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Bruce Dern recommended Nebraska (2013) in Movies (curated)

 
Nebraska (2013)
Nebraska (2013)
2013 | Drama

"I’m very proud of my movie, Nebraska. I don’t really know what a great film is. I don’t know what the ingredients should be. But I certainly think Nebraska is a credit to the industry of filmmaking and it’s done very, very well. And both he [director Alexander Payne] and Quentin [Tarantino, with whom Dern has worked three times] can make a f–king movie, trust me. Alexander said to me the first morning, “Do you see anything here, you’ve never seen before?” I went looking around – we were in Nebraska in some little town in the middle of October, cold, freezing – and I said, “Yes I do.” I said, “It seems like everybody here is putting their oar in before 8am.” And he said, “Well hopefully, that’s because we have 91 crew members here and 78 have worked every day on every film I’ve ever made.” He put his hand on my shoulder and he said, “So you, sir, can go take a risk.” And he said, “This is Phedon Papamichael; he’s your cameraman.” I met him the day before. And he said, “I wonder if you’d do something for Phedon and I, that we’re not sure you ever did in your career.” I said, “Well what’s that?” And he said, “Never show us anything. Let us find it.” And I knew for the first time in my life I had a partner. Al Pacino came up to me — I’d never met him — at a party and said, “You know, I’ve not seen your movie yet, Nebraska. But everybody back at the Actors Studio – ’cause we’re both members – is talking about your performance.” So Brad Grey is at the party, and he ran Paramount then, and I said, “You know, Al Pacino has not got a screener,” ’cause it was Christmas time. So he said, “Tell him he’ll have one tomorrow morning with his newspaper.” At noon the next day my phone rings and I pick it up and he says, “Bruce, Al Pacino.” I said, “Oh wow.” He said nothing for about 10 seconds, and then he said, “How did you do that?” I told him what Alexander told me about “let us find it.” And he said, “I have tears in my eyes, because you knew you had a partner. I’ve never had a partner.” He said, “Bruce, I never ever saw the work. You were just the character.” And that’s the greatest compliment to me I ever had."

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Ford v Ferrari (aka Le Mans '66) (2019)
Ford v Ferrari (aka Le Mans '66) (2019)
2019 | Action, Biography, Drama, Sport
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
Virtually nothing (0 more)
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.

I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.

The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.

Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!

What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.

At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.

In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.

This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.

Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.

There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").

Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.

If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.

James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.

Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!

Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/