Once in a while, a big Hollywood film is made with big Hollywood stars, and big Hollywood production values and occasionally everything works to deliver a dynamic cinematic event.
Such is the case with director James Mangold's new film "Ford v Ferrari". Armed with superior talent in front and behind the camera, Mr. Mangold has directed his best film yet with bravado. A strong screenplay is the foundation of a great story involving the characters portrayed by Matt Damon playing American Car Designer Carroll Shelby, driver Christian Bale, and Tracy Letts as Henry Ford II, all involved in challenging the famous Italian car maker Ferrari at the famous race at Le Mans in 1966.
From the very first frame, James Mangold sets the tone with exciting, bold and energetic images that are visually arresting, alongside a great score that never overwhelms or feels generic. The editing is outstanding, as the pace is so fast moving, pulsating with nail biting excitement, especially in the racing sequences.
Cinematographer Phedon Papamichael, along with Production Designer Francois Audouy, and Costume Designer Daniel Orlandi, have created a rich canvas, always authentic in feel, full of subtleties resulting in a formidable palette that comes together beautifully.
Flawless performances are a high point under the guidance of James Mangold's direction. Matt Damon has rarely had the opportunity to show quite a range from confidant showman to a vulnerability we rarely see. Christian Bale as always disappears into his character and delivers another stellar performance, and Tracy Letts layers his performance with strength and flair.
Ultimately, James Mangold's master work delivers on all fronts, and on the whole one of the most satisfying films of the year, and certain to be a major contender for many well deserved awards !
Reviews
4 Reviews
The Shape of Water
(2017)
Guillermo Del Toro's Best Film So Far !
11 November 2017
Guillermo Del Toro's newest film "The Shape of Water" took my breath away. Easily this is Del Toro's finest film since "Pan's Labyrinth" and may even be his best in general. This is a film where Del Toro weaves magic throughout with a story he created which is simple, yet layered with such interesting facets embedded in each character, set, and prop as he allows the audience to discover this intimate and fascinating world of "broken" people searching for a moment of meaning. Captivating from its opening scenes with haunting visual imagery, and a lyrical score by Alexandre Desplat, one is immediately enthralled by this fairy tale that is not your usual saccharine variety that Disney cranks out.
Del Toro knows how to tell a story with wit, style and heart. Assembling a cast headed by the incandescent Sally Hawkins in the role of Eliza who is mute throughout the film, but exudes such humanity and strength along with the villainous Michael Shannon who provides a great balance. Every single actor sparkles because every character has been developed with great care. Richard Jenkins and Octavia Spencer shine in their roles bringing a touch of quirkiness and humor to this sometimes dark story.
The film is achingly nostalgic with glorious production design by Paul D. Austerberry evoking the Baltimore of 1962 full of fascinating textures of faded glory, especially in the magnificent design of Eliza's apartment and hallways. Exquisite camera work by Dan Laustsen and beautifully designed costumes by Luis Sequiera contribute greatly to complete Guillermo Del Toro's vision.
This film is really the ultimate version of "Beauty and The Beast" with a touch of "ET", capped off with a very emotional investment, that pays off for the audience in its poetic and lyrical final scene.
Certainly one of the finest films of 2017.
Del Toro knows how to tell a story with wit, style and heart. Assembling a cast headed by the incandescent Sally Hawkins in the role of Eliza who is mute throughout the film, but exudes such humanity and strength along with the villainous Michael Shannon who provides a great balance. Every single actor sparkles because every character has been developed with great care. Richard Jenkins and Octavia Spencer shine in their roles bringing a touch of quirkiness and humor to this sometimes dark story.
The film is achingly nostalgic with glorious production design by Paul D. Austerberry evoking the Baltimore of 1962 full of fascinating textures of faded glory, especially in the magnificent design of Eliza's apartment and hallways. Exquisite camera work by Dan Laustsen and beautifully designed costumes by Luis Sequiera contribute greatly to complete Guillermo Del Toro's vision.
This film is really the ultimate version of "Beauty and The Beast" with a touch of "ET", capped off with a very emotional investment, that pays off for the audience in its poetic and lyrical final scene.
Certainly one of the finest films of 2017.
Coco
(I) (2017)
A Vibrant Magical Journey!
11 November 2017
Pixar has done it again, and given us a great confection all wrapped up in time for the holidays, and it's a new movie called "CoCo" A kaleidoscope of colors and textures that bring to life a little Mexican Village, one so very similar to what I grew up in. Every detail feels so authentic, and every character so very real. The research and development spent on this film all pays off with a vibrant story that combines the real world with spiritual world populated by those spirits that have passed on.
With a stellar cast of voices by Benjamin Bratt, Gael Garcia Bernal, Alanna Ubach, Edward James Olmos, and newcomer Anthony Gonzales as the main protagonist Miguel, all providing flawless characterizations along with magnificent singing voices.
With the very sure hand of directors, Lee Unkrich and Adrian Molina we are transported to the very colorful and vibrant world of Mexican folklore, combining it with a modern aesthetic that is both appealing and mysterious. The Pixar artistry is at work here on such a high level that every frame dazzles us with amazing imagination!
The music is such a treasure here, and sparks a range from traditional Mexican songs to the very touching and moving song "Remember Me" which serves as the vital core of the entire film.
A great treat for both children and adults, "Coco" is a treasure that will live on with the greatest of the Pixar cannon.
With a stellar cast of voices by Benjamin Bratt, Gael Garcia Bernal, Alanna Ubach, Edward James Olmos, and newcomer Anthony Gonzales as the main protagonist Miguel, all providing flawless characterizations along with magnificent singing voices.
With the very sure hand of directors, Lee Unkrich and Adrian Molina we are transported to the very colorful and vibrant world of Mexican folklore, combining it with a modern aesthetic that is both appealing and mysterious. The Pixar artistry is at work here on such a high level that every frame dazzles us with amazing imagination!
The music is such a treasure here, and sparks a range from traditional Mexican songs to the very touching and moving song "Remember Me" which serves as the vital core of the entire film.
A great treat for both children and adults, "Coco" is a treasure that will live on with the greatest of the Pixar cannon.
Murder on the Orient Express
(2017)
This Version Is A Train Wreck
6 November 2017
If you have any affection for Sidney Lumet's 1974's stellar version of "Murder On the Orient Express", do not bother watching this new version, you will be very disappointed. Even the poster reflects an uninteresting tone, the font used is modern and lacks any sense of style.
Kenneth Branagh is a great director and actor that has given us some memorable films, unfortunately "Murder On the Orient Express" isn't one of them.
At last night's screening of "Murder On the Orient Express" I had to use the restroom after about 40 minutes. As I reentered the theater the person entering with me asked me "Do you think this movie will ever get started?" I said "I don't know; I guess we'll have to see." It caught fire way to late, in about the last 20 minutes.
Indeed, the movie had a painfully slow start, with a completely overproduced prologue that seemed quite unnecessary. The introduction of the characters is messy and it becomes rather confusing as to who they are. The cast is full of great actors, but so few are able to "shine" in this production.
Kenneth Branagh is an interesting Hercule Poirot, he seems to be trying way too hard, and for me somehow he never "owned it." The extremely grotesque mustache seemed to get in the way
Michelle Pfeiffer, as Mrs. Hubbard is lackluster and quite flat, until the last 20 minutes where she does get a chance to shine, but by then it's too late, but it's not her fault.
Derek Jacobi, one of our greatest actors is so misdirected in this version that he delivers an insipid performance. Penelope Cruz walks through a part that gained Ingrid Bergman an Oscar in the original, again not their fault.
Interestingly enough, it is Johnny Depp who gives the best performance. He embodies his character with the right amount of vile corruptness, and sleaziness that brings life to the screen. He also has the most interesting costumes in the movie.
Judi Dench is elegant and funny but her companion played by Olivia Coleman, who usually turns in stellar performances is totally uninteresting here, again not her fault.
The production is indeed rich and elegant in its production design, and cinematography. The costumes however are fine, but lack a certain panache and glamour we have grown to admire in past Agatha Christie films, such as those designed by Tony Walton, and Anthony Powell. Alexandra Byrne is an extraordinary designer, but somehow it feels like the concept was to be subtle and "real". She needed to be bold and adventurous like her work on the "Elizabeth" films with Cate Blanchette.
The musical score vacillates from very generic, to frantic and never finds the right tone, never providing a sense of mystery and suspense. Only when true vintage songs are incorporated does the atmosphere come alive.
Kenneth Branagh is such a gifted filmmaker, it is sad to see this film fall short. He is in almost every frame, perhaps he would have crafted a better film if he was not in it. As the conductor of this train, he did not provide an elegant journey with wit and great character development for one of Agatha Christie's finest stories.
Kenneth Branagh is a great director and actor that has given us some memorable films, unfortunately "Murder On the Orient Express" isn't one of them.
At last night's screening of "Murder On the Orient Express" I had to use the restroom after about 40 minutes. As I reentered the theater the person entering with me asked me "Do you think this movie will ever get started?" I said "I don't know; I guess we'll have to see." It caught fire way to late, in about the last 20 minutes.
Indeed, the movie had a painfully slow start, with a completely overproduced prologue that seemed quite unnecessary. The introduction of the characters is messy and it becomes rather confusing as to who they are. The cast is full of great actors, but so few are able to "shine" in this production.
Kenneth Branagh is an interesting Hercule Poirot, he seems to be trying way too hard, and for me somehow he never "owned it." The extremely grotesque mustache seemed to get in the way
Michelle Pfeiffer, as Mrs. Hubbard is lackluster and quite flat, until the last 20 minutes where she does get a chance to shine, but by then it's too late, but it's not her fault.
Derek Jacobi, one of our greatest actors is so misdirected in this version that he delivers an insipid performance. Penelope Cruz walks through a part that gained Ingrid Bergman an Oscar in the original, again not their fault.
Interestingly enough, it is Johnny Depp who gives the best performance. He embodies his character with the right amount of vile corruptness, and sleaziness that brings life to the screen. He also has the most interesting costumes in the movie.
Judi Dench is elegant and funny but her companion played by Olivia Coleman, who usually turns in stellar performances is totally uninteresting here, again not her fault.
The production is indeed rich and elegant in its production design, and cinematography. The costumes however are fine, but lack a certain panache and glamour we have grown to admire in past Agatha Christie films, such as those designed by Tony Walton, and Anthony Powell. Alexandra Byrne is an extraordinary designer, but somehow it feels like the concept was to be subtle and "real". She needed to be bold and adventurous like her work on the "Elizabeth" films with Cate Blanchette.
The musical score vacillates from very generic, to frantic and never finds the right tone, never providing a sense of mystery and suspense. Only when true vintage songs are incorporated does the atmosphere come alive.
Kenneth Branagh is such a gifted filmmaker, it is sad to see this film fall short. He is in almost every frame, perhaps he would have crafted a better film if he was not in it. As the conductor of this train, he did not provide an elegant journey with wit and great character development for one of Agatha Christie's finest stories.
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