#jesseplemons

[alqquistt]

trying to watch bugonia and the only reason im excited is that i know he crawls on a table i think im gonna watch the little plemonling be feral im so excited

[elbisonodelcine]

🎞️Civil War (2024) 🎥Alex Garland 📷Rob Hardy

[doomonfilm]

Review : The Power of the Dog (2021)

Having a film pop on one radar is normally enough for me... I had noticed The Power of the Dog on different lists of 2021 film releases, and of course, as a Netflix user, I saw it listed in my queue, but other than making the list, my interest was not piqued.  Then, earlier this week, the Golden Globes dropped their list of nominations, and The Power of the Dog was all over the film categories, and immediately, the film jumped up my list.  While prepping, I noticed that Thomasin McKenzie was a member of the cast, and after her performance in Last Night in Soho, I was fully hooked and on board for a viewing.

Maybe it’s just due to the fact that the Old West is a long bygone era, but outside of the highly stylized films in the Western genre, most Western movies have an ingrained sense of tension baked into them... perhaps it’s due to the sense of despair that comes with living by your wits in a world of have-nots, or perhaps it’s due to the built-in patriarchal code of ethics that comes with the gunslinger and cowboy era, but even the most mundane goings on feel potentially explosive.  That being said, there is something about The Power of the Dog that encompasses this aspect of the Western in spades, and all of this is present from the opening moments based on a combination of how the story arc that Benedict Cumberbatch, Jesse Plemons and Kirsten Dunst share is set up both visually and purely based on physicality.  As the narrative unfolds, we get touches of classic Western aesthetics and practices thanks in large part to Cumberbatch’s all-in sinister nature as Phil Burbank that stand in stark contrast to the modernity and humanity that unfolds in the path that is shared between Dunst’s Rose Gordon and Plemons’ George Burbank.  While George displays good intentions, he seems much more aware of the rift between himself and Phil than he does how much he’s disrupted Rose’s world by putting her in the center of attention spot in a time where not only most women tend to “know their place” (at the risk of using an outdated term), but also by trying to steer her out of the deep protective focus for her son Peter without so much as asking her thoughts on it, which is doubly ironic when considered that the connection between George and Rose was sparked because of Peter and Rose’s shared hurt.

Seeing romantic and controversial aspects of Western life through the lens of Jane Campion adds new shades to the collected familiar tales we’ve come to be familiar with, and her passion as a writer/director shows in the work presented.  The romantic arcs in The Power of the Dog turn the concept of the Bechdel Test on its head by forcing the male characters to be the ones that deal with emotional waves on a raw and visceral level, while leaving Rose Gordon to be the tragic figure that falls apart under the weight of expectations and pressure.  George Burbank is propped up as the male of the future who is seemingly in-touch with his manhood and femininity, while Phil is put forth as a more stereotypical male figure who is unable to face their deep-rooted issues, and therefore, is prone to misplacing their aggression by way of verbal and physical lashing out.  In light of these initial setups, Peter Gordon is brought into the picture as a literal slap in the face to Phil based on how in-touch he is with himself at such a young age, and from Phil’s perspective, how the characteristics that Peter cherishes fly in the face of the male image.  Based on the triangular setup of the main leads with Phil as a satellite element, layers upon layers of conflict and tension emerges that not only brings the viewer lots of discovery, but creates a rewarding narrative ripple effect that moves the story forward. 

One of the immediate standout aspects of the film is the cinematography of Ari Wegner, whose highly stylized plains photography, multi-level focused wide shots and deeply uncomfortable close-ups not only capture beauty, but fuel tension right from the beginning, even when one can’t put their finger on what they should be uneasy about.  The score goes great lengths in keeping the tension palatable as well, with alternating small groupings of instruments and solo offerings that hit dissonant notes doing much of the heavy lifting while sparse symphonic interjections do the bridgework.  The Power of the Dog has some of the strongest capture of natural lighting and candle-based lighting that I’ve seen and years, and when night falls (or we find ourselves in less fortunate locations), the work done with shadows and sparse lighting is downright phenomenal.  While this film dwells in more of a low key world outside of the outlaw life, it must be noted how elaborate the costuming, hair and make-up is in the appropriate areas, with just as much focus given on the cowboy costuming in order to create a natural order that is immediately recognizable upon sight.  Breaking the film up into chapters helps pace things out beautifully, allowing for each particular element to get weighted moments before they shift into both predictable and unforeseeable directions.

Benedict Cumberbatch turns in one of the most moving and dynamic performances of the year, straddling the fence perfectly between posturing male toxicity and a man deeply afraid to face a true nature he tries to inwardly embrace while hiding it outwardly based on his societal positioning.  Jesse Plemons helps to fade the initial heat off of the Cumberbatch arc by playing the sympathetic white knight with an honest nature that is sadly unaware of any damage he does that doesn’t impact his pocket.  Kirsten Dunst goes to pieces under the pressure of expectation in a secret manner while displaying innate motherly instincts in the hopes of protecting her character’s son.  Kodi Smit-McPhee exudes shades of youthful innocence, but much like the motherly character Dunst portrays, McPhee’s son characterization also hides much of his truth beneath a public veneer that is partly self-aware and partly based on self-protection.  Genevieve Lemon and Thomasin McKenzie bring light touches of comedic joy to a deeply moody household.  The cast is rounded out by brief appearances for characters that hold weight in the Burbank world, including Keith Carradine, Frances Conroy, Peter Carroll, Alison Bruce, Sean Keenan, Adam Beach, Maeson Stone Skuccedal, Alice Englert and many more.

It’s not surprising that The Power of the Dog made such a strong nomination showing for the upcoming Golden Globes ceremony, as that particular ceremony is strongly fueled by the non-technical aspects, and The Power of the Dog shines in terms of performances.  I won’t be surprised if the film gets a Best Cinematography nod for the Oscars on top of the near categorical nomination sweep it has achieved at the Golden Globes.  This is a huge step in the right direction for Netflix as a production house, and if Campion and company are able to bring some statues home this award season, it could bolster the quality of output we see for the long run. 

[twotrey23]

Crazy #Netflix @netflix #awards delivery #2 today: #ThePowerOfTheDog @powerofthedogfilm novel, key ring, & paper flower, but no screener. #JaneCampion #ThomasSavage #BenedictCumberbatch #KirstenDunst @kirstendunst #JessePlemons #KodiSmitMcPhee @kodismitmcphee #ThomasinMcKenzie @thomasin.mckenzie #film #cinema #movies #films #Netflix @netflix #awardsseason #awardseason https://www.instagram.com/p/CWgrjcfhBZB/?utm_medium=tumblr

[cinema-neilton1962]

Credits: @staticreviews JUNGLE CRUISE 🌴 In Cinemas July 29th & On @disneyplusau July 30th . @therock @shout_communications @disneyaunz @disneysjunglecruise . #junglecruise #jungle #junglecruiseride #dwaynejohnson #dwaynetherockjohnson #therock #emilyblunt #jesseplemons #amazon #amazonjungle #themepark #disneyland #disney #disneylandride #movie #comingsoon #review #moviereview #moviereviews #film #cinema #filmreview #frankwolff #adventure #riverboat #treeoflife #skipper #junglecruiseskipper #junglecruisemovie (em Tijuca, Rio De Janeiro, Brazil) https://www.instagram.com/p/CRzvpqUMMtV/?utm_medium=tumblr

[ravengreifht]

"Sto pensando di finirla qui (I'm Thinking of Ending Things)" (2020). Su Netflix. Scritto e diretto da Charlie Kaufman (che i film li fa tutti così), tratto dall'omonimo romanzo di Iain Reid (che dovrò leggere quanto prima). Con Jessie Buckley, Jesse Plemons, Toni Collette, David Thewlis. Prendetevi due ore e mezza di tempo (ma solo per guardare il film, poi bisognerà metabolizzarlo). Lunghi dialoghi. Scene infinite. Personaggi che scorrono attraverso il tempo. Il tempo che scorre attraverso i personaggi. E sogni. E fantasie irrealizzate. Attori stellari. #StoPensandoDiFinirlaQui #IMThinkingOfEndingThings #Netflix #CharlieKaufman #JessieBuckley #JessePlemons https://www.instagram.com/p/CFk7ttCgG1tip7fjx2z_5Zpu6Qd0ub-VwGXAUI0/?igshid=1qdgkv87fg232

[wigwurq]

WIG REVIEW: I’M THINKING OF ENDING THINGS

Well spooky season is over which means it’s time for my favorite season: AWARDS! I’m catching up on new releases and starting with a fairly spooky one: Charlie Kaufman’s I’m Thinking of Ending Things. If you absolutely adore movies that completely gaslight you, the musical Oklahoma!, off-brand DQ blizzards IN a blizzard, actors from every season of Fargo in once place and of course: Toni Collette’s bewigged bangs, this movie is for you! I guess this review includes spoilers but even if you have already seen this movie, this may not spoil things for you?? Regardless: let’s discuss the wigs (and much more!)

Straight up: I love a good roadtrip movie and this one stars a couple played by Jesse Plemons and Jessie Buckley! Buckley-ed up: this is 2x the Jess(i)es! Also buckle up: this movie is absolutely not a roadtrip movie and defies all genres, reason, and narrative logic. We are first meant to believe that Jessie is meeting Jesse’s parents, but actually none of that is true and also I hope you like listening to poems recited in a car because that is basically the first hour of this movie. 

Finally, we make it to Jesse’s parents’ secluded farmhouse where we are first given a tour of barn atrocities and then have to watch a wet dog shake itself for a about three hours and wonder what is happening in the creepy basement before finally meeting: DAVID THEWLIS AND TONI COLLETTE! Whew! Does anyone remember simpler times only 3 years ago when we were living in a total David Thewlinnaisance due to his involvement in both Wonder Woman and Fargo season 3? Well hold on to your old man wigs because we are in a Second Wave Thewlinnaisance!!!! Also between Thewlis, Buckley, and Plemons, Fargos season 2-4 are completely represented here like some sort of Fargo: End Game which honestly makes a lot of sense in the context of this movie (I THINK). Toni Collette: you need to be in Fargo season 5 now.

So let’s talk about Toni Collette’s wigs, as they are the main wigs in this movie. As Jesse’s off-kilter mom, these wigs are very perfect farmhouse non-chic. We first see her in this banged shag and it is pretty good! It is also very good at helping me understand just what the hell is going on in this movie because moments later...

Toni has no bangs!! This bang shift was the first substantial clue for me in realizing that the full time-space continuum was off in this movie (also this movie makes its own Robert Zemekis joke because it knows it is fully Back to the Futuring some real timetravel nonsense as well!)  Anyway, this wig is also good! Straggly and terrible, but good for the purpose it serves: to tell us that nothing is as it seems. Jessie’s non-wigged hair also shifts, as does her clothing, career, and name, as does Thewlis’s wig until we realize that this movie is totally gaslighting the hell out of us. 

Time becomes a flat circle and past and present all become one. Toni is young again, and so is this ‘50s ‘do! Ok? It is ok! Before you can say Leave It To Beaver, Toni is old again, about to die....and maybe so are we? How long is this movie? Also this is not even the scariest Toni has been at a parental dinner if you have seen Hereditary. 

It should be noted that throughout this gaslit nightmare of a parental dinner, we get flashes of a random high school janitor who ends up being the key to all of this. As does the musical Oklahoma! which he sees being rehearsed time and time again.

Later, when the Jess(i)es finally leave the terrible, time-shifting parental dinner full of scary laundry basements and shifting wigs, they drive some more and recite Pauline Kael’s dissertations on A Woman Under the Influence, and find themselves at an off-brand Dairy Queen to get some off-brand blizzards in the middle of a blizzard that the girls who work there...were also in that high school production of Oklahoma! and are treating Jesse like he’s a weird janitor....I think we’re getting to the point of all this.

But first: how well do you know the musical Oklahoma??? I played Gertie in a community theater production in 1999 so allow me to school you. It is the first true American musical and is essentially all about a girl named Laurie trying to decide who to take to a dance. Yes, really. Her choices are cowboy Curly and farmhand weirdo Jud. Curly tries to help Laurie decide by going to Jud’s weird shack and trying to convince him through song to “end things” because only through suicide will anyone like him (yes this is an actual song called “Poor Jud is Dead”). And though Laurie’s choice seems obvious (?) she first has to take some smelling salts and think on it, which leads to the psychedelic narrative convention of the dream ballet - in which other actors play Curly, Jud, and Laurie and dance it OUT. Also the dream ballet (and the musical) end in murder and this musical is dark as hell. OK? OK. 

Back to this movie, Jessie and Jesse make their way back to the high school where the janitor works, make out in a car, and then Jesse gets weirded out that the janitor is watching them and decides to give him “a piece of his mind”....he gives him much more in that we soon discover that the Jess(i)es have all been part of the janitors mind this entire time and this whole goddamned movie is an elaborate dream ballet...that is ending with some dancers playing the Jess(i)es in an actual dream ballet. That ends in murder. Also Jessie’s character is a messed up version of Laurie (from Oklahoma!) but never actually Laurie. Her name shifts from Lucy, Louise, Louisa, Lucia....never quite the Laurie this janitor Jud wanted her to be. 

But we’re not actually done yet!! The old janitor leaves the school, trips the hell out in his truck and reenters the school naked and with off-brand DQ and dead pig animation (yes, really). Then Jesse in old wig/makeup become the old janitor in a Nobel Prize award ceremony on the set of Oklahoma! the musical with Toni in Aunt Eller drag and most of the audience (including Thewlis and Buckley) in the kind of old age makeup they do in high school productions where you just draw a bunch of lines on your face. Jesse delivers the Nobel acceptance speech from A Beautiful Mind and then goes into the set for Jud’s shack and sings Jud’s (often cut) song from Oklahoma!, “A Lonely Room”...and scene! Now aren’t you glad I told you about Oklahoma!???? 

Ultimately, this is the movie for the theater nerd who demanded that Jud hisself got his own damn dream ballet and also imagines Jud to be a modern-day janitor who thinks he’s smart and cultured and deserves a cool girlfriend and dabbles in landscape painting. But wig-wise...

VERDICT: WURQS!

[alqquistt]

jesse plemons looks terrible with long hair someone tell that boy to get a buzz immediately