sharing the same compartment. There, the two pretend at first not to know each other in front of another passenger but then deal with everything that had gone wrong as well as looking back into what made them fall in love in the first place. It’s a film with an interesting premise told in a back-and-forth narrative from past and present by Ingmar Bergman. The script doesn’t just play into the marriage of the gynecologist David Erneman (Gunnar Bjornstrand) and wife Marianne (Eva Dahlbeck) but also into the events during their separation and the fact that they were friends when Marianne was supposed to marry a friend in Adam-Carl (Ake Groneberg) whom Marianne was going to meet in Copenhagen to David’s own annoyance.
Bergman’s direction does have elements of style in terms of what he is doing to tell the story in its approach to humor. Yet, it is mostly straightforward in terms of the compositions he creates in its usage of close-ups and medium shots for that sense of intimacy in the train. While there are a few wide shots in a few flashback scenes set in the Swedish countryside and port cities as well as a climatic scene at a dancehall. Bergman’s approach to the humor is quite playful as well as displaying a sense of charm in a scene where David makes a bet with a passenger that he could kiss Marianne before the next stop. The scenes outside of the train also display a sense of risqué sexuality as it adds to the sense of temptation that looms over David but also the sense of jealousy of Marianne while the flashback sequence on the moment David and Marianne fell in love is another moment that is quite intense. All of which plays into this climax at a dancehall in Copenhagen as it relates to the idea that maybe David and Marianne aren’t finished as a couple. Overall, Bergman creates a riveting yet entertaining film about a couple pondering if there’s still some life in them left.
Cinematographer Martin Bodin does excellent work with the film‘s black-and-white photography from the look of the interiors inside the train compartment as well as some of the naturalistic look of some of the exteriors near the sea and countryside that display the beauty of the family life that David and Marianne has. Editor Oscar Rosander does nice work with the editing as it is largely straightforward with a few fade-outs to help structuralize the film as well as some rhythmic cuts for the film‘s humorous moments. Production designer P.A. Lundgren does fantastic work with the look of the train compartment, David’s office, and the dancehall in Copenhagen. The sound work of Sven Hansen is terrific for its sound as it captures the sound of the train that is heard from the inside as well as the raucous moment at the dancehall. The film’s music by Dag Wiren is wonderful for its orchestral-based score that ranges from being playful in some scenes as well as some somber moments while the rest of the music range from folk to the music that people dance to in those times.
The film’s amazing cast features some notable small roles from Sigge Furst as a vicar during a wedding dinner for Adam-Carl and Marianne in a flashback scene, Dagmar Ebbesen as David’s nurse in his gynecologist office, Birgitte Reimer as an acquaintance of Adam-Carl who flirts with David, Renee Bjorling and Olof Winnerstrand as elderly relatives of David in a flashback, and John Elfstrom as David’s friend Sam who is also seen in the flashbacks as a friend of the family. Yvonne Lombard is wonderful as David’s young mistress Susanne as this young woman who would charm and seduce him as she later ponders if David will ever get serious with her. Harriet Andersson is fantastic as David and Marianne’s tomboy daughter Nix as this young woman coping with her sexuality and identity while feeling like she doesn’t belong anywhere in the world.
Ake Gronberg is excellent as Carl-Adam as this boorish and lively man who was a former flame of Marianne as well as an old friend of David until he comes back to Marianne during the split where David realizes that he hasn’t changed very much. Gunnar Bjornstrand is brilliant as David Erneman as this gynecologist who copes with the drawbacks of his affair with Susanne while thinking his marriage is over until he meets Marianne on the train as it’s a performance with some humor and restrained drama. Finally, there’s Eva Dahlbeck in a radiant performance as Marianne Erneman as a woman who is hurt by her husband’s affair where she boards a train to meet her old lover Carl-Adam where she brings a lot of energy to her performance including in a key flashback scene where she reveals why she is in love with David and not Carl-Adam.
En lektion i Karlek is a marvelous film from Ingmar Bergman. Featuring a great cast and a captivating premise that is told with such humor and heart, it’s a film that explores the many ideas of marriage while being very risqué in the idea of infidelity. In the end, En lektion i Karlek is an incredible film from Ingmar Bergman.
Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - Dreams - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband
© thevoid99 2016
Directed by Chad Stahelski and David Leitch and written by Derek Kolstad, John Wick is the story of a former hitman who goes on a journey of vengeance following an attack of his home which led to the death of his puppy given to him by his late wife. The film is a simple tale of vengeance that plays into a man who was just trying to get his life back on track only to go all-out on those that made him mad as Keanu Reeves play the titular role. Also starring Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, John Leguizamo, Ian McShane, Dean Winters, and Willem Dafoe. John Wick is a thrilling and mesmerizing film from Chad Stahelski and David Leitch.
What happens when a former hitman consumed with grief over the loss of wife and then has his dog killed by a mob boss’ son who would also steal his 1969 Ford Mustang? Well, if that man is John Wick. It will take an army to stop a monster that just woke up and is in the kind of pain that no one wants to endure. While it is a simple revenge film of sorts, it’s really about a man that is coping with loss as he had spent years trying to clean up his life and not kill for anyone in the world of crime. The loss of his wife would have a major impact on him as the final gift she gave him was a puppy as it was that glimpse of hope that he wouldn’t have to grieve alone. Instead, the son of a mob boss he used to work for would fuck things up not just for himself but his father who realizes that he’s absolutely fucked.
Derek Kolstad’s script doesn’t just explore a man’s grief as he goes into a quest for vengeance but also a look into a past he had tried to walk away from as it’s one that is cold and violent but has changed into something that is more civil but with those who lack ethics. Wick is a man of the old school as his old boss Viggo Tarasov (Michael Nyqvist) describes him as someone that kills the Boogeyman. In some ways, Wick is a monster that had been tamed into a human being through his wife where he didn’t have to think about killing or be part of a crime world. Due to the actions of Viggo’s son Iosev (Alfie Allen), Wick is forced to go back into the world he wanted to leave where he is aware that there’s a bounty on his head but he is carrying a lot of pain in him as it makes him unstoppable. Wounding him just slows him down as he’s focused on vengeance as Kolstad’s script is aware of the rules but also into the fact that some just don’t grief is something not easily curable.
The film’s direction by Chad Stahelski and David Leitch is quite stylish in a lot of respects where much of the visuals and compositions definitely owe a lot to film noir. Shot largely on location in New York City and New Jersey, the film does take its time to flesh things out where it does open with a wounded Wick crashing a SUV as he struggles to get help while he looks into his phone that contains a video of his late wife. It establishes what kind of man he is as well as the fact that for all of his actions as a hitman and doing all sorts of things. There is good in him and losing the one person that humanized him is hurtful where the direction knows where to place the camera and not go for anything conventional in terms of the compositions such as how the camera is lined-up against the actor in a frame. The usage of wide and medium shots don’t just help capture the atmosphere of some of the locations including a few clubs and places that Viggo runs but also in the usage of close-ups where some of the dramatic tension occurs that include a meeting between Wick and Viggo. The film’s climax is quite elaborate as it isn’t just a thirst of vengeance but also a showdown in the old ways where the usage of wide shots and close-ups really come into play. Overall, Stahelski and Letich creates an exhilarating and gripping film about a former hitman on a quest for vengeance.
Cinematographer Jonathan Sela does excellent work with the film‘s stylish cinematography with its usage of lights for many of the interior settings at night including the clubs as well as some of the warehouses in the way it uses filters to set a mood. Editor Elisabet Ronalds does nice work with the editing with its usage of montages but also in creating a sense of tension in the way the suspense is built along with dazzling fast-cuts to play into the intensity of the action. Production designer Dan Leigh, with set decorator Susan Bode and art director C.J. Simpson, does fantastic work with the look of the nightclub that Viggo owns as well as the other places as well along with the look of Wick‘s home. Costume designer Luca Mosca does wonderful work with the costumes from the suits the men wear to the look of a female assassin Wick doesn’t like.
Visual effects supervisor Jake Braver does terrific work with some of the visual effects where it has elements of set-dressing as well as moments for the film‘s intense and elaborate action scenes. Sound designer Alan Rankin and sound editor Mark Stoeckinger do amazing work with the sound in capturing the atmosphere of the locations and the impact of the violence that adds to the intensity of the film. The film’s music by Tyler Bates and Joel J. Richards, with additional work from Scott Tixler, is superb for its mixture of eerie electronics with elements of hip-hop rhythms that play into the world of crime while music supervisor John Houlihan brings in a soundtrack that features a mixture of music from hip-hop and rock from T-Bo, the Candy Shop Boys, and Marilyn Manson.
The casting by Jessica Kelly and Suzanne Smith is incredible as it features some small yet notable appearances from David Patrick Kelly as an old cleaner friend of Wick, Randall Duk Kim as a hotel doctor, Lance Reddick as a hotel concierge, Bridget Regan as a bar mistress in Addy whom Wick knows, Kevin Nash as a club bouncer who also knows Wick, Clarke Peters as a hotel neighbor that Wick knows, and Bridget Moynahan as Wick’s late wife Helen who largely appears in flashbacks yet has this unique presence that adds to Wick’s humanity. Other noteworthy small roles include Ian McShane in a superb performance as the hotel owner Winston whom Wick knows where he would give him some keen advice while John Leguizamo is excellent in his brief role as the chop-shop owner Aurelio who realizes what Iosef had done as he would later give Wick his car back knowing that the world is about to get fucked. Dean Winters is brilliant as Viggo’s right-hand man Avi who essentially handles all of the business as he becomes worried about what Wick will undo.
Adrianne Palicki is fantastic as the assassin Perkins as a woman that has a history with Wick as she has no qualms in killing him unaware that she is way in over her head as far as Wick is concerned. Alfie Allen is amazing as Iosev Tarasov as the son of a mob boss who thinks he’s tough when he’s really just a punk-ass spoiled little shit who has no idea of who Wick is. Willem Dafoe is phenomenal as Marcus as an old-school assassin who takes the contract offered by Viggo yet is sort of this guardian angel figure for Wick as he is also the man that helped him out of the world of crime. Michael Nyqvist is remarkable as Viggo Tarasov as a mob boss who realizes what his son has done where he tries to protect him while trying to protect his empire and deal with Wick personally. Finally, there’s Keanu Reeves in a spectacular performance as the titular character as a man who is consumed by grief and rage following the loss of his wife and dog as it’s a role where Reeves doesn’t need to say much as he allows his actions and quiet demeanor do a lot of the talking as it is one of career-defining performances.
John Wick is a sensational film from Chad Stahelski and David Leitch that features an incredible leading performance from Keanu Reeves. Armed with a fascinating premise, an amazing ensemble cast, and thrilling yet violent action sequences. It’s a film that manages to be more than just a neo-noir revenge thriller but also a study of grief and loss in the eyes of a man who was just regaining his humanity. In the end, John Wick is a rapturous and exhilarating film from Chad Stahelski and David Leitch.
Related: John Wick: Chapter 2 - John Wick: Chapter 3-Parabellum - John Wick: Chapter 4 - (Ballerina (2024 film))
David Leitch Films: Atomic Blonde - Deadpool 2 - (Fast & Furious Presents: Hobbs & Shaw) - (Bullet Train)
© thevoid99 2016
Based on the novels by Edwin Torres that includes After Hours, Carlito’s Way is the story of a former gangster who tries to go straight following a stint in prison as he finds himself being dragged into the world of crime thanks to his deceitful lawyer. Directed by Brian de Palma and screenplay by David Koepp, the film is a character study of sorts of a man trying to start all over and do right for himself and the woman he loves as Al Pacino plays the role of Carlito Brigante. Also starring Sean Penn, Penelope Ann Miller, Luis Guzman, John Leguizamo, Viggo Mortensen, and James Rebhorn. Carlito’s Way is a dazzling and riveting film from Brian de Palma.
Set in 1975 New York City, the film revolves around the life of former gangster Carlito Brigante who has just been released from prison in the hopes to start a new life without trouble but aspects of his criminal past come back to haunt him while he is torn in his love for a dancer and his loyalty to his deceitful lawyer. It’s a film that is essentially a character study of sorts where Brigante is eager do something new but he needs the money to get a head-start in going to the Bahamas where he hopes to live a quiet life and run a rental car service for tourists without any trouble. Yet, for all of Brigante’s dreams to come true where he would run a club and make the money that he needs. There are elements of his past that comes to haunt him as there are those that see him as this legendary figure who they want to learn from as well as those that want to see if he’s still in the game of dealing drugs and such. It adds to this conflict in the story where he wants to get out but he’s being pulled back into the dark world as some of it is actually his fault.
David Koepp’s screenplay doesn’t just create a unique structure to the story as well as the fact that it begins and ends with a wounded Brigante on a stretcher in Grand Central Station. He also brings in this noir-style narrative that is largely told from Brigante’s perspective with some voice-over narration that plays into a man struggling with his conscience as well as his attempts to go straight. The dialogue is quite stylish where it does have elements of the film noir language but updated for a more contemporary setting in the 1970s where the Brigante character would find himself in awful situations but tries to restrain himself from not going too far as he knows he might go back to prison. Even as he tries to disassociate himself with old friends in the world of crime as well as new gangsters trying to make a name for themselves like Benny Blanco from the Bronx (John Leguizamo) who is really a younger version of Brigante.
Koepp’s script also play into how seriously flawed Brigante is where his intentions go straight are valid but he is someone that unfortunately trusts the wrong people like Kleinfeld who has put himself into a dangerous world of crime. Kleinfeld’s increasing usage of cocaine and paranoid behavior would trouble Brigante but also has him wanting to help as if he feels like he owes him for getting him out of prison. To Brigante’s former flame Gail (Penelope Ann Miller), she is the first person to see Kleinfeld for who he really is as she is aware of the flaws in Brigante while questioning if everything he is saying about going straight is true as she had seen a lot which adds to her own struggle between cynicism and optimism. Even as there are smaller characters in the film that tell Brigante about the people he’s surrounding himself by as it adds to those flaws which do come to ahead in a key sequence where Brigante finally sees what Kleinfeld is up to all along. Notably as it involves Brigante being used as bait for the justice system which would lead to this thrilling climax over Brigante dealing with Kleinfeld’s actions.
Brian de Palma’s direction is quite stylish for the way he creates these intricate yet mesmerizing tracking shots but also use them to create a sense of atmosphere into the many locations and settings he is in. Shot on location in New York City and some of its landmarks including Grand Central Station for its climax, the film does play into a period where it was very vibrant and exciting but also a world that Brigante has a hard time understanding as well as the fact that the rules are very different as something like ethics are considered dead. The usage of wide and medium shots do help play into aspects of the location including an eerie moment early in the film where Brigante stops at a pool hall for a cousin of his which goes horribly wrong as it is this unsettling moment of the new world that Brigante had unfortunately created. It’s among these moments where de Palma maintains that air of suspense and the unknown where it adds to what Brigante is trying to run away from. The compositions that de Palma creates in the way he would frame his actors into a conversation or have some unique attention to detail in the background while there is someone else in the foreground is among the key visual elements that is used in the film.
Along with some stylish Dutch angles and these mesmerizing tracking shots that manages to capture the vibrancy of the clubs and places Brigante and Gail to go. The direction also has de Palma create moments that are lively with elements of humor but also these unsettling moments such as a sequence where Brigante and Kleinfeld are on a boat is where the former sees the latter for what he’s really done. It is followed by a scene afterwards where it is presented with such simplicity but it also shows exactly where Brigante is and the fact that he knows he is completely fucked by the man who got him out of jail. All of which would lead to these violent and intense moments in the film’s climax where it is quite operatic but also play into what is at stake. Overall, de Palma crafts an exhilarating and rapturous film about a gangster’s attempt to find redemption and a new life away from crime.
Cinematographer Stephen H. Burum does brilliant work with the film‘s cinematography with the usage of colored lights for many of the scenes at the dance clubs as well as some low-key lighting for some of the interiors including the pool hall sequence and natural exterior lighting for scenes in the day. Editors Kristina Boden and Bill Pankow do amazing work with the editing with its usage of jump-cuts, dissolves, and a few stylish cuts for some of the light-hearted and dramatic moments while knowing when not to cut in some of the intricate tracking shots to get a sense of the atmosphere in the film. Production designer Richard Sylbert, with set decorator Leslie A. Pope and art director Gregory Bolton, does fantastic work with the sets that are created from the pool hall, the dance club that Brigante would run, Kleinfeld‘s office, and some of the other places the characters would go to. Costume designer Aude Bronson-Howard does excellent work with the costumes that play into the world of the 1970s from the suits that Brigante wears to the stylish dresses that the women wear at the clubs. Key hair stylist Michael Kriston and key makeup artist Michael Laudati do terrific work with the look of some of the characters including Kleinfeld with his Jew-fro and the look of the hair in some of men in those times.
Sound editor Maurice Schell do superb work with the sound as it play into the atmosphere of the clubs and some of the wild moments in the film plus some of the tense moments in the film such as Brigante‘s meeting with the D.A. The film’s music by Patrick Doyle is phenomenal for its orchestral-based score that play into the drama and suspense with its lush string arrangements that manage to do so much to elevate a scene. Music supervisor Jellybean Benitez create an incredible soundtrack that largely features music from the mid-1970s from the disco music of George McCrae, KC & the Sunshine Band, the Bee Gees, the O’ Jays, Cheryl Lynn, and Hot Chocolate to the salsa music of Hector Lavoe, Willie Colon, Santana, and the Fania All-Stars as well as a poignant usage of Joe Cocker’s You Are So Beautiful.
The casting by Bonnie Timmerman is remarkable as it features a tremendous ensemble that include some notable small roles from filmmaker Paul Mazursky as Brigante’s appeal judge, Angel Salazar and Al Israel as a couple of old friends of Brigante from Spanish Harlem, John Augstin Ortiz as Brigante’s cousin Guarjio, Rick Aviles as a small-time hood Brigante meets early in the film, Ingrid Rogers as a club regular that Kleinfeld goes out with in Steffi, Joseph Siravo and Adrian Pasdar as the sons of a crime boss Kleinfeld is working for, Frank Minucci as the boss Tony T Taglialucci whom Kleinfeld is working for, and the legendary Argentine comedy host Jorge Porcel as a disco/salsa club owner named Saso aka Ron whom Brigante would help out with his debts. James Rebhorn is superb as the district attorney Bill Norwalk who is trying to see if Brigante is up to no good while having his own suspicions about Kleinfeld.
Viggo Mortensen is fantastic as an old friend of Brigante in Lalin as a once top-crime figure who has become down on his luck as he is now on a wheelchair as a person that is being forced to do something bad to Brigante. Luis Guzman is excellent as Pachanga as an old friend of Brigante who works for him as a bodyguard as he is a man that does a lot of things yet is taken aback a bit by Brigante’s own ideals and disdain for his criminal past. John Leguizamo is amazing as Benny Blanco from the Bronx as a young hood who reminds Brigante as a younger version of himself who is eager to earn from Brigante yet is forceful and cunning where Leguizamo manages to be a scene-stealer in the moments he’s in. Penelope Ann Miller is brilliant as Gail as a dancer who was once Brigante’s flame as she is reluctant to be around him yet is someone looking for a change in her own life where she struggles with wanting to chase a dream but contend with the harsh realities of the world.
Sean Penn is sensational as Dave Kleinfeld as a young attorney who gets Brigante out and helps him in finding a club to run yet is someone that is troubled and doing awful things behind the scenes where Penn brings a manic and dangerous approach to his role that has bits of dark humor as it is one of Penn’s finest roles. Finally, there’s Al Pacino in one of his iconic performances of his career as Carlito Brigante as a former criminal that is eager to turn straight and start a new life only for his past activities and flaws in trusting the wrong kind of people come back to haunt him. It’s a role that has Pacino bring in a mixture of accents that play true to the streets while displaying a vulnerability in his role where he realizes he puts himself into a bad situation where he makes the character someone to root for as someone that can still be saved.
Carlito’s Way is a magnificent film from Brian de Palma that features a tremendous performance from Al Pacino. Along with strong supporting work from Sean Penn, Penelope Ann Miller, Luis Guzman, and John Leguizamo as well as a strong script by David Koepp, dazzling visuals, and a killer soundtrack. The film isn’t just one of de Palma’s quintessential films in terms of its style and character study but it’s also a film that showcases a study of redemption as well as the struggle in letting go of a dark past. In the end, Carlito’s Way is a spectacular film from Brian de Palma.
Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))
© thevoid99 2016
Directed by Terry Zwigoff and written by Daniel Clowes that is based on his comic book series, Art School Confidential is the story of a young artist who enters a prestigious art school where he deals with snobbish students, untalented teachers, and all sorts of people while falling for a young model. The film explores the world of art school where a young man aspires to be a great artist only to deal with the dos and don’ts of the world while a murder mystery occurs. Starring Max Minghella, Sophia Myles, Anjelica Huston, Matt Keeslar, Jim Broadbent, Ethan Suplee, and John Malkovich. Art School Confidential is a witty though messy film from Terry Zwigoff.
The film plays into a young artist whose aspirations to be the best and most important has him going into a prestigious art school where it is nothing as it seems where he deals with snobbish classmates, mediocre classes, and teachers who are really out of touch with the world of art. Yet, it is told in a humorous manner that includes a subplot about a series of mysterious deaths by a serial strangler where one of the students tries to make a film based on these deaths. It plays into the absurdity of art school where there’s students who believe they’re talented but they’re not while there are those who know they’re talented but feel unappreciated just like the film’s protagonist Jerome Platz (Max Minghella). One aspect of the film that adds to his characterization is how flawed he is where he is kind of full of himself and sometimes tries to act cool or whatever where he would take the wrong advice by a famous artist during a seminar.
Daniel Clowes’ script doesn’t just play into the world of art school and a young’s idealism over what he thinks would happen but also in how warped the reality of the art world is. Yet, it is told with an element of satire where many of the art school cliques and wannabes are portrayed in a humorous fashion while there are these many questions about what art is from Jerome’s perspective. Even as he has trouble with the work of one classmate in Jonah (Matt Keeslar) whose work is quite conventional yet receives the praise of classmates and their teacher in the local art figure Sandiford (John Malkovich). Being forced to compete with Jonah over admiration as well as the heart of the model Audrey (Sophia Myles). While the film’s subplot about the strangling of locals does make the script messy, it would add to key moments in the third act as it relates to Jerome’s desire for admiration.
Terry Zwigoff’s direction is very simple in terms of its compositions as well as the way he presents the world of art school. Shot largely on location in Los Angeles and Pasadena, California, the film does have this sense of a community that is part-Bohemian and part-high art as the latter relates to a scene where Jerome goes to a party held by an eccentric gallery owner. The usage of wide and medium shots add to this unique world of local art while Zwigoff also goes for some intimacy in some scenes including meetings Jerome would have with a reclusive yet brilliant artist named Jimmy (Jim Broadbent). While Zwigoff’s approach to humor is quite engaging, he does falter a bit on the suspense as it relates to the subplot of this mysterious strangler where it does make the film very uneven film that loses sight in what it wants to be. Though it does come to ahead in its third act, it does play into the fallacy of the desire of fame and glory as well as the fact that art is never meant to be taken seriously. Overall, Zwigoff creates a very compelling yet flawed film about a young artist’s desire to be great at art school.
Cinematographer Jamie Anderson does excellent work with the film‘s cinematography from the colorful scenes in the daytime to the low-key lighting in some of the classrooms as well as some stylish textures in some scenes set at night. Editor Robert Hoffman does nice work with the editing as it‘s mostly casual in terms of its cutting style with a few slow-motion cuts as well as a few stylish cuts in the suspenseful moments of the film. Production designer Howard Cummings, with set decorator Barbara Munch and art director Peter Borck, does fantastic work with the look of the classrooms and art studios as well as the galleries for the students to express their love of art.
Costume designer Betsy Heimann does terrific work with the costumes as it is mostly casual with the exception of some of the classmates as it plays into every kind of cliché in the world of art school where some look grungy or some try to look trendy. Sound editor John Nutt does superb work with the sound to play into the atmospheres of the parties as well as some of the intimate moments that occur during the classes. The film’s music by David Kitay is wonderful for its piano-based score as it features some unique melodies and textures that play into its humor and suspense while much of the film soundtracks include some classical pieces as well as a few rock songs.
The casting by Ann Goulder and Cassandra Kulukundis is brilliant as it features some notable small roles from Ezra Buzzington as a nude model, Katherine Moennig as a friend of Audrey, and in various roles of the art students, Scoot McNairy, Shelly Cole, Brian Geraghty, Jeanette Box, Lauren Lee Smith, and Isaac Laskin as the many kind of clichéd art students who all think they’re great. Ethan Suplee is terrific as Jerome’s aspiring filmmaker roommate Vince who wants to make a film about the mysterious strangler while Nick Swardson is just fucking awful as a closeted fashion designer who tries to be funny but it feels forced and unnatural. Joel David Moore is funny as Jerome’s friend Bardo who is an observer who had seen all kinds of students while Anjelica Huston is fantastic in her brief yet crucial role as an art teacher who had seen everything as she would give Jerome some really spot-on advice.
Steve Buscemi is superb in a cameo appearance as an eccentric gallery owner in Broadway Bob D’Annunzio as someone that is typical of the pretentiousness of the art world. Adam Scott is excellent as the famed artist Marvin Bushmiller as someone who is a fuckin’ asshole as he provides some bad advice to young artists in making it which only puts Jerome into a path that ends up being unrewarding. Jim Broadbent is amazing as Jimmy as a reclusive artist who is gifted but very cynical about the art world as he reveals some of the fallacies about trying to be great. Matt Keeslar is wonderful as Jonah as an art student that is known for making very conventional art yet proves to be a very nice guy with a secret of his own.
John Malkovich is phenomenal as Professor Sandiford as this artist-turned-professor who is quite odd in his teachings and views on art only to be seen as someone that is really just mediocre. Sophia Myles is radiant as Audrey as an art student/model who shares Jerome’s sense of disdain toward some of the idealism of art but is also confused by what people see as art. Finally, there’s Max Minghella in a marvelous performance as Jerome as a young artist that aspires to be great only to contend with some of the demands of compromise, bad critiques, and other odd things that forces him to ponder if his own art means anything.
***The Following 2 Paragraphs are from the Original Review of the Film Written for Epinions.com on 12/17/06 w/ Additional Edits***
The 2006 Region 1 DVD from Sony Pictures Classic & United Artists presents the film in the 1.85:1 anamorphic widescreen ration with 5.1 Dolby Digital in English, Spanish, and Portugese, and 5.1 Dolby Surround Sound in French. Subtitles in English, French, Spanish, Portugese, and Chinese are available, especially in some of the film's special features. The special features includes five several featurettes starting with a making-of scene where Zwigoff and Clowes discuss the inspiration of the film while talking to several of its actors including Max Minghella and Sophia Myles, who are both British, as they enjoyed working with Zwigoff. The Sundance Featurette which includes interviews with several cast member including crew members as they discussed the screening. Minghella, admits that watching himself is depressing yet he enjoyed the audience reaction.
11-minutes worth of 12 deleted scenes are revealed in which some of them are funny and heartwrenching. One funny scene reveals the frustration of Sandiford while another reveals more of the tension between Jonah and Jerome including a scene where Jonah learns something that Jerome had said. Another deleted scene featurette involves the film's ending where Jerome's classmates make comments about a character's artwork and give their opinions. The blooper reel is really hilarious where all the actors are laughing including a scene of Malkovich trying to destroy a painting and another where he makes Minghella laugh by saying "Charo, Charo" repeatedly. The reel also includes an alternate take of an interview with Malkovich for the film. Finally, the DVD includes several trailers for films like The Devil & Daniel Johnston, Pedro Almodovar's Volver, Zhang Yimou's Curse of the Golden Flower, Stranger Than Fiction, and the teaser trailer to Sofia Coppola's Marie Antoinette.
***End of DVD Tidbits***
Art School Confidential is a stellar yet flawed film from Terry Zwigoff. Featuring a great cast as well as a humorous critique on the world of art and art school, the film is a unique look into the world of art and the fallacies of those wanting to be famous. In the end, Art School Confidential is a superb film from Terry Zwigoff.
Terry Zwigoff Films: Louie Bluie - Crumb - Ghost World - Bad Santa - The Auteurs #53: Terry Zwigoff
© thevoid99 2016
Directed by Dexter Fletcher and screenplay by Sean Macaulay and Simon Kelton from a story by Kelton, Eddie the Eagle is the real-life story of British Olympian Eddie Edwards who aspires to make it as an Olympian by being the first British to represent in the ski jump despite many obstacles including his lack of athletic gifts. The film is a simple story that plays into Edwards’ determination despite looking like a geek and teaming up with a former ski jump champion who sees his determination as Edwards is played by Taron Egerton. Also starring Hugh Jackman, Mark Benton, Keith Allen, Jo Hartley, Jim Broadbent, and Christopher Walken. Eddie the Eagle is a delightful yet winning film from Dexter Fletcher.
Set largely in late 1980s Britain, the film is the real life story of Eddie Edwards who is this young man that doesn’t look like an Olympian nor is someone that has the skills to be one yet somehow manages to become a hero for his home country. It’s a film that is typical of the underdog story yet it involves someone who dreamed about being an Olympian since he was a kid yet for all of his failures, bruises, broken bones, and such. Eddie Edwards for some reason just wouldn’t quit no matter how hard the obstacles are or the sense of indifference he endures from the British Olympic committee who sees him as a joke. The film’s script doesn’t just explore Edwards’ sense of determination but also in how he would try to find the sport that would give him the chance to be in the Olympics. Even as he’s given the chance to go to Germany to train without any sufficient funds where former U.S. ski champion Bronson Peary (Hugh Jackman) would watch and later train him by showing him the basics.
The script also explores the relationship between Edwards and Peary as the latter is someone that was seen as a gifted athlete who has become a washed-up alcoholic as he realizes that there’s something about Edwards that fascinates him. Even as Peary is a man that is still haunted by his own failures and the coach he had let down as he sees Edwards as a chance of redemption. By the time the film reaches the third act where Edwards goes to Calgary for the 1988 Winter Olympics despite the fact that he had to pay for his own trip and is being treated as a joke by officials and other athletes. He would some how manage to win the heart of the people who are baffled by his sense of heart and determination.
Dexter Fletcher’s direction is quite simple in terms of the compositions and the sense of excitement that looms throughout the film. Though he doesn’t really go for anything new while finding a nice balance of humor, drama, and exuberance. Fletcher does manage to find ways to keep the story engaging while not being afraid to by-the-books in terms of what is expected in the underdog scenario as it includes some unique training montages but also emphasize what makes ski jumping so unique in its simplicity. Shot in both Britain and in locations in Germany for the ski jump scenes including the film’s climax set in Calgary, Fletcher manages to create a world where things were simpler but also changing as it relates to Edwards where the Olympic officials see him as someone that they believe has no chance to represent Britain properly. Yet, Fletcher realizes that it’s not about someone winning a medal but rather someone who can make it to the Olympics whether he wins a medal or not but do it in a way that proves that anyone could do if they have heart, the determination, and some sheer balls. Overall, Fletcher crafts a very exhilarating film about a young man who determines to become an Olympian and prove that it could be done.
Cinematographer George Richmond does excellent work with the cinematography from the more low-key look of scenes set in Britain to the usage of lights for some of the scenes set at night during the mountains and ski training fields. Editor Martin Walsh does nice work with the editing as it is quite conventional with its montages and intense sports moments with the usage of slow-motion and some jump-cuts. Production designer Mike Gunn, with set decorator Naomi Moore and art directors Tim Blake and Astrid Poeschke, does amazing work with the look of Edwards‘ family home and the van that is owned by his father to the training facility in Germany as well as the look of the Olympic villages. Hair/makeup designer Nadia Stacey does terrific work with the look of Edwards from his terrible haircut as well as his imperfect teeth to create the look of someone who doesn‘t look like an Olympian.
Visual effects supervisor Matt Kasmir do brilliant work with some of the visual effects for scenes that is essentially set-dressing to recreate the look of 1988 Calgary for the film‘s climax. Sound editor Danny Sheehan does superb work with the sound in the way a jump sounds as well as the sounds of the crowd for the scenes at the Olympics. The film’s music by Matthew Margeson is wonderful for its mixture of low-key orchestral textures for the dramatic moments along with the usage of 80s-inspired synth-pop music to play into the feel of the 80s. The film’s soundtrack that is supervised by Gary Barlow of Take That provides a lot of music from the 80s from Frankie Goes to Hollywood, Thin Lizzy, Hall & Oates, and Van Halen along with new music from Frankie Goes to Hollywood vocalist Holly Johnson, Marc Almond of Soft Cell, Tony Hadley of Spandau Ballet, Howard Jones, and Orchestral Manoeuvres in the Dark.
The casting by Reg Poerscout-Edgerton is phenomenal as it features from notable small roles from Tom Costello Jr. & Jack Costello as young versions of Edwards, Iris Berben as the German training camp bar mistress Petra, Rune Temte as the Norwegian coach, Mads Sjogard Pettersen and Marc Benjamin as couple of Norwegian ski jumpers, and Edvin Endre as the famed Finnish ski-jumping champion Matti “The Flyin’ Finn” Nykanen. Mark Benton and Tim McInnerny are terrific as the British Olympic officials with the former being someone skeptical of Edwards’ skills while the latter is a more old-school figure who believes Edwards is a total embarrassment. Jim Broadbent is fantastic in a small but fun role as the BBC commentator who becomes one of Edwards’ supporters. Christopher Walken is superb in his brief role as Peary’s old coach in Warren Sharpe whom Edwards would read about as well as learn the ideas of ski jumping where Peary would find the book and try to make amends with his old mentor.
Keith Allen and Jo Hartley are amazing as Edwards’ parents with the former as a stern father who is aghast at his son’s determination believing he’s become reckless while the latter is someone who believes in her son’s work while being the only person that is willing to give him the money to travel and train. Hugh Jackman is brilliant as Bronson Peary as a former ski jump champion who has become a washed-up snow groomer who takes a liking to Edwards as he decides to help him through some unconventional training as well as simplify things that can make Edwards a good ski jumper. Finally, there’s Taron Egerton in a remarkable role as Eddie “The Eagle” Edwards as this gangly, nerdy young man who is the opposite of what an Olympian looks yet has a sense of heart and determination that is so engaging while Egerton displays a physicality that adds a lot more to the character without the need to ham it up as it’s a really a performance deserving of someone to root for.
Eddie the Eagle is a wonderful film from Dexter Fletcher. While it is a very conventional film that does play into the underdog film formula. It is a film that manages to hit the right notes as well as display fantastic performances from Hugh Jackman and Taron Egerton as well as a fun soundtrack. In the end, Eddie the Eagle is a stellar film from Dexter Fletcher.
© thevoid99 2016
Directed by Brian De Palma and screenplay by Jim Thomas, John Thomas, and Graham Yost from a story by Jim Thomas, John Thomas, and Lowell Cannon, Mission to Mars is the story of a group of astronauts who go on a rescue mission to Mars following a previous mission where things went wrong with one of their friends being its lone survivor. The film is a simple yet grand story about a rescue mission set in outer space where astronauts discovery the mysteries of the universe and this planet called Mars. Starring Gary Sinise, Don Cheadle, Connie Nielsen, Jerry O’Connell, Armin Mueller-Stahl, Kim Delaney, and Tim Robbins. Mission to Mars is an interesting but very lackluster film from Brian De Palma.
The film revolves around a rescue mission during an expedition on Mars where another group of astronauts make a huge discovery only for things go wrong leaving only one survivor and his friends doing the rescue mission. Along the way, many things go wrong as they all try to ponder what is going on in this planet of Mars as well as this mysterious thing in the planet. It’s a film that has a unique concept but there’s a lot of these aspects of sci-fi mumbo-jumbo and existentialist themes that really lose sight into the main story where it has no idea what it wants to be. The film’s script does do some fine work in establishing the characters and situations but try to do so much to make it so much more where it ends being very messy as well as feature some very idiotic dialogue. When the third act comes in for the reveal of what is inside this mountain that is shaped like a face. It is one of these reveals that is like “huh?”
Brian De Palma’s direction is quite stylish in not just the usage of tracking shots and scenes that are shot in zero gravity but also in the fact that creates a setting that does feel futuristic but not too futuristic. The setting of outer space with its space stations and space shuttles are very unique and does have De Palma take great stock into the images and everything. For the scenes set on Mars, much of it was shot in Jordan with some scenes shot in Vancouver and at the Canary Islands to create a world that feels vast and everything where De Palma does great usage of the wide shots. Despite some of these stylish moments and compositions, De Palma is unable to rise above many of the script’s shortcomings while the vortex sequence is quite silly in the way an astronaut is killed off. By the time the film reaches its climax into this mysterious thing in the planet and what it reveals, it ends being this very odd moment that is confusing where it wants the audience to believe in all of these things but it doesn’t anything rational or logical to back it up. Overall, De Palma creates a very messy and underwhelming film about a rescue/existential expedition on Mars.
Cinematographer Stephen H. Burum does excellent work with the film‘s cinematography with its usage of filters for much of the film‘s exterior settings set on Mars as well as some unique lighting for the interiors of the ships. Editor Paul Hirsch does nice work with the editing as it helps play into the moments of suspense and drama as well as some bits of humor with its dissolves. Production designer Ed Verreaux, with art directors Andrew Neskoromny and Thomas Valentine and set decorator Lin MacDonald, does amazing work with the look of the space stations, its shuttles, and other vehicles used for the expeditions including some of its interiors. Costume designer Sanja Milkovic Hays does terrific work with the costumes from the look of the astronaut suits as well as the clothes they wear under the suits.
Visual effects supervisors John Knoll and Hoyt Yeatman does some fantastic work with some of the visual effects in the way Mars and the space stations looked though some of the sequences such as the vortex and what is revealed in the climax come off as very cheesy. Sound editors Lon Bender and Maurice Schell do superb work with some of the sound work in the film from the way some of the events that happen on Mars sound as well as the scenes set in space. The film’s music by Ennio Morricone is phenomenal as it’s one of the film’s highlights for its orchestral-based score that is filled with sweeping string arrangements as well as low-key pieces as it is a major highlight of the film.
The casting by Denise Chamian is wonderful as it features some notable small roles from Robert Bailey Jr. as Luke’s son Bobby, Elise Neal as Luke’s wife Debra, as members of Luke’s crew in the Mars expedition in Jill Teed, Peter Outerbridge, and Kavan Smith, Kim Delaney in a small role as Jim’s late wife Maggie who wrote many ideas into the Mars expedition before her death, and Armin Mueller-Stahl as the Mars expedition leader Ramier Beck who ponders about the rescue mission and how it must not fail. Jerry O’Connell is alright as Phil Ohlmyer as an astronaut who is part of the rescue mission as he is a comic relief of sorts but not given much to do. Tim Robbins is superb as the rescue mission leader Woody Blake who knows what to do as well as realize the severity of the mission where things go wrong forcing him to make some drastic decisions.
Connie Nielsen is brilliant as Woody’s wife and astronaut Terri Fisher who is part of the rescue mission as well as be someone that is capable of getting things done. Don Cheadle is amazing as Luke Graham as the astronaut who is among the first to go to Mars until something goes wrong in a discovery where he copes with being its sole survivor and later being rescued where he feels that he needs to discover what he and his crew had seen. Finally, there’s Gary Sinise in an excellent performance as Jim McConnell as a widowed astronaut who works as a consultant until he is asked to take part despite his emotional baggage where he deals with the mission at hand as well as what is out there.
Mission to Mars is a very disappointing film from Brian De Palma. Despite its cast, some cool visual effects, and a mesmerizing score by Ennio Morricone, the film is just a sci-fi film that wants to be a lot of things only to end up being very lightweight in its ambitions. In the end, Mission to Mars is just a terrible film from Brian De Palma.
Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))
© thevoid99 2016
Directed and edited by Ramin Bahrani and written by Bahrani and Jenni Jenkins, Plastic Bag is an 18-minute short film that revolves around the journey of a plastic bag. The film is an experimental short of sorts that play into the world seen from the view of a plastic bag who is voiced by renowned filmmaker Werner Herzog. The result is a fascinating and enchanting short from Ramin Bahrani.
The film is a simple story about the life of a plastic bag who is bought and then used until is thrown into the trash where it goes into a journey into the unknown. It’s a film with a very simple story where a plastic bag under the voice of Werner Herzog endures its plight and situations as if it has feelings. Even as it has this bag go into a journey where it encounters many things and different environments. The film’s direction by Ramin Bahrani is quite simple as it is largely shot from the perspective of this plastic bag in its close-ups and medium shots where a lot of it is shot on digital cameras.
With wide shots to capture the many different locations and Bahrani doing a lot of his own editing in creating unique jump-cuts and cut-to-black for moments that play into the bag’s view of the world. It adds to a world that is very unique that includes a major reference to the Pacific Trash Vortex where flown garbage would often be seen at. Overall, Bahrani creates an exhilarating and evocative film about the view of a plastic bag with the voice of Werner Herzog.
Cinematographer Michael Simmonds does brilliant work with the film‘s digital photography that captures a realist yet gritty approach to some of the close-ups of the bag as well as the beauty in some of the different locations in the film. Production designer Chad Keith and art director Adam Willis do excellent work with the look of the house that the bag lived early in the film as well as the disparate states it took in its journey. Sound designer Abigail Savage and sound supervisor Tom Efinger do amazing work with the sound to play into the different locations and atmosphere that adds to the bag‘s journey. The film’s music by Kjartan Sveinsson is fantastic for its mixture of ambient-based music and art-rock textures that play into the many moods that the bad would endure.
Plastic Bag is a phenomenal short film from Ramin Bahrani. It’s a short that manages to do so much with very little as it explores elements of environmentalism without the need to be heavy-handed in its message by just being simple and having intrigue in its story. In the end, Plastic Bag is a sensational film from Ramin Bahrani.
Ramin Bahrani Films: Man Push Cart - Chop Shop - Goodbye Solo - At Any Price - 99 Homes - (Fahrenheit 451 (2018 film)) - The Auteurs #55: Ramin Bahrani
© thevoid99 2016
