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By Sunil Dhokia With a slick, well-oiled collection of action scenes and some powerhouse performances from Tom Cruise and Robert Duvall, Tony Scott's racing action drama manages to get to the finish line despite a few hiccups along the way. Spoiler-Warning: I will be covering the key plot points in Days of Thunder so if you have not seen the movie, I would advise that you watch the movie first and then come back to my review to avoid any narrative details. What's the Movie About? Directed by Tony Scott, Days of Thunder (1990) is a sports action drama in which race car driver, Cole Trickle (Tom Cruise) is thrust into the world of NASCAR racing. He quickly develops a rivalry with a driver, Rowdy Burns (Michael Rooker) until a crash during one of their races threatens to end both of their careers. When Rowdy Burns is in hospital after learning that he has to undergo brain surgery that rules him out of Daytona 500, he asks Cole to drive his car at the event. It's now up to Cole along with help of his driving mentor, Harry Hogge (Robert Duvall) as they go for a final push to try and win Daytona 500 for the first time. Positives Where Days of Thunder excels is in its acting and action set-pieces: Acting Believe it or not, there was a time when Tom Cruise appeared in movies that allowed his acting abilities to be front and centre of the camera. Days of Thunder strikes a balance between the action scenes we've come to expect from Tom Cruise and the dramatic side to his persona. The story uses a straightforward character arc for Cole Trickle: Cole thinks he's untouchable at the beginning of the movie, he's then humbled by a near-fatal car crash and then he finds the strength to race in the final NASCAR event. This character arc allows Tom Cruise to portray the cocky, brash and arrogant qualities that makes Cole anything but a sympathetic character when we first meet him. What's more interesting is the psychological effects that Cole experiences in the aftermath of his car crash. It's here that the empathetic and therefore engaging side of Tom Cruise's acting comes to fruition as he conveys the vulnerable and frightened qualities of Cole. In any case, Tom Cruise brings to the table his youthful charm and wit to the movie's advantage as we're always rooting for him to win his NASCAR events. Robert Duvall is dependable as ever in his role as Cole Trickle's mentor, Harry Hogge. Stoicism, a father-like figure and a great sense of humour are qualities that Robert Duvall infuses in the character of Harry. His chemistry with Tom Cruise is the emotional throughline that keeps the movie ticking along; even during the movie's second act that takes a break from the thrills and spills of the NASCAR world. In a movie that is mostly filled with one-note characters, Robert Duvall conveys Harry with a sense of gravitas to his character's journey. The scenes in which Harry is talking to his car or his conversations with Cole allow Robert Duvall to show the caring, loving side to his character and the passion that he has towards NASCAR. Action In a movie that focuses on the phenomenon of NASCAR, if the action doesn't deliver then the movie doesn't deliver - It's as simple as that. Under the assured hands of the late Tony Scott, the racing set-pieces capture the chaotic and frantic nature of being inside a NASCAR vehicle. The use of POV (point of view) shots particularly when seeing the action from Cole Trickle's perspective allows the audience to experience the sheer power and force of these vehicles as well as the inherent dangers that come when driving a vehicle at high speeds. The use of quick cuts during the action scenes between Cole Trickle and his rival drivers along with a shaky camera technique also allows us to experience the adrenaline and rush of driving a NASCAR vehicle. Its edge of your seat action as Tony Scott understands the importance of keeping the camera in a constant state of motion so that the action maintains a high intensity of excitement. Furthermore, Tony Scott decides to set each of the NASCAR events during the day. This choice coupled with the use of wide-shots at various points in the races ensures that we have a clear picture of where the drivers are positioned to one another. Negatives The characterisation of Doctor Claire Lewicki along with her relationship with Cole Trickle stop Days of Thunder from achieving first place at the finish line: Dr Claire Lewicki Nicole Kidman as Dr Claire Lewicki is, unfortunately, a character of its time as the thankless love interest to Cole Trickle. In typical Hollywood fashion, the movie has her character shift from her respectable profession as a Doctor to suddenly becoming the girlfriend of Cole Trickle, complete with Claire taking days off the job without any moral regard or regret. It's not that Nicole Kidman is doing a bad job in the role by any means. On the contrary, she's doing the best she can with the material she's been given. It's as if the producers felt that in keeping the masculine nature of the movie, we must see Nicole Kidman have sexual interactions with Tom Cruise for fear that male audiences wouldn't otherwise be interested in her character. Scenes such as when Claire is examining Cole in the aftermath of his car crash, in which she randomly kisses him on two separate occasions, are completely out of left-field with her character. Relationship between Cole Trickle and Dr Claire Lewicki Much like Michael Bay today in his macho-orientated movies, Tony Scott portrays the female characters in Days of Thunder as nothing more than objects to be gratified by their male counterparts. And in the case of the relationship that forms between Cole Trickle and Dr Claire Lewicki, this is no different. Except for a few scenes in which Claire uses her expertise to explain to Cole why he shouldn't go back into NASCAR after his accident, the backbone of her relationship with Cole is for her to be a sexual release for his character. The scene when Cole and Claire are making love in which she says to him show me what control is with how he feels when driving a NASCAR vehicle is about as cringy as a love scene is going to get. Watching these scenes in the context of today's movies shows how far Hollywood has come in its portrayal of women and how there's still a long way to go before we see female characters across the board being portrayed as equal to their male equivalents. Summary
Whether you're a NASCAR fanatic or not, there's plenty to admire about Days of Thunder, with Tom Cruise and Robert Duvall's commanding performances along with a bevy of adrenaline-fuelled action scenes combining in an event you won't want to miss. Verdict on the Movie 7.5 out of 10 Your Thoughts What are your thoughts on Days of Thunder? Do you think that the action scenes have aged well in the onslaught of action movies we have today? Comment below as I'd love to hear your thoughts. All images above and below and their copyright belong to Paramount Pictures and any other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.
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By Sunil Dhokia Anchored by an engaging performance from Steve Carell, Welcome to Marwen is another example of Robert Zemeckis's knack for merging special effects with great storytelling. What's The Movie About? Directed by Robert Zemeckis, Welcome to Marwen (2018) is a drama that is based on the true-life story of Mark Hogancamp (Steve Carell) who after being beaten to near-death by a group of white supremacists, builds the fictional miniature village of Marwen to help him cope with his PTSD. Spoiler-Warning: I will be covering the key plot points in Welcome to Marwen so if you have not seen the movie, I would advise that you watch the movie first and then come back to my review to avoid any narrative details. Positives The combination of great storytelling, fantastic acting and excellent special effects come together to take the audience on an emotional journey: Story Movies that deal with PTSD often have a hard time balancing tones for fear of not paying the subject with a certain amount of respect. Fortunately, Welcome to Marwen has moments of genuine levity that does not comprise the dramatic focus of the movie. These moments come in the scenes that take place in Marwen as Mark Hogancamp's fictional counterpart, Cap'n Hogie's comradery with 'the women of Marwen' is a joy to watch. When Mark meets his new neighbour Nicol (Leslie Mann) for the first time, her introduction is the emotional pivot to Mark's story. The movie wisely focuses on Nicol's caring qualities as Mark's point of entry into reconciling his fractured relationship with the outside world. The movie also walks the tightrope of telling a story within a story. The screenwriters of Caroline Thompson and Robert Zemeckis achieve this by ensuring that Marwen acts as a mirror to Mark Hogancamp's inner demons in the real-world. An example is when Mark proposes to Nicol, just as Cap'n Hogie successfully did in Marwen. The only difference is that Nicol rejects Mark's marriage proposal telling us that the fantasies of Marwen don't always come to life. These emotional moments ensure that the world of Marwen always serves a purpose to Mark's story. Steve Carell Predominantly known for his comedic roles for a large part of his career, Steve Carell is another actor who makes the successful transition from the comedy world to more dramatic roles. Welcome to Marwen is an example of how he's able to perform in a dramatic role with relative ease. The character of Mark Hogancamp goes through a range of emotions in the movie from sad to paranoid and then happy. Steve Carell conveys each of these emotions with such conviction that we slowly become empathetic towards his situation. The scene where Mark breaks down after having a memory of the night he was beaten up, shows Steve Carell's ability to portray the sad and reclusive qualities of Mark's character without it ever feeling forced or not earned. Steve Carell also portrays the kind and honest aspects of Mark particularly in his encounters with Roberta (Merritt Wever) and Nicol, as these qualities make us yearn for Mark to seek peace within himself in his quest for justice against his attackers. Direction Robert Zemeckis brings a moderate pace to the way the story is told. In doing so, he allows the audience to experience the trials and tribulations that Mark Hogancamp goes through in his everyday life, without showing the cause of his PTSD for a good chunk of the movie. The scenes in which Mark talks to his Marwen dolls is a great example of how Robert Zemeckis takes the time to flesh out these moments just long enough so that we understand Mark's lonely existence as well as learning how he copes with his PTSD. The action set-pieces in Marwen are shot with the usual flair that we've come to expect from Robert Zemeckis. Marwen's CGI world allows Robert Zemeckis to use elaborate camera angles and shots to create a sense of excitement which always serves the story and characters at large. The final action scene in Marwen in which the camera cuts back and forth between 'the women of Marwen' fighting off Nazi soldiers and Cap'n Hogie's fight with another Nazi soldier exemplifies Robert Zemeckis's ability to create engaging action in which every action beat is used for maximum emotional impact. Special Effects Robert Zemeckis has always been known as a director, who (along with James Cameron) has a unique sensibility of using special effects in service of the story being told as opposed to using these tools as a mere gimmick (Michael Bay, I'm looking in your direction). Welcome to Marwen is another example of Robert Zemeckis of delivering first-rate special effects that never takes you out of the movie but immerses you into the world of Marwen. Marwen is a fully-realised world with bell towers, bars and churches all populating the village. The best use of this technology, much like he did with his movie 'Who Framed Roger Rabbit' is Robert Zemeckis's ability to incorporate the animated world into our reality. The scenes where Mark has visions of Nazi soldiers attempting to shoot and kill him in a courtroom or when he is laying down on the floor in his home as bullets are being fired through his front window are examples of how Robert Zemeckis uses visual techniques to succinctly convey the struggles that Mark experiences from his PTSD. The Bad A glaring flaw in the movie is the miscasting of Leslie Mann as the character of Nicol: Leslie Mann As an actor who like Steve Carell is known mostly for her roles in comedy movies such as 'This is 40', there's always been the feeling that Leslie Mann is unable to shake off her whiny voice and demeanour in her performances. While this acting approach works fine in her comedic roles, this doesn't mesh well with the dramatic focus of this movie. This is evident in the scene when Nicol rejects Mark's marriage proposal as Leslie Mann's attempt at crying comes off as weak and forced at best, thus exposing her lack of experience in dramatic roles. Though Leslie Mann does a serviceable job at times in her role as Nicol, it feels as if there's a lack of effort in the way she delivers her lines, doing so in a flat, dull manner in her scenes with Steve Carell. It could be down to the way that the character was written by the screenwriters' (which by the end of the movie, Nicol effectively goes through a flat-character arc) as there's the feeling that the role doesn't cater to Leslie Mann's limited acting capabilities and is a missed opportunity in selling the relationship between Mark and Nicol. Summary With an emotional story, some excellent special effects and the combination of Steve Carell and Robert Zemeckis results in a movie that is inspiring, sad yet uplifting. Verdict on the Movie 7 out of 10 Your Thoughts What are your thoughts on Welcome to Marwen? Do you agree that the special effects were in service of the story or not? Comment below as I'd love to hear your thoughts. All images above and below and their copyright belong to Universal Pictures and any other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Written by Sunil Dhokia An unevenly directed movie coupled with a muddled screenplay overshadows solid performances from its lead actors. What's The Movie About? Directed by Danny Boyle, Yesterday (2019) is a romantic comedy that follows the story of Jack Malik (Himesh Patel), a struggling musician who is the only person in the world that knows who The Beatles are, following a road accident that he experiences. Thereafter, Jack is propelled into the stardom of the music world after taking credit for the songs that The Beatles wrote. Spoiler-Warning: I will be covering the key plot points in Yesterday so if you have not seen the movie, I would advise that you watch the movie first and then come back to my review to avoid any narrative details. The Good In a movie that had so much potential, it unfortunately only delivers in the acting department: Acting Despite being mostly known for his work in T.V roles such as EastEnders, Himesh Patel makes the successful transition from the small screen to the silver screen. In a role that could have easily descended into fanboyism, Himesh Patel brings a reserved and quiet nature to his performance as Jack Malik with the loud, bravado moments saved for the range of songs that he performs from The Beatles back-catalogue. Lily James brings a level of warmth and charm to her performance as Jack's friend, Ellie Appleton. She shares an easy chemistry with Himesh Patel as the emotional moments that Ellie goes through in the movie such as when Jack talks to Ellie at a train station before he sets off to Los Angeles, allows Lily's acting chops to come to the forefront. For any Beatles fans out there (which I imagine are quite a few), they will be quite satisfied with how the movie pays homage to this iconic rock group. Fan favourite songs such as 'Eleanor Rigby' and 'Hey Jude' are performed and referenced throughout the movie, as Himesh Patel does a reliable job of showing his surprising vocal range to the various Beatles songs and therefore respecting the legacy of The Beatles. Negatives The lead performances in Yesterday are sadly let down by the movie's execution in its direction and screenplay: Direction and Screenplay Given director Danny Boyle's reputation as one of Britain's best exports in the movie industry along with screenwriter Richard Curtis's credentials in the romantic comedy landscape, it comes as quite a surprise as to how there's a lack of focus in the way that the story is told. This is evident when the story tries to bring back Ellie's character, each time Jack's fame rises throughout the movie. Jack and Ellie's romantic sub-plot doesn't quite hit home. The screenplay provides titbits of information about Jack and Ellie's friendship which the story never really delves into nor does it have any emotional impact on the audience. There's always the feeling that Danny Boyle needs to get through these emotional moments as quickly as possible so that we can hear Jack perform the next Beatles song. The lack of development to Jack and Ellie's relationship, particularly when Jack proclaims his love for her in the penultimate scene at Wembley Stadium (as a result of a below-par screenplay) means that its significance falls flat when in an ideal world, this should be the rousing moment where Jack's redemption in his character arc pays off. Summary A lack of clarity in the direction of the movie along with questionable choices in the screenplay, despite reliable performances from Himesh Patel and Lily James, stop Yesterday from achieving legendary status like its musical counterpart. Verdict On The Movie 6 out of 10 Parting Musical Gift In keeping with the title of the movie, I leave you with The Beatles classic song 'Yesterday' which is one of my favourite Beatles songs of all-time. I hope you enjoy this beautiful piece of music as much as I do. Your Thoughts What are your thoughts on Yesterday? Do you agree that the direction and screenplay hindered the movie? Comment below, as I'd love to hear your thoughts. All images above and below and their copyright belong to Universal Pictures and any other respective owners. All YouTube content below and their copyright belong to Calderstone Productions Limited (a division of Universal Music Group) and any other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Written by Sunil Dhokia Introduction The year of 2007 was in many ways a very special year in the decade of the 2000s. This is because of how refreshing it was to see a year in cinema that was dominated by auteur directors, who each had a singular vision that came through in their respective works. Some of the directors and movies that led the way included the Cohen Brothers 'No Country For Old Men', Paul Thomas Anderson's 'There Will Be Blood' and Ridley Scott's 'American Gangster'. Another movie that deserves to be mentioned in the same space as the above movies is none other than David Fincher's Zodiac, a story that in a lot of ways is not looking to draw attention to itself, but is more an exploration of the humanity within its characters. The reasons why Zodiac is a masterpiece in filmmaking are because of its compelling story thanks in large part to a complex and multi-layered screenplay from screenwriter, James Vanderbilt, its well-drawn out and flawed characters and the methodical way that David Fincher directs the movie. This article, therefore, will look at each of these elements in-depth to explore how they give the movie its masterpiece status. Spoiler-Warning: I will be covering many of the key story elements in Zodiac, as part of my discussion on the movie. Therefore, if you have not seen the movie, I would advise that you watch Zodiac first and then come back to my article to avoid any narrative details. What's The Movie About? Directed by David Fincher, Zodiac (2007) is a thriller, which follows the story of Robert Graysmith (Jake Gyllenhaal), a cartoonist who works for the San Francisco Chronicle, who along with his colleague, Paul Avery (Robert Downey Jr.) and Inspector Dave Toschi (Mark Ruffalo) collectively try to solve the case of the Zodiac Killer, who in the 1960s and 1970s, killed various people in the San Francisco Bay Area. The Zodiac Killer's calling card involved taunting the police by leaving various clues such as ciphers and letters on the murders that he carried out, in the hope of tricking the police into thinking that they are legitimate clues that will lead them to identify him as the Zodiac Killer. Story and Screenplay David Fincher and screenwriter, James Vanderbilt use some interesting storytelling devices in Zodiac, to ensure that audiences are never worn out at any point during the movie's grand runtime of 157 minutes. One of the storytelling devices that David Fincher and James Vanderbilt use is subverting audience expectations. The story achieves this wonderfully by teasing the audience into thinking that each time our heroes close in on a substantial piece of evidence that this will lead to a big break in the investigation. However, as only David Fincher does best, he puts external barriers between the suspects and the investigators on the case in which key factors do not fully align. A big moment is a scene where police officers Dave Toschi, Bill Armstrong (Anthony Edwards) and Jack Mulanax (Elias Koteas) are interviewing Arthur Leigh Allen (John Carroll Lynch) at his place of work. The camera cuts to Arthur on multiple occasions to reveal key visual cues that tie back to the Zodiac Killer, such as Arthur's wristwatch containing the Zodiac symbol or the military boots that Arthur wears that matches that boot prints found in one of the polices' evidence on the case. In these moments, it's as if the story is leading us down a path where these big reveals will provide these characters and the audience with a sense of closure, to prove that this man is the Zodiac Killer. What separates Zodiac from other movies in the thriller genre, is the realistic and pessimistic stance on the way the story is told, in which we don't always get the answers we want, despite what transpires in the movie. In a happier version of the Zodiac story, the evidence found by the police officers would be enough to lock Arthur away and provide resolution to the investigation and therefore provide a heroic ending for our characters. Instead, David Fincher and James Vanderbilt are not interested in taking creative liberties in their depiction of the Zodiac story, to create a happy, satisfying conclusion, that many Hollywood directors would take, under a much more heavy-handed studio system of governance, where final-cut of the movie was not approved (which David Fincher, fortunately, had on this movie - and it shows for the better). Arthur Leigh Allen, just as he was in the real-telling of events, was no more than a suspect, as the evidence found by the police officers was nothing more than circumstantial, resulting in Arthur no longer being a suspect in the investigation. This lack of a breakthrough in the case creates a static, circular motion of a never-ending state of affairs for the characters leading the investigation. This leads onto the passage of time storytelling device that David Fincher and James Vanderbilt use in Zodiac to show the lasting negative impact that the murders have on the people investigating the case. Scenes such as when Dave Toschi becomes a recluse in the aftermath of being accused of forging one of the Zodiac letters or Paul Avery's descent into alcohol and drugs, that spiralled out of control after he was threatened to be killed by the Zodiac Killer, all explore the themes of injustice, mental health and time, and question whether it's worth sacrificing our livelihoods in search of a truth that we may never come to find out. As a result, the longer that the investigation goes on for, it feels as though the characters sense of purpose and drive deteriorates with each passing year. This is reinforced by the fact the real Zodiac case was never resolved. The movie's ending follows that same lack of a resolution, creating a bleak, uncertain outlook as to whether people that commit acts of murder suffer any consequences to their actions. Exposition can in the wrong hands be a bore to watch and listen to. Ken Miyamoto at Screencraft defines exposition as the following: "Exposition is comprised of those pieces of vital information — often shared in dialogue — that are necessary for the audience to know and understand in order for character arcs and plot points to make sense. In Zodiac, this exposition often comes directly from the Zodiac Killer in the form of the various encrypted letters that he sends to the San Francisco Chronicle throughout the movie. This means that we learn more about the Zodiac Killer in these letters, as he reveals more about his dark, twisted viewpoint on the world, while often revealing his next targets, such attempting to kill children on school buses. When characters like Paul Avery repeat what's being said in the Zodiac letters, we not only learn more about the antagonist, but it also furthers the plot in terms of the police gaining more evidence in the hopes of discovering the identity of the Zodiac Killer. One of the key ways in which a movie can make good use of exposition according to Ken Miyamoto is to have "characters argue about the exposition". Fortunately, Zodiac has this in spades, in which the characters involved in the investigation often argue with one another over their stance on the case. The penultimate scene in the movie best conveys this technique, when Robert Graysmith and Dave Toschi are in a restaurant discussing their conflicting ideologies on the Zodiac case. This scene plays with the concepts of facts and mythology. Dave is basing his arguments entirely on the concrete evidence collected on the Zodiac Killer, whereas Robert is using circumstantial evidence to piece together the timelines of Arthur Leigh Allen and the Zodiac Killer, to establish a clear link in the investigation between these individuals. This creates external conflict between these characters, as the exposition or evidence in this example, is used to eventually support Robert's argument that Arthur Leigh Allen is the Zodiac Killer. This avoids the problem found in many procedural, serial-killer movies, where the information on a serial-killer is being spewed by a character just for the sake of establishing their background and personality. The movie in its use of having characters talk with one another on their conflicting viewpoints on the evidence of the Zodiac case achieves another one of Ken Miyamoto's ways to use good exposition in a movie that "if you have to tell, tell it well". Characters Zodiac succeeds where many thriller movies fail because it gives its characters clear motivations as to why they are involved in the story. If at the point in the movie in which Robert Graysmith becomes involved with the Zodiac investigation is poorly executed by the filmmakers, it either makes or breaks whether or not the audience cares for his exploits in the investigation. Fortunately, screenwriter, James Vanderbilt, gives Robert a concise, well-thought-out character arc along with a clear, personal motivation for his involvement in the case. One of the scenes at the San Francisco Chronicle, when Paul Avery asks Robert how he's able to translate the different Zodiac symbols in the form of words, Robert responds by saying he likes to do puzzles. This line is important as it provides Robert with a clear motivation for his involvement in the case, not because he's interested in finding the killer, but because he's doing it just for the sheer personal enjoyment from his hobby of solving puzzles. This allows the audience to be on-board with Robert's character throughout the entirety of the story, as this gives weight and substance to his character arc change from being a simple cartoonist, to being involved in the investigation of the Zodiac murders. Jason Hellerman at No Film School in his article 'Main Character and Protagonist: What's the Difference?', quotes John August, who defines "the hero of the story is the person you hope to see "win." They're who you root for". Up until Bill Armstrong's transfer away from the police's homicide division, Dave Toschi's demotion from the police force (after being accused of forging one of the Zodiac letters), and Paul Avery's descent into alcoholism and drug abuse, screenwriter, James Vanderbilt uses these characters are our point of view into the first two acts of the story. With every murder that the Zodiac commits, we as an audience are rooting for one of these heroes to find that vital piece of evidence that will turn the tide in the hunt to identify the Zodiac Killer. So when our heroes do experience moments of defeat, such as when Paul Avery receives a letter from the Zodiac Killer, threatening to end his life, we can't help but empathise with their decisions to drop their duties as heroes within the context of the story. As we enter the final act of the movie, we are now in the hands of Robert Graysmith, who now fills the hero void left by our preceding heroes. Despite Robert's lack of credentials in the investigative world, he fulfils the roles of both protagonist and hero, as someone who is our point of view for the remainder of the story, and given Dave, Bill and Paul's failed attempts to solve the Zodiac case, makes us root that much more for Robert to try and solve the mystery at hand. Direction David Fincher is one of the few directors working in Hollywood today, who always puts his unique stamp on the movies he makes. And in the case of Zodiac, under the hands of another director with a taste for depicting horrific acts of violence on-screen, this movie could have easily descended into a glorification of the Zodiac Killer's exploits, However, Fincher uses several directing techniques that he has often utilised throughout his career, to make a smart, introspective movie. David Fincher doesn't glamorise or dwell too long on the various murders that the Zodiac killer carries out in the movie. This includes the movie's opening scene, in which Darlene Ferrin (Ciara Hughes) picks up Mike Mageau (Lee Norris) from his house. As the scene progresses, the car stops at a parking spot in a hill area up in Vallejo, California. Fincher at this point deploys a low-medium shot when Darlene and Mike are talking to each other with their conversation ranging from Darlene's remark to Mike as to why he's wearing several shirts on the fourth of July to Darlene laughing at Mike's "fuck off and die" remark to a car passing by that set off some fireworks on their car. In these smaller, dialogue-driven scenes, Fincher cares more about humanising the victims of the murders rather than showing the bloodbath of the crime itself. Even when the murder does take place, Fincher deploys quick cuts between Mike and Darlene, as they are shot multiple times by the Zodiac Killer, and even deploys a wide-shot of the Zodiac Killer shooting his victims towards the end of the scene. This wide-shot is important as it conveys Fincher's decision to portray the Zodiac Killer as a cold, distant person. This reveals the movie's stance on the Zodiac Killer that he was as far removed from a sane human being as you could get. This separates Zodiac from other serial-killer movies, in which directors will often focus a little longer than they should on the murders that take place, as opposed to humanising the victims before their murders. What David Fincher is a master of is building tension, which does not always lead to an act of violence on-screen. Whilst the build-up of tension and bloody violence does happen particularly in the Zodiac murder scenes, Fincher also likes to tease the audience into inferring a violent act without actually showing one. One of the scenes that perfectly captures this technique is the phone interview that takes place on the T.V show hosted by Jim Dunbar (Tom Verica). Fincher uses two techniques to capture the inner conflict and menace of the Zodiac Killer. The first technique is the use of audio, as Fincher singles out the Zodiac Killer's voice to allow the audience to hear and understand the pain he's suffering such as his headaches. This means that the Zodiac Killer has our undivided attention at this moment, as we are all too aware that any point, he could turn into the threatening, callus person that we already aware of from his prior murders. The second technique that David Fincher uses in the above scene is the use of various cuts between shots. Particularly, when the Zodiac Killer threatens to kill people, Fincher decides to show the reactions of various characters that are watching the T.V interview both in the studio and elsewhere. This includes the moment when Robert Graysmith turns off his T.V so that his son does not hear any more of the Zodiac Killer's intentions to kill people. This technique allows us to understand how just one person, and their need to draw attention to themselves, can impact people in their everyday lives. With just the use of audio and a few simple editing techniques, Fincher creates a palpable amount of tension and a sense of uneasiness for the audience of what the Zodiac Killer may conjure up next, which creates a lack of predictability in the way the darker aspects of the movie unfold. David Fincher also makes the bold choice to make the movie at times a reflective one. In many mystery and serial-killer movies, these sort of scenes are often relegated towards the climax of the story. In Zodiac, Fincher decides to spread these reflective moments throughout the movie. Scenes such when Dave Toschi tells Robert Graysmith of the time and effort spent by him and countless other police officers in trying to resolve the Zodiac case and the strain involved in doing so. This means that the audience is allowed to get inside the mind of the characters involved with the investigations, rather than focusing on the inner workings of the Zodiac Killer. Fincher in these reflective scenes is conveying the message that people in positions of power such as law enforcement are not without their flaws, particularly when a lack of resolution in an investigation can damage their sense of pride within their profession, and how this can have lasting consequences on their everyday lives. In a way, Fincher is informing the audience that not every hero has a happy ending, and that the search for truth and justice often comes at a price for those that truly care for the cause. Conclusion The storytelling devices used by director, David Fincher and screenwriter, James Vanderbilt such as subverting audience expectations and its realistic and pessimistic view on the world, creates a story that grips us from start to finish and leaves with more questions than answers, a risk that many movies in the thriller genre tend to avoid. David Fincher and James Vanderbilt also build the foundations of the movie through a plethora of well-developed characters, who have clear motivations for their actions coupled with well-thought-out character arcs, which ensures that we're always emotionally invested with the characters that play a prominent role in the story. Even the most compelling story that has well-developed characters can only truly come to life if its in the hands of a great director. And in David Fincher, he is most definitely master and commander of the movie seas. By Fincher utilising the directing techniques that he has been known for throughout his career and applying them to Zodiac such as not glamorising the violence depicted on-screen, you're left with a movie that stands head and shoulders above many movies in the thriller genre. The lack of closure to the ending of Zodiac is a reflection of the bold and risk-taking nature of both David Fincher and the movie itself. In short, after exploring the concepts of story, characters and direction, we can see that once these ideas synchronise with one another, result in the masterpiece of a movie that is Zodiac. Parting Musical Gift I leave you with my favourite track on the Zodiac OST, with 'Graysmith Obsessed' by the composer, David Shire. The track perfectly captures (as spelt out in its title) the obsessive and compulsive nature of Robert Graysmith's character and his desire to do whatever it takes to try and solve the mystery of the Zodiac investigation. Your Thoughts What are your thoughts on Zodiac? Do you agree that the movie is a masterpiece? Comment below, as I'd love to hear your thoughts. All images above and their copyright belong to Paramount Pictures, Warner Bros. and any other respective owners. All YouTube content below and their copyright belong to Varèse Sarabande and any other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Written by Sunil Dhokia An inspiring and heartfelt movie, Jake Gyllenhaal delivers a captivating performance in this true-life story of Boston Marathon bombing survivor, Jeff Bauman. Note: This is going to be a spoiler-filled review of the movie, so if you have not seen Stronger, please watch the movie first and then come back to my review. What's The Movie About? Directed by David Gordon Green, Stronger (2017) is a biographical drama that looks at the story of Jeff Bauman (Jake Gyllenhaal) who was supporting his ex-girlfriend, Erin (Tatiana Maslany) for her run at the Boston Marathon, before becoming the victim of a bomb attack, in which he loses his legs. Thereafter, the movie focuses on Jeff's physical and mental recovery from the attack and how this affects his everyday life. Positives The movie works due to its execution in three key areas, in which these biographical-drama stories centred around one individual, makes or breaks the movie: Acting If there ever was a movie vehicle for Jake Gyllenhaal to end his long wait to win an Academy Award, many people including myself would put this performance on their shortlist. The phrases that come to mind when describing Jake Gyllenhaal's performance, once the credits start rolling, are pain, suffering and heroism. Jake Gyllenhaal is great at slowly revealing the various layers of suffering that Jeff Bauman experiences, as the movie progresses. This includes a scene in the second act of the movie, where Jeff breaks down in an elevator, after being asked to wave the Boston Bruins flag at one of their ice hockey games. Here we see the first signs of mental strain from his life-changing injury that not only affects Jeff, but also his friends and family that help and comfort him. Even in Jeff's darkest moments, particularly from the effects of his PTSD and alcoholism, Gyllenhaal always makes us care for Jeff's turmoils. This is because these moments are contrasted with lighter scenes such as family gatherings and days out to sporting events, which allow Gyllenhaal to portray the humorous, kind and caring qualities of his character. Tatiana Maslany as Jeff's on and off girlfriend, Erin, is excellent at showing the sacrifices her character takes to care for Jeff, including breaking off from her own family to be at Jeff's side. Her chemistry with Jake Gyllenhaal is the heart and soul of the movie, as it is an authentic portrayal of how two people in a relationship would react and behave in the aftermath of a horrific event. Jeff's PTSD coupled with his alcoholism creates an appropriate amount of tension between Jeff and Erin, especially in their verbal confrontations. These dark themes and issues allow the emotional sides of Jake Gyllenhaal and Tatiana Maslany's performances to shine through, and therefore allows us to gravitate towards their characters. Miranda Richardson as Jeff's mother, Patty, provides solid support in the movie. Miranda does a convincing job of playing an alcoholic character and her scenes with Jake Gyllenhaal reveal many traits to her character. This includes the countless journalist interviews that she books for Jeff, showing us that these nice gestures act as a defence mechanism to her drinking problems, bringing her brief moments of happiness in the process. Story and Screenplay With only a handful of screenwriting credits to his name, many inexperienced screenwriters coming into a deeply dramatic movie such as this one may have struggled to convey the conflicts that our lead character goes through in the story. However, John Pollono does a pretty good job of ensuring that the story's focal point never goes too far away from Jeff Bauman, from an everyday working man to suffering a range of emotions in the aftermath of losing his legs, before finding the strength to overcome his pain and fears to lead the best life he can under the circumstances. Speaking of emotions, the story does an exceptional job of not glossing over the pain and suffering that Jeff experiences, both physically and mentally. The standout scenes being Jeff's breakdown in the car with Erin towards the end of the movie, after finding out that Erin is pregnant along with the Boston Red Sox stadium scene, where Jeff is talking to various fans, who share their stories to Jeff on some of their hardships and struggles in life. These scenes and moments are wonderfully drawn out, as the audience is allowed to experience Jeff's state of mind, and therefore allows us to empathise and care that much more for his character. Negatives While the movie succeeds on Jake Gyllenhaal's performance along with a well-told, emotional story, two glaring flaws stop the movie from becoming a great one: Pacing and Editing Despite being just short of the two-hour mark, there is a prolonged sequence of scenes during in the first act of the movie that takes place in a hospital, as Jeff is being treated after the loss of his legs. Whilst these scenes are shot skillfully by cinematographer, Sean Bobbitt and acted impeccably by Jake Gyllenhaal, there's a sense that the movie could have focused a little more on the psychological impact of the bombing on Jeff. And while the movie has these moments spread throughout the story, such as Jeff boozing with his mother at their apartment along with his heavy drinking night out with his brothers and uncle, it would have been nice if the movie cut out a few of these hospital scenes in favour of exploring Jeff's PTSD a tad sooner in the movie. Summary
Notwithstanding some issues in the pacing and editing departments, Stronger works, mostly thanks to an Oscar-worthy performance from Jake Gyllenhaal as the movie successfully gets across its message that hope and strength will ultimately triumph the evils that are among us in the world. Verdict On The Movie 7 out of 10 Your Thoughts What are your thoughts on Stronger? Do you agree that Jake Gyllenhaal's performance was Oscar-worthy? Comment below, as I would love to hear your thoughts. All images above and below and their copyright belong to Lionsgate, Roadside Attractions and other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Written by Sunil Dhokia "You talking to me". The famous movie line and performance that catapulted this actor into the stratosphere of the movie world. We take a look at 5 performances (in reverse order) that have been significant in shaping Robert De Niro as an acting force to be reckoned with. 5. Leonard Lowe - Awakenings (1990) Robert De Niro has always been an actor that has challenged himself in every role he has played before this movie. However, his role as the catatonic patient, Leonard Lowe, is perhaps the most complex and challenging in his career to date. The subject of mental disorders and illnesses has been covered throughout the history of Hollywood, with varying degrees of success. De Niro's performance as Leonard Lowe leans towards the better portrayals on this subject matter. The actor's decision to study and research real-life catatonic patients in hospitals pays off in spades here, as you believe Leonard is among the unfortunate group of patients suffering from catatonia. De Niro's chemistry with the late Robin Williams, who plays Doctor Malcolm Sayer, is a highlight of the movie, as we experience the ups and downs of Leonard's temporary recovery from his disorder before the sad reality of his original existence comes back to hit the audience with a floodgate of tears. 4. Lorenzo - A Bronx Tale (1993) In his directorial debut no less, Robert De Niro was just assured behind the camera as he was in front of it. His character of Lorenzo, a hard-working, Italian-American, is one that audiences can relate to, as De Niro successfully portrays the honest, family nurturing qualities of his character. Particularly the relationship with his son, Calogero (Francis Capra and Lillo Brancato Jr) is beautifully realised, as the wisdom imparted by Lorenzo to his son throughout the movie are values and morals that we can all take in life. 3. Vito Corleone - The Godfather Part II (1974) Filling the shoes of Marlon Brando, after his Oscar-winning performance in The Godfather (1972) for any actor would have been daunting to downright impossible. However, as the story of Vito Corleone in part 2 of this saga takes place as a prequel to the events of the first movie, Robert De Niro was by default given creative freedom to craft his take on the character, whilst still honouring Brando's iconic performance. De Niro's method style of acting, even this early in his career, is there for all to see, as he inhabits the various facial expressions and body movements of Brando, whilst conveying how Vito was in a very different place in his life, as a young man trying to forge his path in the mafia underworld. 2. Jake LaMotta - Raging Bull (1980) In one of his most physically and emotionally demanding roles, Robert De Niro won his second Oscar, this time in his portrayal of the real-life boxer, Jake LaMotta. The movie lives up to its title, as De Niro portrays the worst qualities a human being can manifest within themselves. Hate, ego and rage no less are all characteristics that De Niro captures in his performance, with supporting characters such as his brother, Joey (Joe Pesci) and Jake's wife, Vickie (Cathy Moriarty) often feeling the full brunt of his not-so-subtle actions. De Niro shows us that whilst Jake LaMotta was in his prime a great boxer, he was unable to lead a happy life outside of the ring. Despite being an unlikable character for the bulk of the movie, De Niro somehow manages to captivate us right the way through to the movie's conclusion. 1. Travis Bickle - Taxi Driver (1976) You've probably guessed what my number one Robert De Niro performance was going to be from the opening of this article. In a movie that deals with heavy themes such as insanity, depression and loneliness, De Niro sells the idea of a man who's on the edge of a cliff, with nothing else to live for in this seedy, grimy and unjust depiction of 1970s New York. The combination of director Martin Scorsese, a one of a kind script from the great Paul Schrader and an acting masterclass from De Niro result in a character that while we never condone his evil thoughts and violent actions, we can at the very least understand that the environment he lives in is one that is not conducive for an individual that his share of problems. How De Niro did not win Best Actor for this performance was as much of a head-scatcher at the time as it is today. Parting Musical Gift As always, I leave you with a piece of music, in what's arguably one of the greatest movie themes of all-time. That is, of course, the 'Main Title' ("from Taxi Driver") by the late, great composer, Bernard Herrmann. The blues, jazzy nature of this theme is encompassing not only of the movie but as a throwback to New York's history of famous jazz bars and clubs. I hope you enjoy this towering musical theme as much I do. Your Thoughts What are your thoughts on my top 5 greatest Robert De Niro performances? Do you agree with this list or are there any other performances from De Niro's catalogue of movies that you would put on your top 5 list? Comment below, as I would love to hear your thoughts. All images above and their copyright belong to Brigitte Lacombe/Netflix, Columbia Pictures, United Artists, Paramount Pictures, Savoy Pictures any other respective owners. All YouTube content below and their copyright belong to Arista Records, Inc. and any other respective owners. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. |
About MeMy name is Sunil Dhokia, I'm a movie fanatic and love all things Hollywood. Blog Archives
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