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Gareth von Kallenbach (971 KP) rated The Batman (2022) in Movies
Feb 28, 2022
In 1989 Michael Keaton was seen as a very controversial choice to wear the Cowl of Batman but soon proved his doubters wrong by turning “Batman” and its subsequent sequel “Batman Returns” into massive Box Office success before leaving the cape behind.
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5
Kirk Bage (1775 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Matt Damon asked Christian Bale how he had managed to lose almost 70lbs for his role as Ken Miles, following his chubbing up to play Dick Cheney in Vice the previous year. Bale just smiled, shrugged and said, “I didn’t eat”. Such is his reputation for playing real people with 100% commitment, apocryphal or not, I totally believe that is true.
Sports films, and especially racing films, hang on three things: the quality and believability of the sports/racing scenes, the dynamic tension between the lead characters, and the degree we are hooked by the underdog makes a comeback element. Le Mans ’66, also known as Ford V Ferrari for American audiences, who obviously can’t make sense of French or numbers, has all three of those boxes ticked, and several others besides.
It will make it easier for me to explain why I liked this film so much if I confess up front to how much I liked it, so without hesitation I confidently state… more than Rush (2013) and Grand Prix (1966), making it probably the best racing film ever, but less than Warrior (2011) or Rocky (1976), making it a contender for top 5 but not the best sports movie ever. So, that is pretty high praise from the flag-fall.
Let’s examine the 3 key elements in order. Firstly, the racing scenes: This film is based on real people in real races driving real cars, with very little altered or tweaked for dramatic purposes (save one key detail of the final race). It didn’t need anything adding, because the real story is incredible enough. Part of that is the very real rivalry that existed between the undisputed champions of the world’s most beautiful cars, Ferrari, representing everything essentially European, and the empire of mass production efficiency that was the Ford dynasty, representing everything American.
The reproductions of the cars themselves and the personalities behind them is vivid and believable from minute one, so when the cars hit the track you can almost smell the fuel and feel the heat and grime, not to mention the speed. Every shot on every straight and turn feels like it should, and would, if you yourself were driving: intense, terrifying, exhilarating and addictive!
At no point did I see anything unrealistic, or a piece of footage copied and pasted. No trick angles or overuse of time stretching techniques, what you see is mostly what you get, and if you understand car racing in even the most amateur way then that is impressive. Add to that a complete understanding of tension building during a race from a direction and acting point of view and you just have to tip your helmet visor to James Mangold and Christian Bale, who seem in complete synthesis about what is required from a racing scene.
Next, look at the chemistry between Damon’s laconic yet stubborn pragmatist, Carroll Shelby, and Bale’s idiosyncratic, twitchy adrenaline junky, Ken Miles. They couldn’t be more different, personality wise, or actually performance wise. Bale chews up the screen with another in a long line now of big bold characterisations that you can’t take your eyes off, and Damon gives off solid, dependable, trust-worthy movie-star vibes in return. Their scenes together are spiky, fun, compelling and feel authetic, in a Hollywood movie way that we recognise and love. It feels almost like Paul Newman and Jack Lemon – the handsome straight guy and the quirky foil.
I love both these actors when they bring their A game. And they do here. It is consummate film acting, completely in control of what kind of film they are making. Not a naturalistic drama hoping to sweep the Oscars and hit hard in the emotional solar plexus, but a fun sports film driven by the conventions and tropes of the genre. Both manage to keep it just the right side of fun and exciting, whilst holding the reigns on believability also. Mangold, who knows how both action (Logan) and Bio-pics (Walk the Line) work to a very high level, brings experience of both genres to the fore here, and the blend is sublime.
Finally, there is the underdog element. Both of these guys were unconventional mavericks, and well known as being so. Both respected, but never treated as champions as they deserved in their lifetime, perhaps because they were not yes men or company men, who toed the line and played by the rules of the big bosses of the sport. Both of them absolutely driven by compulsion and passion to win, yet both flawed on the ways they could achieve that.
Then there is the consideration how much the car is a character, or at least Ford as a concept. What makes this story so great is the David and Goliath element, that makes you sure there is no possible way this could be true. As with all great sports films, even if you know the history and result of a real event, the little guy sticking it to the invincible and arrogant behemoth, win, lose or draw, is what makes us invest and then cheer, or cry, when all the effort is finally spent.
Effort, sacrifice, overcoming obstacles, facing defeat, bouncing back from setbacks, gaining respect of friends and rivals alike – all these elements make a sports film great. Le Mans ’66 has it all, with the added bonus of enough budget to make it fly, which isn’t usually the case in this genre. It looks spectacular, feels exciting and is ultimately completely satisfying, as both a character study of real men, and a document of a game changing moment in sporting history.
It also doesn’t entirely ignore the female influence on such a masculine world; the little known Irish actress Catriona Balfe as Mollie Miles really caught my eye in some really tender scenes. This film won’t be passing the Bechdal test any time soon, however, as she is pretty much the only female member of the cast with an actual name! But it isn’t something to get too hung up about, in my opinion.
I’d be bold enough to recommend this to anyone. No need to love cars, or racing or even sport at all. If you love good movies that keep you hooked till the checkered flag of the credits, then look no further. High art? No. A proper movie with huge mass appeal? 100%
Sports films, and especially racing films, hang on three things: the quality and believability of the sports/racing scenes, the dynamic tension between the lead characters, and the degree we are hooked by the underdog makes a comeback element. Le Mans ’66, also known as Ford V Ferrari for American audiences, who obviously can’t make sense of French or numbers, has all three of those boxes ticked, and several others besides.
It will make it easier for me to explain why I liked this film so much if I confess up front to how much I liked it, so without hesitation I confidently state… more than Rush (2013) and Grand Prix (1966), making it probably the best racing film ever, but less than Warrior (2011) or Rocky (1976), making it a contender for top 5 but not the best sports movie ever. So, that is pretty high praise from the flag-fall.
Let’s examine the 3 key elements in order. Firstly, the racing scenes: This film is based on real people in real races driving real cars, with very little altered or tweaked for dramatic purposes (save one key detail of the final race). It didn’t need anything adding, because the real story is incredible enough. Part of that is the very real rivalry that existed between the undisputed champions of the world’s most beautiful cars, Ferrari, representing everything essentially European, and the empire of mass production efficiency that was the Ford dynasty, representing everything American.
The reproductions of the cars themselves and the personalities behind them is vivid and believable from minute one, so when the cars hit the track you can almost smell the fuel and feel the heat and grime, not to mention the speed. Every shot on every straight and turn feels like it should, and would, if you yourself were driving: intense, terrifying, exhilarating and addictive!
At no point did I see anything unrealistic, or a piece of footage copied and pasted. No trick angles or overuse of time stretching techniques, what you see is mostly what you get, and if you understand car racing in even the most amateur way then that is impressive. Add to that a complete understanding of tension building during a race from a direction and acting point of view and you just have to tip your helmet visor to James Mangold and Christian Bale, who seem in complete synthesis about what is required from a racing scene.
Next, look at the chemistry between Damon’s laconic yet stubborn pragmatist, Carroll Shelby, and Bale’s idiosyncratic, twitchy adrenaline junky, Ken Miles. They couldn’t be more different, personality wise, or actually performance wise. Bale chews up the screen with another in a long line now of big bold characterisations that you can’t take your eyes off, and Damon gives off solid, dependable, trust-worthy movie-star vibes in return. Their scenes together are spiky, fun, compelling and feel authetic, in a Hollywood movie way that we recognise and love. It feels almost like Paul Newman and Jack Lemon – the handsome straight guy and the quirky foil.
I love both these actors when they bring their A game. And they do here. It is consummate film acting, completely in control of what kind of film they are making. Not a naturalistic drama hoping to sweep the Oscars and hit hard in the emotional solar plexus, but a fun sports film driven by the conventions and tropes of the genre. Both manage to keep it just the right side of fun and exciting, whilst holding the reigns on believability also. Mangold, who knows how both action (Logan) and Bio-pics (Walk the Line) work to a very high level, brings experience of both genres to the fore here, and the blend is sublime.
Finally, there is the underdog element. Both of these guys were unconventional mavericks, and well known as being so. Both respected, but never treated as champions as they deserved in their lifetime, perhaps because they were not yes men or company men, who toed the line and played by the rules of the big bosses of the sport. Both of them absolutely driven by compulsion and passion to win, yet both flawed on the ways they could achieve that.
Then there is the consideration how much the car is a character, or at least Ford as a concept. What makes this story so great is the David and Goliath element, that makes you sure there is no possible way this could be true. As with all great sports films, even if you know the history and result of a real event, the little guy sticking it to the invincible and arrogant behemoth, win, lose or draw, is what makes us invest and then cheer, or cry, when all the effort is finally spent.
Effort, sacrifice, overcoming obstacles, facing defeat, bouncing back from setbacks, gaining respect of friends and rivals alike – all these elements make a sports film great. Le Mans ’66 has it all, with the added bonus of enough budget to make it fly, which isn’t usually the case in this genre. It looks spectacular, feels exciting and is ultimately completely satisfying, as both a character study of real men, and a document of a game changing moment in sporting history.
It also doesn’t entirely ignore the female influence on such a masculine world; the little known Irish actress Catriona Balfe as Mollie Miles really caught my eye in some really tender scenes. This film won’t be passing the Bechdal test any time soon, however, as she is pretty much the only female member of the cast with an actual name! But it isn’t something to get too hung up about, in my opinion.
I’d be bold enough to recommend this to anyone. No need to love cars, or racing or even sport at all. If you love good movies that keep you hooked till the checkered flag of the credits, then look no further. High art? No. A proper movie with huge mass appeal? 100%
Bob Mann (459 KP) rated The Shape of Water (2017) in Movies
Sep 29, 2021
A mystical tale of fish and fingers.
With perfect timing after scooping 13 Oscar nominations, “The Shape of Water” arrives for preview screenings in the UK. Is it worth all the hype?
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewisham’s own Sally Hawkins (“Paddington”, “Godzilla“) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, “Hidden Figures“) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, “Midnight Special“, “Nocturnal Animals“) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (“Miss Sloane“, “Steve Jobs“) in a performance that wasn’t recognised by the Academy, but for me really held the film’s story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kid’s film, containing full frontal nudity, sex and some considerable violence, some of it “hands-over-the-eyes” worthy. Most of this violence comes courtesy of Shannon’s character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after “Nocturnal Animals“, it is a bit of a surprise to see that he is still alive and well!)
It’s worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisa’s plans. Giles is a richly fashioned character – also the film’s narrator – who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. “Sometimes I think I was born too early or too late for my life” he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and it’s a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a ‘no brainer’ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. It’s a little tricky since I haven’t seen “I Tonya” or “Ladybird” yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for “3 Billboards Outside Ebbing, Missouri“, but the Oscar voters are bound to love “The Shape of Water”. For like “La La Land” last year, the film is (rather surprisingly for me) another love letter to Hollywood’s golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here “voice” through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldn’t want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket she’s standing on, but it’s Strickland’s butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (“Pacific Rim”, “Crimson Peak”) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, “Divergent”) and is nominated for both. I actually found the story to be rather predictable, as regards Elisa’s story arc, but that in no way reduced my enjoyment of the film. For the “original screenplay” is nothing if not “original”…. it’s witty, intelligent and shocking at different turns.
The violence and sex won’t be for everyone… but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate… hopefully in a dry cinema!
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewisham’s own Sally Hawkins (“Paddington”, “Godzilla“) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, “Hidden Figures“) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, “Midnight Special“, “Nocturnal Animals“) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (“Miss Sloane“, “Steve Jobs“) in a performance that wasn’t recognised by the Academy, but for me really held the film’s story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kid’s film, containing full frontal nudity, sex and some considerable violence, some of it “hands-over-the-eyes” worthy. Most of this violence comes courtesy of Shannon’s character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after “Nocturnal Animals“, it is a bit of a surprise to see that he is still alive and well!)
It’s worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisa’s plans. Giles is a richly fashioned character – also the film’s narrator – who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. “Sometimes I think I was born too early or too late for my life” he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and it’s a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a ‘no brainer’ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. It’s a little tricky since I haven’t seen “I Tonya” or “Ladybird” yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for “3 Billboards Outside Ebbing, Missouri“, but the Oscar voters are bound to love “The Shape of Water”. For like “La La Land” last year, the film is (rather surprisingly for me) another love letter to Hollywood’s golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here “voice” through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldn’t want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket she’s standing on, but it’s Strickland’s butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (“Pacific Rim”, “Crimson Peak”) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, “Divergent”) and is nominated for both. I actually found the story to be rather predictable, as regards Elisa’s story arc, but that in no way reduced my enjoyment of the film. For the “original screenplay” is nothing if not “original”…. it’s witty, intelligent and shocking at different turns.
The violence and sex won’t be for everyone… but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate… hopefully in a dry cinema!