Minnesota native and movie lover Morgan Lee Potter reviews any and all films.
- One girl, thousands of movies; endless rants, swoons, and possibilities!
The Coen brothers knock it out of the park once again with their painfully truthful portryal of a 1960's folk singer's struggle for success and survival.
Directed by: Joel & Ethan Coen
Released: 2013
Staring: Oscar Isaac, Carey Mulligan, Justin Timgerlake, John Goodman, Garrett Hedlund, & Adam Driver.
Rated: R
If there's one thing Hollywood loves, it's films about show business and rising stars. If there's one thing Hollywood loves more, it's films about those rising stars crashing and burning. Quite often we see these films taking place on the glittering streets of Broadway, grungy British pubs, and Cadillac recording studios. The Coen Brothers take the story of the struggling artist and place within a minimalist genre. The absence of gaudy, loud shows leaves the audience susceptible to the characters and the raw emotions that fuel this quiet powerhouse of a film.
Born in St. Louis Park Minnesota, the Coen Brothers bring their uniquely distinct Midwestern style to New York's Greenwich Village. The Brothers are known for their odd company of characters and relatively abstract stories and Llewyn Davis is no exception. The Coens have released a series of hits and misses throughout the past couple years. No Country For Old Men ('07) hit, Burn After Reading ('08) miss, A Serious Man ('09) miss, True Gritt ('10) hit. Inside Llewyn Davis is a sure fire hit.
Ethan Coen, Oscar Isaac, and Joel Coen on set.
A first rate acting ensemble brings the Coen's distinct troupe of characters to life. Oscar Isaac's performance verges on bitter perfection. In the title role, Isaac creates a character the audience gets behind and supports, but he doesn't shy away from Llewyn's nastier nature. It's that brutally honest frustration, jealousy and exhaustion that makes Isaac's performance one worthy of Academy notoriety. Blending seamlessly with his emotion acting performance, is Isaac's singing talents; his voice is clear enough to raise goosebumps but it's the spontaneous edge that brings his character to life. Marcus Mumford adds his famous voice to the brilliant folk soundtrack, fusing perfectly with Isaac.
Cary Mulligan, who has become quite the Hollywood darling over the past couple years, gives a firecracker performance as Llewyn's friend, part time love, and worst enemy. Mulligan doesn't hold back when it comes to berating Llewyn and giving him a piece of her mind. The performance borders on melodramatic but works, adding a spark of heat to the chilly atmosphere of the film. Accompanied by a giddy Justin Timberlake, the two make an odd and slightly cartoonish couple; a perfect fit for the Coen's script.
Inside Llewyn Davis works so many levels because the Coen's don't shy away from reality. What we the audience may see as unfair treatment of our anti-hero are the truthful consequences of many an artist. Llewyn's struggle and stubborn attitude are unrelenting, leaving the audience almost as frustrated as he is. The the film, like so many in the Coen's repertoire, are neither drama nor comedy, simply a commentary on the life of one man. That being said, Inside Llewyn Davis is one of the Coen's more humorous films thanks in large part to a restless cat and a handful of supporting actors like Timberlake, Adam Driver, and John Goodman.
With it's misfit company of characters, superbly performed folk melodies, and heat-wrenching story, Inside Llewyn Davis should be a critical and commercial success for both Writer/Directors and actors alike. It's modern, yet classic; Isaac's performance is definitely in contention as one of the best of the year and as far as the film itself is concerned, it's one of my personal favorites of 2013.
Because no one ever accused Baz Luhrmann of being subtle....
Directed by: Baz Luhrmann
Released: 2013
Staring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, & Elizabeth Debicki
Rated: PG-13
Times Viewed: 1
We have been awaiting this film for quite some time, oh yes we have. It seemed every time we were teased with the promise that it was near it's release date, Gatsby would get pushed back even farther. With all the drama surrounding the nearly six month delay I can say old spot, it was worth the wait.
Baz Luhrmann's adaption of The Great Gatsby not only stays true to the book, but infuses the energy and spirit of the jazz age through out every frame, costume, and song.
One of the first stills released, Tobey Maguire, Leonardo Dicaprio, Carrey Mulligan, & Joel Edgerton in "The Great Gatsby"
So far Gatsby hasn't been the hit with critics as many thought it would be. But why? Majority of reactions can be summed up in this quote from a review by David Denby
"Luhrmann’s vulgarity is designed to win over the young audience, and it suggests that he’s less a filmmaker than a music-video director with endless resources and a stunning absence of taste."
Ouch, David, Ouch.
First of all I'd like to ask...Have any of these reviewers seen Moulin Rouge? A fabulous feast for the senses and successful with a wide range of audiences, I can not only see, but feel Baz Luhrmann's presence in Gatsby just as strongly as in Moulin Rouge! Over the top, lavish musical productions is what Baz Luhrmann DOES. That's his creative style. As with any great director, Chris Nolan to Woody Allen, there is a definite style and creative choices that are made that make that director one of notoriety. When I see words like "vulgarity" and "absence of taste" associated with Baz I truly question wether these critics knew what they were getting in to when they entered Gatsby.
Now, had Baz deviated far from the original source material, THAT would garner scrutiny and scorn. But when a film stays so true to the novel, and clearly expresses F. Scott Fitzgerald's commentary on the Jazz Age I see nothing wrong. I find his over the top production enjoyable because through it he uses Fitzgerald's own words to tell this tale. I mean this quite literally, most of the movie is word for word from the book. And there is a reason The Great Gatsby is THE great American novel.
Statue of F. Scott Fitzgerald (Rice Park in St. Paul)- taken by yours truly.
The Great Gatsby is not a love story, I mean it is but let's put on our freshman high school caps and analyze what this story is about. The Great Gatsby is MINNESOTA author F. Scott Fitzgerald's critique of his own generation. On the outside it seems all about the glitz and glamour. Cheap booze and fast women. Soaring stalks and underground parties. Deep down though, Fitzgerald see a generation decomposing from within. No new thoughts. No progression. No hope. The Great Gatsby is a commentary on basically everything Fitzgerald thought was wrong with the 20's. Old money vs. New money, corruption of young bright minds and so one. Fitzgerald focus' on the positives through the character of Gatsby who represents hope and the American Dream. I can honestly say since I read it in eighth grade, The Great Gatsby has been one of my favorite books. If you haven't read it, buck up and do it....it's only 218 pages.
Back to the film. Everything that Fitzgerald so passionately put in his novel, Baz puts into the film and illustrates with vivid imagery and narration. The few changes Baz incorporates only aid the ORIGINAL story and justifies the narration throughout the film.
Now that I'm done boring you with my obsessive analysis (even though I love analysis) I'll get to the pretty parts.
This movie is visually intoxicating. The pristine colors, sparkle and shine of each and every frame envelope the audience in the world of Gatsby. I said before, some critics are calling it vulgar and tasteless but it's the excitement, the expensiveness, and the lavish lives lived in the 20's that Luhrmann is trying so hard to communicate with the audiences. And for me it worked! By using such saturated colors, shining diamond accessories and rich materials there was not a dull moment therefore no time for me to become distracted from the story. In my opinion, the more I have to look at in a film, the more entranced and focused I'll be. Perhaps for some critics it's the exact opposite, perhaps it's my theatrical background, but I loved the design production on this film.
Director Baz Luhrmann on the set of "The Great Gatsby"
Now you all know I have a long standing love hate relationship with CGI/3D. When it's needed USE it, when it's not, GET IT THE HECK AWAY. In Gatsby, the 3D and CGI work MADE this film. You're not just watching party goers bustled through a corridor straining to join the festivities, you ARE one of those party goers. These party scenes are where the 3D is truly justified; with flying confetti and popping champagne bottles the effect was mesmerizing and exciting!
"I thought you knew old sport! I'm afraid I'm not a very good host...I'm Gatsby"
And the entire theater internally screamed.
The Music
I, as many did, reacted rather hesitantly when I discover hip-hop star Jay-Z would be producing the music for Gatsby. Don't get me wrong, over the years I've expanded my musical tastes and Jay-Z is actually now a favorite of mine as far as hip-hop goes, but it was just the idea of him working with the iconic music of the 20's that concerned me. However, when I finally heard a sample from the film all my reserves were blown away. I am a huge fan of post juke box swing and jazz that has been popping up from the likes of Parov Stelar ect. and the music of Gatsby seemed to follow the same lines. By blending classics like "Don't Mean a Thing If It Ain't Go That Swing" "Ain't Misbehaving" "Bang, Bang (My Baby Shot Me Down)" with modern club beats, Jay-Z creates a sound that shows the younger audiences the energy felt by the people of the Jazz Age. I know that energy because the 1920's is one of my favorite time periods musically, but in today's generation, there are so few young people who are aware of how amazing and vivacious the music was in the 20's. Craig Armstrong also contributes a BEAUTIFUL original score that I'll look forward to purchasing as well. Armstrong is a clever devil utilizing not only modern, but classical tunes into the score. The use of "Toccata and Fudge in D minor" as the party goers enter Gatsby's house and George Gershwin's, who I might add is the original fuser of classical music and modern jazz, "Rhapsody in Blue" to reveal our hero were definite high points that I looved. Here's a sampler of some of the music used in the film. I highly suggest that you purchase it for yourself. It'll have to dancing like it's 1922 for sure.
The Costumes
Costumes, uh Costumes were BEAUTIFUL! As with many period pieces, designers choose to incorporate either a later or earlier decade along with the one they're working in i.e. my review of Anna Karenina. Catherine Martin (Baz Luhrmann's wife) was not only the costume designer, but head of the production design. This, I believe, is why the film had such a great continuity to it. Costumes, in my opinion are second players to all the actors; dress one character incorrectly and it can throw off not only the character, but the whole show. The costumes of Gatsby, like the music, has a taste of modern edge. The reason? Catherine Martin collaborated with Miuccia Prada!
The colors as I mentioned before are brilliant, and also the use of accessories and make-up; it's almost like all the 1920's themed shoots Vogue as ever done have exploded in mansion. And I loved it. The amount of time and effort to creating, producing and clothing that many extras must have been colossal. Not to mention hair and make-up as well...and there were no half-assed jobs. I look for that a lot in period piece films, especially during large party or ball scenes. Gatsby's costume and make-up department went all out, didn't miss a fingernail flawless. I wish beyond wish I could get a Polaroid of each extra in full blow costume and hair because there were soo many and they were all soo good I want to see each one in detail.
Look how cute! I want to married to an overly theatric (and actually quite attractive) director and make costumes for his lavish films!
The continuity in the Production Design for The Great Gatsby is incredible and I really do hope it's enough to gain it an Academy Award for Costume and Production Design...Or a nomination at least!
The Ensemble
Everyone (with the exception of Tobey Maguire) did how I expected them to do! Quite brilliantly.
Leo is, of course, spot on. He brings not only the pomp to Gatsby, but also the humanity that is so desperately important to his character. For those saying he's going to get an Oscar nom...sorry I don't foresee that happening. If it didn't get one for THE BEST SUPPORTING PERFORMANCE of the year in Django, I highly doubt he'll be recognized for Gatsby. Trust me, I want Leo to win an Oscar probably more than most, but it won't be with this role.
Carrey Mulligan...good, solid. She doesn't make Daisy as much of a ditz as Mia Farrow did in the 1974 production, which is such a relief, but she doesn't make her over likable either. Which is also good. We are NOT suppose to LIKE Daisy. I see all this "Channel you're inner Daisy" online and I just keep thinking NO! She is the rotted core of the corrupted, decomposing apple that is the 1920's Jazz Age. So no, you do not want to be like Daisy....just saying...I'd rather be like Jordan...she's not much better, but I always connected with her in the book.
Super sassy, somewhat detached and a little bit sneaky
Joel Edgerton where do you hide? I mean really, I love you in pretty much everthing (WARRIOR!) then you hide away and reappear to my delight a year later! So odd...Edgerton is physical and chose the perfect disposition for the character. He is exactly how I envisioned him in the book.
Secret brothers. Jason Clake & Joel Edgerton
Then we have discount Joel Edgerton, Jason Clarke who is ALSO almost always brilliant. You and Joel Edgerton need to stop doing films together (Zero Dark Thirty) I always get you two confused!
But on a seriously, everyone in this film was EXACTLY how I envisioned them in the book. Even Tobey Maguire character. When I heard Maguire was cast as leading man Nick Caraway I thought 'NOOOOOO!' Because, well solely because of Spiderman. I didn't want Spiderman as the most important character in the film! Thankfully, as he did in Seabiscuit, Tobey surprised me! Character was spot on. There was an innocence but also enough of a devil in him to go along with the party, but make it believable. In the end I really enjoyed his performance.
Final Thoughts
For once, I'm have to arduously disagree with many critics on their harsh treatment of The Great Gatsby. This film is a treat for the senses and an experience that really must be enjoyed in a large theater in 3D Trust me old sport, it'll be well worth your money. Baz Luhrmann returns to the theatrically arousing style of film making that made him such a great success. He uses the source material expertly and blends the magic of the old world with the technology of the new. I hope to soon see The Great Gatsby a second time and relish in it's splendor and innovation. They say it's a film that only young audiences will enjoy? Good. Because maybe, just maybe that love for the movie will spark a love for the original novel and the more young people reading classic literature the better. I see nothing wrong with a film that has a wider appeal to the younger audiences, especially if it's one like The Great Gatsby.
Staring: Ryan Gosling, Carrey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Ron Perlman & Christina Hendricks
Rated: R
Times Viewed: 2
Available on Netflix Instant Streaming
I feel like many young (women) people have this pre conceived notion about Ryan Gosling. They think he, like his sweater, is perfect boyfriend material. Soft and sensitive. Strong and hot to trot. Just a funny, good looking guy. They know The Notebook and they know Crazy Stupid love...they know Ryan Gosling's abs. A lot of people think Ryan Gosling is just a Rom-Com leading man...I like to think that I know better. I know that HE is better than that. Truth be told, Ryan Gosling is a helluva lot darker than the uninformed public knows. There is a quiet brutality and insanity in him that echoes throughout many of his lesser known and more violent films.
If one was to look at his profile on IMDB one would see that the only real "Rom-Coms" that he's been in are The Notebook and Crazy Stupid love. I like to think of these films as the skeleton that holds Ryan Gosling acting career together, but the real flesh and blood of his work are films like Blue Valentine, The Ides of March and one of the films I'll be reviewing today, Drive.
Drive is an expertly crafted homage to the 80's filled with impeccable performances, blood & tears violence, and shot with great style. Refns' modern action masterpiece.
Ryan Gosling plays a part time stunt driver part time get away car for hire who, after becoming invested in the lives of his pretty neighbor and her young son, finds himself in deep with the wrong tank of sharks.
Everything in this film works. From the color scheme to the FANTASTIC soundtrack, Drive is the complete package in first rate film making. There is a deception in the first half of the film. Like Ryan Gosling's character (who is never given a name...billed as "Driver" in the end credits) it's a quiet film. But quiet does not by any stretch of the word mean boring. When I say it's quiet I mean there's action, but it's a subdued action, not thrown in the audience's face from the opening frame. This is prepping the audience for the ultra blood and guts violence that's to come later.
Refns couples actions with suspense and character intent. There are no unnecessary, loud and brash conversations as there are in many action films. The script is clean and concise; it's a story of human experiences. There are no over blown conspiracy theories, unwarranted explosions, or ridiculous plot lines. Everything that happens in the film could have been taken from an unpublished memoir of a Driver living in Los Angeles. It's (the script's/story) simplicity allows the actors to really shine and when it is time for the action to erupt boy does it taste good.
Gosling is FANTASTIC. As I said before his character is quiet, but you KNOW that inside his head gears are turning; he's planning, thinking, and calculating. This stubble nature makes the performance all the more brilliant when he really hits the gas and starts hunting down the scum that threaten Carrey Mulligan and her son. Calm and collected he walks into a strip bar and beats the brains (quite literally) out of a man. Only until he pulls back and the camera focuses on his shaking hand do we see an once of humanity it his action. Truly it's breathtaking. The last 30-45 minutes of Drive is a violent roller coaster ride. Those who've had some difficulty with the "quietness" of the first half should stay put because the car chases and beatings taken in the second more than make up for the first half.
(I personally loved all of the film, but I know a few people who didn't enjoy the first half as much)
A blood bathed Ryan Gosling in "Drive"
If Bryan Cranston is as good in Breaking Bad as he is in Drive perhaps I should start watching the series. He's just so damn amazing.
Ryan Gosling & Bryan Cranston in "Drive"
Finally we need to talk about Albert Brooks. Describing someone like Albert Brook's character is difficult, but him being a relatively unknown actor to many in my generation worked for him. He comes out of no where and knocks it out of the park. He plays it like a snake slither through the grass, cool and collected until he strikes at the end...leaving more than one dead body in his wake. Brooks received a Golden Globes nomination for the role.
Now I need to talk about the whole reason I'm here. Director Nicholas Winding Refns, a native of Denmark, is a relatively new Director but boy does he know his stuff. He knows what STYLE means, especially when it's applied to film. Drive is a film of complimentary High Key day shots and Low Key night shots where the shadows take charge and the main lighting sources are the stop lights ahead. This effect is gorgeous and really enhances the 80's feel the whole film has.
The soundtrack is definitely one of the best parts of the film. The 80's synth and heart-beat like bass that accompanies the dark, midnight drives through the streets of L.A. build suspense when the violence has been suspended for a while. Even if you don't watch the movie, I highly recommend the soundtrack.
Drive is one of my personal favorite modern films.
Staring: Mads Mikkelsen, Gary Lewis, & lots of other unknown scruffy actors
Rated: R
Times Viewed: 1
Available on Netflix Instant Streaming
One review called it a "masterpiece" another called it "unbearably self-important." Via Netflix, one viewer compared it to drinking their own urine. "Stylish Brutality" is another apt description of Refns productions. So what's my verdict on this visceral, religious and physical piece from Nicholas Winding Refns?
Valhalla Rising is without a doubt a visual journey that is either a close hit or a far flung miss for most of it's viewers. It takes patience, an open mind and a bit of imagination to interpret this enigmatic film.
The film follows the journey of an enslaved warrior who kills his captors and travels with a young boy and a group of Viking Christians to Jerusalem. Only they never arrive in Jerusalem. Lost at sea, they soon discover it is not holy ground they've landed upon, but a new world as unforgiving as Hell itself.
The Film is broken into 6 Parts
Wraith
Silent Warrior
Men of God
The Holy Land
Hell
The Sacrifice
I'll just put it out there right now and say this is not a movie most ladies will enjoy. It's medieval brutality and ambiguous story are not for the faint of heart. And for those of you watching just so you can see Mads Mikk's awesome body. GET OUT. Yes it is definitely an enjoyable feature, but if you watch a film just for the body...I'll run after you fillet you. I believe I made it very clear in my review of the Hannibal series that I too possess a strange attraction to the Dane prince, but the majority of that attraction is to his talent.
Mikkelsen is superb in this film. His performance only garners more praise because his character was a MUTE. Yes that's right. He doesn't say a single word through out the whole film, but oh my stars is his performance incredible. OH! And he only has one eye. So now he's lost two of the key essentials that actors use in delivering a performance and still kills it. Mikkelsen uses his physicality to act as his voice, simply turning one way, or lowering a shoulder that way he concisely communicates the character's state of mind and stance. His presence speaks for itself.
The first 15 minutes of the film as I wrote before are stylistically brutal. Lot's of bare handed medieval mud fights where One-Eye literally beats an opponents skull open with a rock. As in Drive, when it finally comes time to show the violence, Refns doesn't hold back on the blood or gore. Honestly I love this. I think it adds emphasis but because each beating (both in Drive & Valhalla Rising) are relatively short scenes and not the entire film, he (Refns) can get away with it without being vulgar.
A recurring plot subject in Valhalla Rising is trust and devotion to God. After procuring One-Eye and the young boy, the Christians set out for Jerusalem. At first they believe the mighty warrior will bring them good luck, but when a mist sets in and the ship is lost at sea for an uncountable number of days, the men now see One-Eye as the devil. A bad omen delivering them all to the gates of Hell.
They end up on the coast of North America so close enough.
Through out the film One-Eye has, what I interpreted as, visions of the future. The film will cut from a close up of one One-Eyes face in normal print and color to a close up of the injured side of his face filmed in black and red. After this the film cuts again to whatever bit of the future he may be seeing (all done in black and red coloring) An arrow head, where the ocean turns into a river, the native americans, and ultimately his own death. The first time it happened I had no idea what it was but each scene that he sees in red occurs later in the film i.e. seeing into the future.
After landing on shore and loosing several of their ship mates, the Christian Vikings being to loose faith in their religious leader. They soon turn to One-Eye for guidance and follow him as their leader despite the boy telling them they're all going to die eventually. Valhalla Rising is packed with Religious symbolism near the end. Once the leader of the vikings dies, the events and style of Refns' directing clearly show One-Eye meant to represent some God or Jesus like leader who eventually sacrifices himself to save the young boy. Valhalla itself is a heaven like structure in Norse mythology.
"Valhalla Rising" was filmed entirely in Scotland and boast some gorgeous cinematography.
Gary Lewis finds the light in "Valhalla Rising"
My favorite shot from "Valhalla Rising" AMAZING color spectrum.
While it took some patience to watch, Valhalla Rising is a BEAUTIFULLY shot film with great cinematography, prime beating fight scenes, lots of thought provoking symbolism and an unforgettable, silent performance by Mads Mikkelsen. Final verdict, it was an intense movie going experience although I won't recommend it to everyone.
Cary Mulligan, who has become quite the Hollywood darling over the past couple years, gives a firecracker performance as Llewyn's friend, part time love, and worst enemy. Mulligan doesn't hold back when it comes to berating Llewyn and giving him a piece of her mind. The performance borders on melodramatic but works, adding a spark of heat to the chilly atmosphere of the film. Accompanied by a giddy Justin Timberlake, the two make an odd and slightly cartoonish couple; a perfect fit for the Coen's script.
