Directed By: Sam Mendes Written By: William D. Broyles Jr. Based on the book By: Anthony Swafford Cinematography: Roger Deakins Editor: Walter Murch
Cast: Jake Gyllenhaal, Jamie Foxx, Peter Sarsgaard, Lucas Black, Ming Lo, Brian Geraghty, Scott Macdonald
A psychological study of Marine’s state of mind during the Gulf War. Told through the eyes of a U.S. Marine sniper who struggles to cope with boredom, a sense of isolation, and other issues back home.
This film is a visually stunning coming-of-age story set in the armed forces. That might be a great Anti-war film in itself. As it shows men who believe in their country and want to go to war to defend it, but not that much happens as there is no war really going on. So we see the rigors of the day-to-day life of the platoon and how they slowly become disillusioned.
Though there are still plenty of stories to tell as we get more into their backgrounds and day-to-day lives. Much of it seems like much ado about nothing.
That provides a portrait of the rage and frustration of a group of soldiers. Who joined up looking to spill blood and kill but rarely ended up seeing any action. So they end up trying to find outlets for their aggression.
Jamie Foxx plays their angry commander. Who is also looking for glory days, but keeps coming up short.
While feeling the soldiers’ frustration is the film’s aim. You also feel frustrated with the film at times, for while it is vivid, barely anything happens.
So it ends up becoming a character study that truly only explores two characters deeply. Those played by Jake Gyllenhaal and Peter Sarasgaard. As the rest are more comedic.
So that the film offers a grand scale presentation and dark comedy throughout. Though more built around its star.
Despite all this, the film manages to make a small impact, more than some other films about the military or even war. The movie CHERRY with Tom Holland comes to mind. Even if at times it feels like it is presented as pop art of military life. Like a modern-day CATCH-22 only not as deep.
As the film is based on a book, really a memoir by the author of his time in the armed forces. So that it becomes a character study of the situation of the young man. The deprivation he experiences through it all. It seems more about the frustration of joining, thinking you will be a hero and make a difference, and then coming back home feeling like a failure and that you really had no impact. Though still a one-of-a-kind experience of male bonding.
Written & Directed By: Sam Mendes Cinematography: Roger Deakins Editor: Lee Smith
Cast: Olivia Colman, Michael Ward, Colin Firth, Toby Jones, Tom Brooke, Tanya Moore, Hannah Onslow, Crystal Clarke, Monica Dolan, Rob Cook
Hilary is a cinema manager struggling with her mental health, and Stephen is a new employee longing to escape the provincial town where he faces daily adversity. Together they find a sense of belonging and experience the healing power of music, cinema, and community.
This is pretty much what a prestige film is these days. An acclaimed director with a noteworthy cast. Offers a slice of life here a semi-autobiographical tale. That includes social issues, romance, and mental illness. As well as it is a character piece and a period piece.
This is also a love letter first and foremost it is the magic of Movies and their presentation houses. Theaters are treated like not only churches here but castles with many hidden passages and discoveries to be made.
The main story involves characters who are misfits in some way or another and considered different who find each other and inspire one another to be brave and believe in themselves and engage more in life.
While the romance feels a little far-fetched the performers make it believable. As the racial prejudice the film. Deals with is an issue that is dealt with wholeheartedly in one scene showing the ugliness and senseless violence it inspires and lives in. Though the scene should feel mroe powerful and better put together. It is a showpiece but Never quite has that energy.
In fact, an earlier scene with a disgruntled grumpy customer has more tension and says more than the mini-riot scene.
As usual, the film is beautifully filmed. As that might be sort of the problem. It is beautifully presented and is gorgeous on its own, but it’s never quite as deep as it should be. That it feels more like a showpiece. That has a bunch of intentions but never quite feels natural. It always feels like a production and you can see It’s Directions and manipulations. That comes off a bit corny and too idealistic.
Olivia Colman gives a good performance but again it feels like a performance that she has been there and done. Though she is the most memorable in the film. As she is pretty much one of the leads.
Michael’s award offers youth, innocence, and some charisma. I only wish the film would allow him to be a little more lively and less passive all the time. It is understandable in that climate why he might want to be, but he is also young and only wants nice does he show that righteous anger.
Colin Firth has a smaller supporting role and it seems as he gets older and once he won the Oscar. A lot of his roles are like this kind of an in-and-out. He is a major character in the story but only comes around when it needs him or he is available. He never seems to be in the leading roles he used to. He is a vital part of things but seems to be cameoing
This is a film foremost for people who love movies. The presentation and magic behind the scenes as well as in front.
As this film presents movie theaters and movies in a way that I have been talking about for years in writing and in conversations, but this film diverges in a different path. While still subtly spouting the gospel.
It can feel like a religion. As you base a lot of faith into these escapes and wish fulfillment
It also feels like after covid a kind of statement to show how beautiful and one-of-a-kind movie theaters are and that we should take full advantage of them to keep them here and alive. As streaming takes over and business practices theaters are trying to implement more to stay afloat financially are shooting themselves in the foot and really doing a disservice to the fans that still attend movies at theaters. It feels like a shakedown for staying faithful.
It’s a film you will enjoy though you might not take to heart as much as the film intended.
Written & Directed By: Joel Coen & Ethan Coen Cinematography By: Roger Deakins Editor: Joel Coen & Ethan Coen (As Roderick Jaynes)
Cast: Tom Hanks, Irma P. Hall, Marlon Wayans, J.K. Simmons, Tzi Ma, Ryan Hurst, Diane Delano, Jason Weaver, Stephen Root, Greg Grunberg A remake of the 1955 comedy, the story revolves around a Southern professor who puts together a group of thieves to rob a casino. They rent a room in an old woman’s house, but soon she discovers the plot and they must kill her, a task that is more difficult than it seems.
This is the first Coen brothers film where Joel Coen and Ethan Coen are both given directing and producing credits. They have shared these duties on all of their films, but Joel has always been listed as the director and Ethan as producer.
A goofy cartoon of a movie that seems like the actors all came to try and do ridiculous characters and accents but soon the fun and craziness become infective and you find yourself transfixed joining in on the fun. The film has certain dark humor that is also goofy and deadpan.
Though Tom Hanks is top-billed and certainly makes an impression. As it is the first time it seems to be him having fun with a role in a long time. Since it is rare he gets not only a challenge playing a part, but such an off-wall character seems to be liberating for him, but the true star of the film is Irma P. Hall.
One can see why the Coen Brothers choose to remake this. It’s certainly a Hollywood film for them with a big star, but they also subvert the film to their type of humor and have the film be inhabited by the type of characters who are common in their type of films. It was made during what I like to call their Hollywood years.
After the success of O, BROTHER WHERE ART THOU they seemed to be making fluff with big stars which may have been a strategic plan. So in the future, if they wanted to make more personal films they could get better budgets or at least enough financing based on their record of hopefully hit studio films. At least this film lets them further explore the southern culture and satirize it with a bit of nostalgic heart. Like their hit O, BROTHER WHERE ART THOU
The film reminds the audience how successful that film was and explores similar territory not as philosophical or deep. There is enough room for stylistic choices. If there is one thing that is right above this film it’s the rich atmosphere and warm colors that fill the screen. Like a southern gothic tapestry. You could almost taste the scenes. The Film involves plenty of Memorable characters that you hate to see go. Each could have been a start of there own movie or adventure.
As always with the Coens the film has a great soundtrack, Full of southern charm with gospel hits, Bluegrass, and hip hop.
Prior to filming, Tom Hanks had not seen The Ladykillers as he did not want it to prejudice the way he acted in the remake.
I almost like to think of the Hollywood movies they make as experimental at least for them. With an original idea but in the mode of old Hollywood classic films. The filmmakers are at home with the wild and wacky.
Whereas studio films they have the technicality down pat but when it comes to the more mundane slightly less outrageous aspects to story and character they can do it easily but you can see it makes them uneasy. It shows they are trying to do something completely foreign to them thus experimental
Directed By: Dennis Villeneuve Written By: Taylor Sheridan Cinematography By: Roger Deakins Editor: Joe Walker
Cast: Emily Blunt, Josh Brolin, Benicio Del Toro, Jeffrey Donovan, Victor Garber, Jon Bernthal, Daniel Kaluuya, Maximilano Herandez, Raoul Trujillo
An idealistic FBI agent is enlisted by an elected government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico.
This film is where director Dennis Villeneuve style really comes alive. Now while PRISONERS is a well directed film. I always had problems with it. Here Villeneuve’s style is crucial to the story.
It can only be explained as he has a knack for making scenes feel alive with tension. Even simple ones. He manages to catch you off guard so many times. That at any moment in his films anything can happen. Especially in the world the characters inhabit. Violence can break out at any time. Tension which he excels makes everything feel urgent and powerfully delivered. Makes it feel like anything can happen
The film while having violent scenes manages the trick of not really showing any violence but making it feel like there is more in the film then there actually is. The few scenes of violence are either so shocking or graphic. That in other scenes that even suggest it. Your imagination is already at work going overboard.
That is certainly a skill in story telling.
Here Emily blunt is our protagonist so we learn things just as she does and through the first half of the film. We realize we are on a mission, but just like her the rules and true objective are confusing and the rules keep changing. So that we are constantly confused even when the audience thinks it knows where the film is going.
She makes a good lead as her character proves both tougher and more fragile then she is presented. Seeing her in EDGE OF TOMMOROW convinced most audiences of her ability to be tough. Which she uses here, but here she also reminds us of how deep and emotional she can be whole Doing or at least showing so little.
Initially, the director was asked to rewrite Emily Blunt’s part for a man. But, Denis Villeneuve wanted Emily Blunt for the role after he saw her in The Young Victoria.
The film could easily be compared to films like TRAFFIC. For how it mainly shows the government side of taking down drug cartels, but the film also manages to tell small Individual stories of different characters and their position in this trade. What it also manages to do is remind the audience yes we are in this films singular world, but there is a greater real bigger world out there. That is our reality that these characters live in also.
Some night even compare the film to ZERO DARK THIRTY. If they did the only reason I can see is that they both have a female protagonist who learns to become more cautious and tougher as the film goes along. As well as learning more information about her supposed target through various different governmental agencies. As well as working with special teams to extract certain people to get to main targets. Though that film is more fact based. This one deals with a real subject, but manages to create it’s own story. This film is truly it’s own Animal
No matter what is shown and not shown this film is brutal. It is a cutthroat world they operate in.
There are some nitpicking like why at first do they forbid her partner access to go with them. Then throughout they seem to not mind if he is there.
Josh Brolin is good as the charismatic leader of this force. Who seems to operate in bureaucracy and in shadows, but the films MVP is Benicio Del Toro as a badass man of mystery. Though his character is mostly quiet. There is an intensity and toughness about him. That makes him look world weary, but constantly sharp. He takes no prisoners and seems to have no moral guide. I missed this type of performance from del toro. He played this type in SAVAGES, but that character was more of a loud mouth and sadistic for fun. Here he does it because he has to and can. If it helps achieve whatever mission he is on.
Throughout the film. The story plays out slowly only revealing itself when it has to. Even when we are privy of scenes and information that blunt isn’t. There isn’t too much revealed. So we are still just as unsure as she is. History is more reveled slowly about the characters rather then present it as soon as we meet them.
The shots throughout are beautifully composed and framed. That makes the territories they govern and go through come Alive. Even in their plainness. They feel constantly full of mystery even though they are mostly plain.
Though the film is structured well and directed well. It doesn’t feel overly stylized.
This film is a doozy, it is wild, yet calm. Epic and far reaching yet small.
The acting that plays out constantly or at least the threat of it Is not the kind you expect in a film Like this. No big action set pieces that rely on the audience finding a thrill. Like it is a roller coaster. Often the violence is either surprising, quick or just plain unorganized in the manner that it happens. This isn’t a thrill seeking movie. It is a thrill feeling movie.
Though it more relies on a moral meter. Rather than having a clear political message or even discussing the politics of the situation. It is matter of fact, yet offers a deep reserve for the audience to ponder. As it Also doesn’t offer any answers. Leaving it more of an open ended film. It’s not even really too much of a political film More like an extreme procedural.
Now while this film could have been made with any director. I believe the reason the film excels is because of director Dennis Villeneuve his style totally fits in with the story and reminds one of the promise he showed with the film INCENDIES. As with his other films though acclaimed. The style for me never quite fit the stories. Or the stories never quite fit his style. They took too many wrong turns or all there seemed to be was that style and little to no substance at least nothing deep. As the direction seemed to suggest.
Written & Directed By: Joel & Ethan Coen Cinematography By: Roger Deakins Editor: Roderick Jaynes
Cast: Josh Brolin, George Clooney, Alden Ehrenreich, Scarlett Johansson, Ralph Fiennes, Channing Tatum, Jonah Hill, Clancy Brown, Tilda Swinton, Frances McDormand, Christopher Lambert, Robert Picardo, Fisher Stevens, David Krumholtz, Alex Karpovsky, Alison Pill, Fred Melamed, Wayne Knight, Jack Huston, Agyness Deyn
Hail Caesar! Follows a day in the life of Eddie Mannix, a Hollywood fixer for Capitol Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock disappears, Mannix has to deal with more than just the fix.
Cut To The Chase 