Based on the novel by Tom Wolfe, The Bonfire of the Vanities is the story of a Wall Street investor whose life of wealth and materialism shatters after his mistress had ran over an African-American teenager in the Bronx where a district attorney and many others want to punish the man for their own selfish reasons. Directed by Brian de Palma and screenplay by Michael Cristofer, the film is an exploration of a world gone wrong where a man is being ruined as an alcoholic reporter tries to capture everything that is happening. Starring Tom Hanks, Melanie Griffith, Bruce Willis, F. Murray Abraham, Kim Cattral, Saul Rubinek, Alan King, John Hancock, Kevin Dunn, and Morgan Freeman. The Bonfire of the Vanities is a disastrously incomprehensable and outrageously bad film from Brian de Palma.
The film explores the rise and fall of a Wall Street investor whose life is shattered where he is targeted by many factions including the press, political leaders, racial factions, and religious leaders over the hit-and-run of an African-American teenager in South Bronx in which his mistress actually ran over the young man. It’s a film that has a lot to delve into as it is largely told by a washed-up, alcoholic reporter who would later turn the story into a best-selling novel where he reflects on everything he wrote during an event that would celebrate his achievement. While it is a story that explores the world of materialism, social classes, greed, power, race-baiting, and all sorts of things. It is meant to be presented as a satire where it would’ve been an intriguing idea on paper. Unfortunately, what is presented is something that sort of takes itself too seriously and doesn’t offer very much in terms of characters to care for nor a story to really be invested in.
Michael Cristofer’s script doesn’t just sensationalize things as it plays into the chaos of inhumanity not just in the way many rich, white people are portrayed but also in how minorities are depicted and how even the media and political figures are portrayed with very few that have qualities that can redeem them. While the protagonist Sherman McCoy (Tom Hanks) and the reporter Peter Fallow (Bruce Willis) both go through some development where both of them would sort of display redemptive qualities. The way the development was written isn’t exactly smooth as both of those men aren’t good people either since McCoy is this entitled blue-blood who doesn’t think about how this incident will effect him until he realizes that there are those in the world of politics that want to fry him. His ignorance and indifference about the realities of the world would eventually not only give him a wake-up call where he does show remorse. There is a payoff to his development as he realizes that life he had with all of this money, a Park Avenue apartment, a vapid socialite for a wife, and an immoral job are all bullshit as the moment he snaps is a highlight.
The Fallow character does start off as someone who finds out about McCoy and his mistress Maria Ruskin (Melanie Griffith) where he gets McCoy targeted as a way to work again. Once he meets McCoy by accident where the two share a ride on the subway, though McCoy has no idea who he is talking to, where Fallow has a revelation about what he’s doing though he is still portrayed as some alcoholic schmuck. The other main characters such as Maria Ruskin, District Attorney Abe Weiss (F. Murray Abraham), and Reverend Bacon (John Hancock) don’t really have anything that makes them complex as Ruskin is a gold-digging slut from the South, Weiss is a power-hungry Jew who wants to become mayor, and the reverend is a man who uses racism for not just power but also greed. Weiss and Bacon don’t care if McCoy is really innocent while Ruskin is someone who doesn’t want to own up to anything as she’ll do anything to save her hide by aligning herself with the assistant DA Jed Kramer (Saul Rubinek). All of which would lead to this climax in which Sherman McCoy would take drastic measures for the truth to come out.
Brian de Palma’s direction is definitely a mess despite this start where it opens with a five-and-a-half minute tracking shot of Peter Fallow getting ready for this presentation in a building where it displays that sense of inventiveness in de Palma’s as well as the way he would create close-ups in some of the key events in the film such as McCoy saying he’s sorry in court. While de Palma does create some amazing images and stylistic shots that would include an intimate medium shot inside a subway where Fallow and McCoy talk about what happened where McCoy would reveal something big that would mark a change in Fallow. Those moments along with the scene of McCoy finally snapping where he grabs a shotgun and gets everyone out of his apartment are the few scenes in the film that are worth watching. It’s just a shame that de Palma was unable to really do so much more for the rest of the film where it’s not the script that lets him down. It’s just the fact that it has no real identity in what it wants to be.
It’s not just a lot of the humor and approach to satire that doesn’t connect, it’s also in the fact that de Palma couldn’t do enough to make things more engaging where the many situations get more and more ridiculous that includes this weird dinner scene between Fallow and Maria’s husband Arthur (Alan King). These scenes tend to overwhelm whatever good the film tried to do where it would have this strange climax where McCoy is finally on trial with Ruskin ready to burn him. It is then followed by this monologue from Judge Leonard White (Morgan Freeman) that feels shoehorned as to create a message over everything this movie was supposed to be about. Though White’s words do hold some resonance about the dark aspects of humanity, it is unfortunately ignored over the fact that the people who wanted McCoy fried for his crimes to come off as even worse than they already are. Overall, de Palma creates an unfunny and nonsensical film about a rich white man accused of running over an African-American teenager where everyone tries to tear him apart for their own bullshit reasons.
Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography in the way some of the interior scenes at night are light along with the look of the courtroom and the lighting for the scenes set in South Bronx as it play into that disconnect between the social classes. Editors Bill Pankow and David Ray do some fine work in the editing in trying to create some stylish cuts in the dramatic moments along a few split-screen pieces but much of it doesn‘t really work while the comedic moments don‘t hit it off editing wise. Production designer Richard Sylbert, with set decorators Joe D. Mitchell and Justin Scoppa Jr. and art directors Gregory Bolton and Peter Landsdown Smith, does fantastic work with the look of McCoy‘s lavish Park Avenue apartment home as well as the apartment that Maria would live in that actually belonged to one of Fallow‘s colleagues.
Costume designer Ann Roth does nice work with the costumes from the lavish clothes that the women wear as well as the very cheesy and silly clothes of Reverend Bacon. Sound editor Maurice Schell does terrific work with the sound to play into some of the moments at some of the social gatherings including the scene where McCoy snaps and gets rid of everyone from his home. The film’s music by Dave Grusin is pretty good for its orchestral-based score that play into the world of the rich and important though some of its attempts to create comedic-like pieces aren’t so great.
The casting by Lynn Stalmaster is superb despite the fact that many of the people who were in the film weren’t given much to do or play characters that were fully realized to the point that they just become caricatures. Notable small roles include a young Kirsten Dunst as Sherman and Judy McCoy’s young daughter Campbell and Donald Moffat as Sherman’s father as they’re among the few characters who actually show some good to the world. Other performances from Adam LaFerve as McCoy’s fellow stockbroker Rawlie Thorpe, Barton Heyman and Norman Parker as a couple of detectives meeting McCoy over the incident, Andre Gregory as an AIDS-stricken poet, Geraldo Rivera as a tabloid reporter, Clifton James as a friend of Reverend Bacon who would give Fallow the scoop, Robert Stephens as one of Fallow’s bosses, Beth Broderick as a colleague of Fallow who would reveal a key point in the film’s plot, Louis Giamblavo as an associate of the district attorney, and Kurt Fuller as McCoy’s neighbor Pollard Browning aren’t given anything to do where some are just played for laughs or as people no one can give a fuck about.
In the role of the hit-and-run victim’s mother, Mary Alice gives a very quiet performance until there’s a moment in the film which has this reveal which makes her a horrible person as it’s a real waste of Alice. Kevin Dunn is alright as McCoy’s lawyer Tom Killian as someone who tries to get McCoy to see the severity and reality of his situation. John Hancock’s performance as the Reverend Bacon is just fucking silly as this Al Sharpton-caricature that is supposed to be played for laughs but ends up being really dumb. Saul Rubinek also gives a terrible performance as assistant DA Jed Kramer as this buffoon who tries to do whatever it takes to win and help Weiss as he’s just Weiss’ bitch. Kim Cattrall is just fucking horrible as Sherman’s wife Judy as this vapid socialite who is more concerned about social statues and gatherings while trying to look and act the part of a wife as she doesn’t provide much depth except for the scene where she tells her daughter what Sherman does for a living. Alan King is wasted in his small role as Maria’s husband Alan as he only has a few scenes where the big scene he’s in during a dinner with Fallow is one of the most ridiculous as it displays some of the worst aspects of wealth and power.
F. Murray Abraham, in an un-credited role, as District Attorney Abe Weiss is just horrendous in how brash he is as it’s character that is never fleshed out and is once again a bad attempt at satire that never really connects. Morgan Freeman is excellent in his role as Judge Leonard White as one of the few characters in the film that actually stands for something where he does give this amazing monologue in the end though Freeman doesn’t go unscathed where it is kind of obvious he is wearing a bald cap in the film. Melanie Griffith is bad as Maria Ruskin as this Southern gold digger who cares more about herself than Sherman where Griffith is right for the role but is never given much to do while the script also fails her to make her compelling.
Bruce Willis’s performance as Peter Fallow is a prime example of someone just basically sleep-walking through the film. It’s a performance where Willis doesn’t do much but look and act drunk as someone who is pathetic only to be given this story where he tries to do what is right but Willis would have this smugness to the role that is just wrong for the role. Finally there’s Tom Hanks where it’s a performance that isn’t bad but it is clear he is not the right person to play Sherman McCoy. Despite the moment where his character snaps and just goes bonkers, Hanks was really unable to rise above the script’s shortcomings to make the character more engaging as well as the fact that’s kind of too likeable to play this Wall Street investor that is quite full of himself as it’s really Hanks being completely miscast.
The Bonfire of the Vanities is a horrendous film from Brian de Palma. Nonsensical storylines, ugly characters, wasted talent, and a lot of inconsistency in what it wanted to be. The film isn’t just a bad satire but also a film that displays some of the worst aspects of humanity through greed, power, race-baiting, and all sorts of bullshit. In the end, The Bonfire of the Vanities is a horrific and awful 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 (1983 film) - Body Double - (Wise Guys) - The Untouchables - Casualties of War - Raising Cain - Carlito's Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))
© thevoid99 2016
Directed by Colin Trevorrow and screenplay by Trevorrow, Derek Connolly, Rick Jafa, and Amanda Silver from a story by Jafa and Silver from characters created by Michael Crichton, Jurassic World is the story of theme park that displays dinosaurs to public is suddenly thrown into chaos when a genetically-modified dinosaur breaks loose and all hell breaks loose. Set twenty-two years after the events that was presented in the 1993 film Jurassic Park, the film plays into humanity’s encounter with dinosaurs where a park operations manager and a researcher try to save everyone with the aid of a few dangerous dinosaurs. Starring Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Nick Robinson, Jake Johnson, Lauren Lapkus, Omar Sy, Judy Greer, Andy Buckley, B.D. Wong, and Irrfan Khan. Jurassic World is a thrilling and intense film from Colin Trevorrow.
Two boys are sent to the fictional island of Isla Nublar where their aunt is managing a theme park that displays dinosaurs where a newly-created dinosaur has broken loose and creating havoc forcing the aunt and a researcher to stop things. That is pretty much what the film is about as it is film with a simple story yet it also has a lot to offer as it relates what happens when those who play God create something that can’t be stopped. Even as there are those that want to create dinosaurs for means that go beyond what they’re mean to do while there are those who see things differently and actually want to gain the trust of the dinosaurs without disrupting the natural order of things. It’s a film that does say a lot about the ideas of nature but it’s also a film that manages to balance the ideas of sci-fi intelligence with a sense of fun in its approach to action and adventure.
The film’s screenplay, which was largely written by Colin Trevorrow and Derek Connolly, doesn’t just explore the dangers of re-creating dinosaurs but also what would happen when dinosaurs are created with genetic DNA strains that would allow them to be not just intelligent but also adapt to any kind of environment for their own gain. It’s an experiment that has made the park’s owner in this billionaire, in Simon Masrani (Irrfan Khan), uneasy but he is forced to take responsibilities because of the sponsors he had to get to help sell the park who want these geneticists such as Dr. Henry Wu (B.D. Wong) to make the dinosaurs bigger and scarier. The park’s manager in Claire Dearing (Bryce Dallas Howard) is a workaholic that is asked to accompany her nephews in Gray and Zach Mitchell (Ty Simpkins and Nick Robinson) as the former is a dinosaur buff.
Yet, she lets her assistant Zara (Katie McGrath) do the work as Claire is trying to deal with sponsors and making the park more successful but is unaware of what Dr. Wu as well as the park’s security head in Vic Hoskins (Vincent D’Onofrio) have created. The creation is this hybrid dinosaur known as the Indominus Rex that can do a lot as it’s made one of the park’s experts in Owen Grady (Chris Pratt) extremely uneasy as he’s managed to gain the trust of the velociraptors whom he had been studying. Once the Rex is loose and is killing other dinosaurs, Claire realizes she must team up with Grady to keep her nephews safe as he has a better understanding of the dinosaurs than nearly everyone working at the park. Especially as the more naturally-created dinosaurs are also unsafe from this new creation forcing Grady to have his velociraptors to stop this dinosaur but knows it might not be enough as it relates to the laws of nature.
Trevorrow’s direction is definitely grand in terms of the world that is created where dinosaurs are roaming the Earth but in an environment that they can adjust to with humanity being able to help them as well as be seen by the public as an attraction. Shot largely in Louisiana with a few shots in Hawaii, Trevorrow knows how to maintain something that is large in its scenery as well as the scope of these dinosaurs including one that emerges from the water to eat its food. There are some medium shots and close-ups to play into some of the intimacy as well as moments of terror where Claire, Masrani, and others are watching things unfold in a control room as well as scenes where Gray and Zach find themselves dealing with the Indominous Rex that led them to find the old Jurassic Park. Trevorrow’s approach to suspense is slow-building as it relates to exactly what these people are facing where it’s not just this dinosaur but also in the fact that it is much smarter than they seem to believe and can release other hostile dinosaurs.
Trevorrow also creates that sense of excitement during the second act where some pterosaurs were released where Grady would be the one to regain some control. There are moments of comedy as it includes a few lines as well as some tension between Claire and Grady who had previously dated while there is a moment where one of control room people tried to make out with another. It does play with much of the conventions where Trevorrow knows how to inject moments that aren’t meant to be serious. The film’s climax is quite thrilling where it’s not just about Claire, Grady, Gray, and Zach trying to evade the Indominous Rex but also trying to see if the velociraptors will fight for them despite the fact that they’re outmatched against the Rex. Yet, it would lead to not just a homage of sorts to the original film but also a moment that proves to be exciting and fun. Overall, Trevorrow creates an exhilarating and entertaining film about a dinosaur theme park being under siege by a dangerous dinosaur.
Cinematographer John Schwartzman does excellent work with the cinematography from the way the jungles and woods look with its air of grain in the colors for some of the daytime scenes to the low-key set of lights for the scenes in the control room as well as the eerie look for the scenes set at night. Editor Kevin Stitt does brilliant work with the editing as it is quite straightforward while it does feature some fast-cutting for some of the action though doesn‘t deviate too much in that style so that the audience can see what is going on. Production designer Ed Verreaux, with set decorator Ronald R. Reiss and senior art director Aaron McBride, does amazing work with the look of the park in its entirety and its attractions along with the control room and relics of the old park. Costume designers April Ferry and Daniel Orlandi do nice work with the costumes from the casual look of most of the cast with the exception of the clothes that Claire and Masrani wear as it’s more business-like.
Creature designer Stan Winston does phenomenal work with the look of the dinosaurs in every way and form to create something that looks and feel real. The visual effects work of Tim Alexander, Glen McIntosh, Michael Meinardus, and Tony Plett do superb work with not just some of the set dressing but also in the movements of the dinosaurs including the way the Indominous Rex can shield itself from its enemies. Sound designers Pete Horner and Al Nelson, along with sound editor Gwendolyn Yates Whittle, do terrific work with the sound in the way the dinosaurs sound as well as capturing the chaos in the park in some of its intense moments. The film’s music by Michael Giacchino does a fantastic job with the score by not just creating variations of John Williams’ theme but also create some new pieces for its suspense and moments of intense action.
The casting by John Papsidera is wonderful as it features cameo appearances from Jimmy Buffett as a man running from the pterosaur, Jimmy Fallon as himself in the gyro sphere ride video, director Colin Trevorrow as the voice of Mr. DNA, and Brad Bird as the voice of a monorail conductor. Other notable small roles include Colby Boothman as a new handler at the raptor cage, Eric Edelstein as the Indominous Rex control room supervisor, Katie McGrath as Claire’s assistant who is tasked to watch over the nephews, and Brian Tee as a security leader who tries to stop the Indominous Rex. Judy Greer and Andy Buckley are terrific as Gray and Zach’s parents with the former being concerned about her sister’s workaholic tendencies knowing that she and her husband are going through a divorce. Lauren Lapkus and Jake Johnson are superb in their respective roles as Vivian and Lowery as two control room employees who try to watch over everything with the latter being more of a geek in his work and towards dinosaurs.
Irrfan Khan is excellent as billionaire Simon Misrani who is the park’s owner who tries to deal with the demands for the park to do well where he is concerned about the creation of the Indominous Rex. B.D. Wong is brilliant as Dr. Henry Wu as a geneticist, who appeared in the first film, who would create the Indominous Rex to play up the demands as he would do things that are against the laws of nature. Omar Sy is amazing as Owen’s friend Barry who also has an understanding with the velociraptors where he treats them humanely like Owen. Ty Simpkins and Nick Robinson are incredible in their respective roles as Gray and Zach as Claire’s nephews who deal with the dangers of the park with the former knowing a lot about dinosaurs and the latter being a typical but resourceful teenager.
Vincent D’Onofrio is great as security head Vic Hoskins who sees the potential in using dinosaurs as weapons as he believes the Indominous Rex can be helpful. Bryce Dallas Howard is remarkable as Claire Dearing as the park’s operations manager who answers to what the sponsors want as she realizes that the creation of the Indominous Rex is a bad idea where she helps Grady in trying to stop it as well as help her nephews. Finally, there’s Chris Pratt in a phenomenal role as Owen Grady as a former Navy officer who has made a connection with the velociraptors where he sees what the Indominous Rex can do where he tries to save everyone as it’s a role that has a lot of the everyman in being a badass but also being very funny.
Jurassic World is a sensational film from Colin Trevorrow. Featuring a great cast, amazing action sequences, Michael Giacchino’s soaring score, top-notch visual effects, and engaging themes about the laws of nature. It’s a film that manages to not only be scary and fun but also provide that great balance of being an entertaining film with brains. In the end, Jurassic World is an incredible film from Colin Trevorrow.
Colin Trevorrow Films: (Home Base) - (Reality Show) - (Safety Not Guaranteed) - (The Book of Henry) - (Star Wars Episode IX)
Related: (Jurassic Park) - (The Lost World: Jurassic Park) - (Jurassic Park III) - (Jurassic World 2)
© thevoid99 2016
Based on the comic character by Jack Kirby and Joe Simon and the comic series storyline by Mark Millar and Steve McNiven, Captain America: Civil War is the story where a major international incident involving the Avengers forces the team to confront their actions where Captain America and Iron Man diverge over ideals only to go into a conflict with several other members of the team taking sides. Directed by Joe and Anthony Russo and screenplay by Christopher Markus and Stephen McFeely, the film explores not just the idea of duty but also the aftermath of actions where both Captain America and Iron Man don’t see eye-to-eye where the former is forced to protect an old friend an incident that left people dead. Starring Chris Evans, Robert Downey Jr., Scarlett Johansson, Paul Rudd, Jeremy Renner, Don Cheadle, Sebastian Stan, Elizabeth Olsen, Paul Bettany, Anthony Mackie, Chadwick Boseman, Tom Holland, Emily Van Camp, Daniel Bruhl, and William Hurt as Thaddeus Ross. Captain America: Civil War is a thrilling yet provocative film from Joe and Anthony Russo.
What happens when a group of superheroes are forced to make a decision where they have to answer to the United Nations in order to protect the world from evil forces while not all of them want to answer to anyone? That is pretty much what the film is about where an incident that unfortunately left innocent people killed forces the Avengers to make a decision through an accord created by the United Nations. The guilt-ridden Tony Stark/Iron Man (Robert Downey Jr.) says yes to the accords feeling that the whole team needs to be in check and answer for their own faults. Steve Rogers/Captain America (Chris Evans) doesn’t want to sign as he isn’t sure about answering to any kind of authority preferring to trust his own judgment. The two would diverge further following an international incident in which Rogers’ old friend Bucky Barnes/The Winter Soldier (Sebastian Stan) a major suspect as everyone is unaware that a terrorist in Helmut Zemo (Daniel Bruhl) is trying to tear the team apart.
The film’s screenplay doesn’t just explore the subject matter of whether or not anyone should answer to the authorities in order to do their jobs but also into the mindset of the team. Colonel James “Rhodey” Rhodes/War Machine (Don Cheadle) and Sam Wilson/Falcon both know where they stand on the issue while Vision (Paul Bettany) also would make a decision as he tries to understand everything this accord is all about. Yet, there are those like Natasha Romanoff/Black Widow (Scarlett Johansson), Clint Barton/Hawkeye (Jeremy Renner), and Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) who do take sides but don’t want to split the team or cause any harm. Especially Maximoff who feels guilty for causing an accident that killed innocent people while Romanoff understands what Stark is saying but doesn’t want to go against Rogers who she’s become very close to. Once the team begin to diverge more where Prince T’Challa of Wakanda/Black Panther (Chadwick Boseman) wants to go after the Winter Soldier thinking he is involved as he, along with Rhodes, Romanoff, and Vision, would join Stark.
The script does have a structure as it relates to the events that would tear the Avengers apart where the second half would force both Stark and Rogers to turn to a few outsiders where the former would bring in Peter Parker/Spider-Man (Tom Holland) and the latter would get Scott Lang/Ant-Man (Paul Rudd) as it would lead to a showdown between the two factions. Yet, neither of them want to kill each other as they all want to do what is right though only a few would later realize what is really going on. The film’s third act is about Zemo and his motivations for tearing the Avengers apart but also make some startling revelations that wouldn’t just create a further schism between Stark and Rogers. It would be a moment that prove that, despite their intentions to do good, neither man have any clue on what is right for the world.
Joe and Anthony Russo’s direction is quite vast as it plays into a world that is quite chaotic yet there are those that want to do what is right. Yet, there’s a lot of post-9/11 imagery that looms into the film where the Avengers are forced to see that they unfortunately left people to die. While much of the film is shot in and around Atlanta and its Pinewood Studios with a few of it shot in Germany, Brazil, and Puerto Rico. It does have this feel of a world that is on the verge of change where safety is the main concern but who will be the ones to protect the people? The usage of wide and medium shots to play into locations as well as these meetings that occur as well as a scene where Rogers learn who Sharon Carter/Agent 13 (Emily Van Camp) really is and who she is related to. Even the close-ups add a lot to some of the dramatic moments as it says a lot of where the characters stand but also that not everything is black-and-white.
The action scenes are quite big and do have this air of spectacle as it relates to some of the powers that Ant-Man and Spider-Man would have as well as the intensity of the fighting. Even as they have this mix of humor from the two where it’s the latter that really shines as the character is someone that Rogers and other members in the team have a hard time disliking. The mixture of humor and action do help keep things entertaining while the Russos know when to give the action a break where there moments of exposition into what is going on. Yet, it doesn’t deter from the heart of the story as it relates to the conflict between Stark and Rogers where the two would have a showdown where they don’t just reveal what Zemo is doing but how he would tear them apart as it would also relate to Barnes and his work for Hydra. Overall, Joe and Anthony Russo create a sensational and compelling film about superheroes fighting each other over responsibility and who they should answer to.
Cinematographer Trent Opaloch does excellent work with the film‘s cinematography to play into the look of the many locations as they feel vibrant and colorful while some of the interiors including the ones set at a secret base and in Siberia are quite eerie in their look. Editors Jeffrey Ford and Matthew Schmidt do nice work with the editing as it is straightforward in the dramatic and light-hearted moments while doing some stylish fast-cutting in some of the action while actually making sense of what is going on. Production designer Owen Paterson, with set decorator Ronald R. Reiss and supervising art director Greg Berry, does amazing work with the set from the look of the Avengers home base to the look of the international buildings including the council meeting and a secret base that appears in the film‘s third act. Costume designer Judianna Makovsky does terrific work with the costumes in the way some of the casual clothes the Avengers wear as well as the suit of Black Panther and a more vibrant suit of Spider-Man.
Special makeup effects artists Andre Freitas and Bart Mixon do brilliant work with the look of Vision but also an old nemesis Rogers would confront early in the film. Visual effects supervisors Huseyin Caner, Dan Deleeuw, and Ray Giarratana do fantastic work with the visual effects in the way the action scenes are presented as well as the look of a young Stark during his presentation at MIT early in the film. Sound designers Nia Hansen, David C. Hughes, and Shannon Mills, with co-sound editor Daniel Laurie, do superb work with the sound effects as well as the sounds of explosions and such to capture the element of terror and chaos that looms throughout the film. The film’s music by Henry Jackman is wonderful for its bombastic score that plays into much of the action and drama as its usage of strings and woodwinds also add a lot to its suspense while music supervisor Dave Jordan provides a decent soundtrack that features bits of contemporary and old music from Rogers’ past.
The casting by Sarah Finn is incredible as it features some notable small roles from John Slattery and Hope Davis in their respective roles as Stark’s parents in Howard and Maria Stark, Kerry Condon as the voice of Stark’s A.I. program F.R.I.D.A.Y., Alfre Woodward as a woman who confronts Stark over Sokovia where her son was killed, Jim Rash as a MIT spokesman, John Kani as T’Challa’s father King T’Chaka of Wakanda, Martin Freeman as a government official in Everett K. Ross who tries to make sure the Avengers are in control, Frank Grillo as an old nemesis in Brock Runlow/Crossbones who tries to stage a theft in Africa where he battles Rogers, and Marisa Tomei in a fantastic performance as Parker’s aunt May who is kept in the dark about what her nephew is doing as she is met by Stark unaware of what is going on. Daniel Bruhl is superb as Helmut Zemo as this terrorist who has a big reason for unleashing havoc as well as trying to tear the Avengers apart.
William Hurt is excellent as Thaddeus Ross as the Secretary of State who is tasked with getting the Avengers to be in check for their actions as he tries to instill some authority that makes nearly everyone uncomfortable. Don Cheadle and Anthony Mackie are brilliant in their respective roles as Rhodey/War Machine and Sam Wilson/Falcon as two heroes who are both in different sides with Col. Rhodes being in agreement with the accords and Wilson on the opposite as he also has to contend with Bucky over Rogers’ allegiance in a funny manner. Emily Van Camp is wonderful as Sharon Carter as a former S.H.I.E.L.D. agent who works for the CIA as she tries to help Rogers find Barnes while providing an emotional connection as it relates to a person in Rogers’ past. Paul Bettany is terrific as Vision who tries to understand what the accord is about as he would participate in aiding Stark while trying to come to terms with the ideas of humanity as well as the fact that there are consequences.
Elizabeth Olsen is amazing as Wanda Maximoff/Scarlet Witch as a young woman with telekinetic powers who copes with an incident where she accidentally killed people as she also deal with the idea of authority where she sides with Rogers. Paul Rudd is hilarious as Scott Lang/Ant-Man who is asked by Rogers to aid them where he provides some very funny and exciting moments in the battle while Jeremy Renner is great as Clint Barton/Hawkeye who helps Rogers in the conflict as well as provide some funny banter of his own. Chadwick Boseman is marvelous as T’Challa/Black Panther as a prince who goes after Barnes over an incident as he sports a suit with cool nails as he proves to be a formidable warrior that can kick some ass. Scarlett Johansson is remarkable as Natasha Romanoff/Black Widow as an assassin who is conflicted in her allegiance with Stark as she also understand what Rogers is feeling as she also realizes that not everything Stark wants to do is honorable.
Tom Holland is phenomenal as Peter Parker/Spider-Man as he’s just this regular teenager who is smart that is asked by Stark to help him where Holland exudes not just a lot of personality but also humor into his role as he is just a lot of fun to watch. Sebastian Stan is sensational as Bucky Barnes/The Winter Soldier as Rogers’ old friend who copes with who he really is as well as knowing what could make him into this deadly assassin that couldn’t stop where he also is aware that is a target for something he didn’t do. Robert Downey Jr. is tremendous as Tony Stark/Iron Man as a man who is dealing with guilt and other issues who agrees to the accords while trying to stop Rogers and capture Barnes where revelations about Barnes would consume him. Finally, there’s Chris Evans in a spectacular performance as Steve Rogers/Captain America as a man who opposes the accords due to his distrust towards governments where he also copes with loss and responsibility where he also tries to protect his friend not fully aware of what Barnes had done forcing him to see the faults in himself.
Captain America: Civil War is a sensational film from Joe and Anthony Russo. Thanks in part to its large ensemble cast, compelling themes of regulations and responsibility, vast set pieces, and killer action. It’s a blockbuster film that manages to be a lot of things and more where it is entertaining as well as being very smart and provoke some discussions towards its audience without being heavy-handed. In the end, Captain America: Civil War is a phenomenal film from Joe and Anthony Russo.
Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Marvel Phase Three Films: Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2016
Based on the book by W. Stanley Moss, Ill Met by Moonlight (Night Ambush in the U.S.) is the story of a couple of British officers who arrive in Nazi-occupied Crete where they abduct the island’s commander. Written for the screen, produced, and directed by Michael Powell and Emeric Pressburger, the film is a dramatic account of Moss’ actual real-life work as a British agent who does whatever he can to win the war as he is played by David Oxley. Also starring Dirk Bogarde, Marius Goring, and Cyril Cusack. Ill Met by Moonlight is a gripping and engaging film from Michael Powell and Emeric Pressburger.
Set in April of 1944 during Nazi’s occupation of Greece, the film revolves around two British officers who are tasked with a mission to kidnap a Nazi general at the island of Crete and bring him to Cairo so that the Nazis would be forced out of the island. It’s a film with a simple plot as it plays to two men planning a mission but also deal with what lays ahead as they’re aided by Greek resistance forces at the island who are fighting a guerilla war with the Nazis. The film’s script play into the mission that Major Fermor (Dirk Bogarde) and Captain Moss would go as they had to make sure things go right and no one gets killed. Even as they have to deal with their hostage in Major General Heinrich Kreipe (Marius Goring) who is a man of great intelligence as he knows what he has to endure. Yet, there is a sense of respect between the general and his captors as it relates to strategy as well as making sure the general isn’t killed.
The direction of Michael Powell and Emeric Pressburger is actually simple as it’s more grounded despite that it’s largely shot at Pinewood Studios with some location shooting in the French-Italian alps and at the Cote de Azur in France. The usage of wide and medium shots play into the vast locations while the latter would also be used for these scenes in campfires and inside the homes of the locals at Crete to showcase a world that Major Fermer and Captain Moss are in. The approach to suspense is slow-building as much of the action in the second half is set in the mountains where the British and Greek resistance fighters are trying to hide from the Nazis as well as hide General Kreipe who will try to get their attention. Yet, there are these moments where Major Fermer and Captain Moss are trying to see what to do as it relates to its climax where General Kreipe would know they would have something up their sleeve as he tries to bribe a young Greek boy to ruin things as it has this battle of wits in some respects but one based on respect. Overall, Powell and Pressburger create a riveting yet compelling film about an abduction mission in World War II.
Cinematographer Christopher Challis does excellent work with the film‘s black-and-white photography to capture the naturalistic look for many of the film‘s daytime interior/exterior scenes as well as some lighting for some of the nighttime interior/exterior scenes. Editor Arthur Stevens does nice work with the editing as it is mostly straightforward to play up the suspense as well as some of the action in the film. Art director Alex Vetchinsky does terrific work with some of the set pieces such as the homes of the locals in Crete as well as the look of the warships the British officers would depart from. Sound editor Arthur Ludski does superb work with the sound to capture some of the action involving a few gun battles as well as the sounds of planes and cars surrounding the mountains. The film’s music by Mikis Theodorakis is fantastic for its music score that mixes some orchestral bombast with traditional Greek music including its percussions to help play into the suspense and action.
The film’s amazing cast include some notable small roles from Michael Gough as a Crete local, Christopher Lee as a Nazi officer attacked at a dentist, Dimitri Andreas as a Crete boy who would help the officers while befriending General Kreipe, and as a trio of Greek resistance fighters helping the British officers in Brian Worth, Paul Stassino, and Rowland Bartrop. Cyril Cusack is terrific in his small role as Captain Sandy Rendel who would also aid the officers in planning the capture as he would later take part in the film’s climax. David Oxley is fantastic as Captain W. Stanley “Billy” Moss as Major Fermor’s partner who would come up with ideas and do whatever he can to make sure no one gets killed.
Marius Goring is excellent as Major General Heinrich Kreipe as the island’s commander who is kidnapped as he realizes what he goes on where would try to resist only to realize the men he is dealing are just as smart as he is where he has a bit of respect for them. Finally, there’s Dirk Bogarde in a brilliant performance as Major Patrick “Paddy” Leigh Fermor as the leader of this operation who tries to ensure everything goes right while dealing with General Kreipe as he knows that he is an amateur in situations like this but does whatever he can to ensure the general’s survival.
Ill Met by Moonlight is a marvelous film from Michael Powell and Emeric Pressburger. While it is a different war film of sorts where there isn’t a lot of violence in favor of planning, character study, and a battle of wits. It is a film that still manages to offer a lot in terms of suspense as well as be a war film that doesn’t exactly play by the rules. In the end, Ill Met by Moonlight is a remarkable film from Michael Powell and Emeric Pressburger.
Powell/Pressburger Films: The Spy in Black - Contraband - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)
© thevoid99 2016
Based on the stories of E.T.A. Hoffmann and the opera of Jacques Offenbach, The Tales of Hoffmann is a multi-layered film that tells three different stories in a stage setting captured on film. Written for the screen and directed by Michael Powell and Emeric Pressburger, the film is a mixture of fantasy, ballet, and opera told in a thrilling and cinematic fashion. Starring Moira Shearer, Robert Rounsville, Leonide Massine, Robert Helpmann, Pamela Brown, Ludmilla Tcherina, and Ann Ayars. The Tales of Hoffmann is a majestic and evocative film from Michael Powell and Emeric Pressburger.
The film revolves around three different stories told by its author during an intermission for a ballet performance where he tells friends at a tavern about three women he had fallen for. The first was an automaton ballerina the man would fall for unaware of who she really is as their creators would scheme and ruin things for him. The second involves a courtesan, who works for an evil magician, who would seduce him in order to steal his soul. The third story plays into an ailing soprano singer who cannot sing as it means death until she is coerced by an evil doctor. All of which told by this writer in Hoffmann (Robert Rounsville) who would play the protagonists in his stories while he would also deal with a rival in Councillor Lindorf (Robert Helpmann) who would be seen as the antagonist in all three stories. At the same time, Hoffmann’s aide Nicklaus (Pamela Brown) would be in all of the stories to observe everything as it relates to many of Hoffman’s failures.
The film’s script by Michael Powell and Emeric Pressburger is told in a sort of reflective narrative where it plays into Hoffmann telling his stories to people at a tavern as it then moves into the first story and then to another and then to the third story. It’s a film with simple narrative yet it is largely told by the music where a lot of the dialogue in the film is sung in an operatic fashion thanks in part to Dennis Arundell who would write the film’s English libretto for the singers to sing. Each story would play into Hoffmann’s attempt to win over an object of desire but always has to endure the presence of Lindorf who would play different personas to stop him from winning over a young woman.
The direction of Powell and Pressburger is quite simple as much of it is shot inside a soundstage that acts as this artificial stage where much of the ballet and operatic performances take place. The usage of wide and medium shots capture everything that is going on in the stage as well as some crane camera shots to shoot from above to capture some of the dancing as well as the singing. There aren’t a lot of close-ups in the film in order to capture the sense of performance that happens on the stage yet it has this sense of flair in the camera movements. The usage of tracking and dolly shots would say a lot into way the dance, which is wonderfully choreographed by Frederick Ashton with additional work from Alan Carter and Joan Harris, is presented as well as some camera tricks to play up this sense of fantasy as well in the wide shots to see the staging of these sets. While each story has its own personality, they all display that sense of fantasy but also a dramatic flair that adds so much to what Hoffmann would endure as the film would end with not just the reality of what he faced in his stories. It is also in the fact that he could’ve handled things better as well as find a way to outwit Lindorf. Overall, Powell and Pressburger craft a ravishing yet magical film about a man’s trilogy of stories of love lost.
Cinematographer Christopher Challis does brilliant work with the film‘s gorgeous Technicolor cinematography as it captures every bit of detail in the color of how the sets look and how things are lit to play up the sense of fantasy. Editor Reginald Mills does amazing work with the editing with its rhythmic cuts, stylish usage of dissolves to play up the fantasy, and other stylish cuts to say a lot about the dancing and the world these characters are in. Production/costume designer Hein Heckroth, along with art director Arthur Lawson and co-costume designer Ivy Baker, does fantastic work with not just the look of the sets as it plays up this air of fantasy and artificiality but also in the costumes including the dresses and gowns the women wear in the performances.
Makeup artist Connie Reeve does nice work with the makeup in the way the characters look to the environment they‘re in. Sound recordist Ted Drake does terrific work with some of the minimal sound effects that is recorded in the film as much of the sound work is done in post-production. The film’s music of Jacques Offenbach, with English libretto by Dennis Arundell, is incredible as its mixture of opera and orchestral music is key to the film as it helps tell the story as well as play into many of the trials and tribulation that Hoffmann would endure throughout the film as the string arrangements under the music direction by Sir Thomas Beecham.
The film’s wonderful cast includes some notable small roles from Frederick Ashton in a dual role as the puppet master Kleinsach from the first story and Cochenille in the second story with Murray Dickie as his singing voice, Mogens Wieth and the singing voice of Owen Brannigan as Antonia’s father in the third story, and Edmond Audran as Stella’s dance partner in the prologue. Leonide Massine is fantastic in the multiple roles as the automaton creator Schemil in the first story as well as a count in the second story and a deaf servant in the third with Owen Brannigan and Grahame Clifford in his singing voice. Pamela Brown is superb in the role of Nicklaus as Hoffmann’s friend who observes everything that goes on while being the conscience of sorts as she also tries to stop Hoffman from making the wrong decisions. Ana Ayars is excellent as the third woman in the story named Antonia as an ailing singer who deals with the temptation of singing again knowing that she’ll die if she does as Ayars also provides her own vocals.
Ludmilla Tcherina is brilliant as the courtesan Giulietta as this object of desire in the second story who is really working for one of Lindorf’s personas as her singing voice is dubbed by Margherita Grandi. Moira Shearer is amazing in a dual role as Hoffmann’s current object of desire in a prima ballerina named Stella in the film’s prologue/epilogue and as the automaton ballerina known as Olympia who is full of life but is also very odd as her singing voice is dubbed by Dorothy Bond. Robert Helpmann is great in the multiple roles he plays as the film’s antagonists in Lindorf in the film’s prologue/epilogue as well as the other devious and manipulative personas in the puppet maker Coppelius in the first story, the schemer Dapertutto in the second story, and the morose Dr. Miracle in the third story as his singing voice is dubbed by Bruce Dargavel. Finally, there’s Robert Rounseville in a sensational performance as Hoffmann as this poet who tells the story of heartbreak and loss as he endures so much while doing things that would also undo with Rounseville maintaining a great presence as well as doing his own singing.
The Tales of Hoffmann is a phenomenal film from Michael Powell and Emeric Pressburger. Featuring a great cast, dazzling visuals in its photography and art direction, and a sumptuous music score. The film isn’t just one of the quintessential films of the Archers production team but also a film that manages to convey the idea of fantasy with a richness that isn’t seen very much in films. In the end, The Tales of Hoffmann is a spectacular film from Michael Powell and Emeric Pressburger.
Powell/Pressburger Films: The Spy in Black - Contraband - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)
© thevoid99 2016
Directed and edited by Ramin Bahrani and written by Bahrani and Bahareh Azimi, Goodbye Solo is the story of a Senegalese cab driver working in Winston-Salem, North Carolina where he befriends a depressed old man. The film is an exploration of friendship and alienation in a world that is increasingly demanding and modern where two men go into a personal journey. Starring Souleymane Sy Savane, Diana Franco Galindo, and Red West. Goodbye Solo is a mesmerizing and heartfelt film from Ramin Bahrani.
A Senegalese cab driver is asked by an old man to drive him to Blowing Rock, North Carolina on a specific day as it’s the day the man has chose to die. The cab driver is confused by this demand but is willing to do it as he eventually befriends this depressed old man who seems to have been lost in the world. It’s a film that explores an unlikely friendship between this immigrant who is trying to make a better life for himself but also try to get to know this old man. The film’s screenplay by Ramin Bahrani and Bahareh Azimi is quite minimalist as it immediately begins with this cab driver in Solo (Soulemayne Sy Savane) who reluctantly takes money from this old man named William (Red West) as Solo knows he needs the money but is confused by William’s request.
The film takes place in the span of two weeks in Winston-Salem as it explores Solo trying to see if William would change his mind by introducing to his family. Even to the point where William would be happy but it wouldn’t last as there isn’t much for William to offer to the world which has passed him by. For Solo, he’s working to become a flight attendant as William would help him study for the test and pass as it’s Solo trying to prove that he can do more than just be a cab driver for his wife. Another source of optimism that would be helpful for both Solo and William is the former’s stepdaughter Alex (Diana Franco Galindo) whom the latter would also befriend despite his reluctance to open up.
Bahrani’s direction is definitely ravishing for not just the minimalist approach to the story but also setting it almost entirely in Winston-Salem as it is a character into the film. It’s a city that is this melting pot of not just immigrants whether they’re from Africa or Latin America but also a land that is also filled with people who are born in the South. Much of the compositions for the city are shot with a sense of intimacy and realistic approach with very little wide shots in favor of medium shots as it relates to the characters in the film. Bahrani’s usage of close-ups and medium shots for much of the scenes set in the cabs as well as scenes to show the lives of Solo and William play into that sense of intimacy. Also serving as editor, Bahrani’s approach is very straightforward where it’s more about capturing what is going on and just let the camera play things out on a take instead of cutting from one perspective and to another.
Bahrani’s compositions would instead have his actors be framed where one would be in the foreground and the other in the background to get a sense of how Solo is trying to connect with William or William trying to distance himself from Solo. It adds to the realities of their situations where Solo would face his own reality in the third act as he also a child coming into the world and the possibility that he might not succeed in becoming a flight attendant. The realities would lead to this climax at Blowing Rock which is this mystical gorge where the wind blow below from the forest against this gorge. If one was to drop something into the gorge, the wind would fly it up in the air as it becomes the centerpiece of the film where Solo would see something that couldn’t be explained as it also provides an ambiguity into his own experience. Overall, Bahrani creates a riveting and evocative film about two different men befriending each other for a personal journey.
Cinematographer Michael Simmonds does brilliant work with the film‘s cinematography as it has this very natural feel to the way many of the daytime interior/exteriors are presented including the scenes at Blowing Rock while using some lights for the film‘s interiors at night. Production designer Chad Keith and art director Adam Willis do nice work with the some of the minimal set pieces from the home that Solo lives in as well as the motel that William would stay in. Sound designer Abigail Savage does superb work with the sound as it play into the natural aspects of some of the film‘s locations including how music is heard on a radio or something as well as the naturalistic world of Blowing Rock. The film’s music by M. Lo. is wonderful as it is very low-key with its mixture of folk and ambient as it only plays in the final credits while music supervisor Joe Rudge create a soundtrack that is essentially music that is being played on a radio or from afar as it is a mixture of hip-hop, reggae, world music, rock, and country.
The film’s amazing cast include some notable small roles from Carmen Leyva as Solo’s wife Quiera, Mamadou Lam as a fellow cab driver, and. Lane “Roc” Williams as a passenger friend of Solo. Diana Franco Galindo is fantastic as Solo’s stepdaughter Alex who is full of life and energy as she manages to win over William while being someone who can get Solo to do things. Red West is great as William as this old man that is coping with a lot as he wants to end his life where he reluctantly befriends Solo as he still ponders about whether to end his life and see if he still has something to offer. Finally, there’s Soulemayne Sy Savane in an incredible performance as Solo as this hopeful and upbeat cab driver that is determined to make a better life for himself as he also befriends this old man where he tries to cheer him up and see that there are reasons to live no matter how hard life can be.
Goodbye Solo is a spectacular film from Ramin Bahrani. Featuring a great cast, a simple yet compelling premise, gorgeous visuals, and themes of loneliness and struggle. It’s a film that manages to be so much more in its simple premise while displaying something is very American in its realistic yet evocative setting. In the end, Goodbye Solo is a tremendous film from Ramin Bahrani.
Ramin Bahrani Films: Man Push Cart - Chop Shop - Plastic Bag - At Any Price - 99 Homes (Fahrenheit 451 (2018 film)) - The Auteurs #55: Ramin Bahrani
© thevoid99 2016
Directed by John G. Avildsen and written by Robert Mark Kamen, The Karate Kid Part III is the third film of the series where both Daniel LaRusso and Mr. Miyagi become victims in a revenge scheme by an old foe, his friend, and a young contender where the two find themselves diverging into different paths. The film is a revenge tales of sort but from the antagonists point of view where it’s the good guys that get attacked forcing them to fight back as both Ralph Macchio and Noriyuki “Pat” Morita respectively reprise their roles as Daniel LaRusso and Keisuke Miyagi. Also starring Thomas Ian Griffith, Robyn Lively, Sean Kanan, and Martin Kove as Kreese. The Karate Kid Part III is a silly and idiotic film from John G. Avildsen.
The film is a revenge tale of sorts as it relates to character of John Kreese where the film picks up months after the events in the second film where he loses his student and his dojo is going bankrupt where he gets help from his old Vietnam comrade in Terry Silver (Thomas Ian Griffith) who is a billionaire that actually founded the dojo. Silver decides to give Kreese a vacation to Tahiti while he would be the ones to find LaRusso and Miyagi and make their lives hell with the help of a vicious karate fighter who wants LaRusso’s title where Silver promises a cut of dojo’s profits if he beats LaRusso. It’s a film that is very strange in the way it handles the concept of revenge as it’s told from the side of its antagonists where it is an interesting idea but there’s a lot of problems with the way it’s handled.
Robert Mark Kamen’s script (which was largely re-written by another writer) doesn’t just portray many of the revenge aspects of the film to be very silly but it’s also in the motivations. While Kreese has legit reasons for wanting revenge on Miyagi and LaRusso, the character of Mike Barnes (Sean Kanan) is only involved because of money while Silver is just there for kicks. For LaRusso and Miyagi, the script has them returning from Okinawa where Miyagi loses his job until LaRusso has an idea to create a bonsai tree shop for Miyagi that he could run. At the same time, LaRusso is asked to return to defend his title but doesn’t want to at first until he is threatened and blackmailed by Barnes which only causes a schism in his relationship with Miyagi where he unknowingly turns to Silver for help unaware of Silver’s true intentions. The development in LaRusso is very startling in how bad his character would regress from confronting someone who is able to kill him to now being whiny and doing stupid things around guys who are just as idiotic.
Another aspect of the script that doesn’t work is another love interest for LaRusso in a pottery shop clerk named Jessica (Robyn Lively) who is really an uninteresting character that is put in bad situations whenever LaRusso finds himself in trouble with Barnes and his goons. It adds so much to LaRusso’s regressive development where he would become scared of these guys forcing Miyagi to finally step in and set his student back on the right path.
John G. Avildsen’s direction doesn’t really do anything new at all in terms of compositions and such but that isn’t really the problem with the film at all. Avildsen does manage to keep things lively and engaging at times despite the many problems with the script but it’s really a lot of things that is wrong. The film is set months or days after the event of the second film as it had been three years since the release of that second film and five years since the release of the first. There is something wrong with the way it is set as LaRusso looks older as well as the fact that a lot of things had changed in the past five years from the music and the culture itself. It is among the many things in the film that feels very wrong not just tonally but also in some of the visual aspects of the film. It’s also a bit more violent as it also adds to the awkwardness of what Avildsen wants. Even as the climax where LaRusso would face Barnes comes off as idiotic and pointless. Overall, Avildsen creates a very messy and nonsensical film about a man and his student being victims in a silly revenge scheme.
Cinematographer Steve Yaconelli does some nice work with the cinematography as it does have some amazing lighting in the sequence where Miyagi confronts Kreese, Silver, and Barnes along with some of the daytime exteriors as it‘s shot largely in Southern California. Editors John G. Avildsen and John Carter do OK work with the editing as it relates to some of the suspense and action though not enough work is put into trimming a few things that went on for too long. Production designer William F. Matthews, with set decorator Catherine Mann and art director Christopher Burian-Mohr, does terrific work with the sets from the look of Miyagi‘s home to the bonsai tree shop he and Daniel would hope to run.
Sound editor Scott Hecker does nice work with some of the sound in the way action is presented along with some of the intense moments in the Californian forests. The film’s music by Bill Conti is superb though it‘s just really just re-hashes of previous scores from the other films though they‘re still effective while music supervisor Brooks Arthur provides a terrible music soundtrack of pop and rock music of the late 80s that just sound very dated and slick.
The casting by Caro Jones is alright for the cast that is assembled as it features appearances from Frances Bay as the old lady that lived in Daniel’s old apartment complex, Randee Heller as Daniel’s mother, Gabe Jarret as a guy that was harassing Jessica at a club that Daniel would brutally beat up, fight choreographer Pat E. Johnson as the tournament referee, and Jonathan Avildsen as one of Barnes’ friends and goons in Snake who is just very annoying. Sean Kanan is alright as Mike Barnes as a skilled and vicious karate fighter who agrees to antagonize and scare LaRusso into taking part of the tournament for Silver with a cut of whatever Silver plans to do for the resurrection of the Cobra Kai dojo. Martin Kove is terrific as John Kreese as the former Corba Kai sensei who feels humiliated by Miyagi as he turns to Silver for help where gladly takes part in Silver’s plan for vengeance.
Robyn Lively is terrible as Jessica as this young woman who works at a pottery shop that finds herself in trouble whenever she’s around Daniel as it involves Mike Barnes as she and Macchio have no chemistry at all. Thomas Ian Griffith is fantastic as Terry Silver where he just exudes the idea of a slimy billionaire that wants to help his friend Kreese and just bring hell to Miyagi and LaRusso where he is just fun to watch. Noriyuki “Pat” Morita is excellent as Miyagi as the karate master who is concerned with LaRusso’s behavior as well as becoming disappointed with LaRusso’s decisions where he try to stay out of the way until he realizes what is really going on. Finally, there’s Ralph Macchio in a horrible performance as Daniel LaRusso where he spends a lot of the film either being whiny or being angry where Macchio would overdo things as he just makes LaRusso even more pathetic than he was in the first film.
The Karate Kid Part III is a horrible film from John G. Avildsen. Despite a few top-notch performances from Noriyuki “Pat” Morita and Thomas Ian Griffith, the film isn’t just a re-hash of sorts of the original but it lacks heart and characters to care for. In the end, The Karate Kid Part III is a film that just plainly fucking sucks.
John G. Avildsen Films: (Turn on to Love) - (Guess What We Learned in School Today?) - (Joe) - (Cry Uncle!) - (Okay Bill) - (Save the Tiger) - (The Stoolie) - (Fore Play) - (W.W. and the Dixie Dancekings) - Rocky - (Slow Dancing in the Big City) - (The Formula) - (Neighbors) - (Traveling Hopefully) - (A Night in Heaven) - The Karate Kid - The Karate Kid Part II - (Happy New Year) - (For Keeps) - (Lean on Me) - (Rocky V) - (The Power of One) - (8 Seconds) - (Inferno)
© thevoid99 2016
Directed and co-edited by Hiroshi Teshigahara, Antonio Gaudi is a documentary film of sorts about the famed artist and his works where Teshigahara serves as a tour guide to Gaudi’s great architecture including his unfinished masterpiece in the Sagrada Familia Cathedral. The result is an entrancing and evocative film from Hiroshi Teshigahara
The film is an exploration into the works of Antoni “Antonio” Gaudi (1852-1926) whose architecture is considered among the finest in the art form as many believe that the man was ahead of his time. While the film doesn’t exactly say anything much about Gaudi as an artist or a person, the film is more focused on his work in the buildings he created as well as his drawings and ideas he would create for Spain. What Hiroshi Teshigahara would do is create a visual poem where it would gaze and look into the many buildings and architecture Gaudi created as much of it is based in Barcelona. From the apartment buildings, parks, and houses in and around areas near Barcelona, Teshigahara and his cinematographers in Junichi Segawa, Yoshikazu Yanagida, and Ryu Segawa would shoot many of these locations where the camera would gaze very slowly to capture every attention to detail of these creations of Gaudi.
With co-editor Eiko Yoshida, Teshigahara would put in a few inserts of Gaudi’s drawings or events in Barcelona to take breaks between the different places he and his crew would look into. There’s also a couple of brief moments that involve dialogue as it both relates to the restoration of the Sagrada Familia Cathedral which serves as the film’s climax. Especially as the construction and restoration for this cathedral that is based on Gaudi’s model is shown the film where it is painstakingly slow but what had been completed and restored since the film’s release in 1984 showcases a sense of beauty. Especially in what it might turn out as it’s rumored to be completed in 2026 to 2028. Adding to the film’s unique visual tone and look is the music by Toru Takemitsu, with sound textures by Shinji Hori and Kurodo Mori, as it usage of ambient sounds in its percussions and strings play into the atmospheric look of Gaudi’s work with Hori and Mori adding some sound that is recorded on location in Barcelona that help play into its sound.
Antonio Gaudi is a phenomenal film from Hiroshi Teshigahara. It’s a film that doesn’t play by the rules of the documentary but rather be seen as a visual tour guide of sorts that takes a look into the work of Antoni Gaudi. In the end, Antonio Gaudi is a ravishing film from Hiroshi Teshigahara.
Hiroshi Teshigahara Files: Pitfall - Woman in the Dunes - The Face of Another - (The Man Without a Map) - (Summer Soldiers) - (Rikyu) - (Princess Goh)
© thevoid99 2016
