Cinemengrave

A collection by Taylor Cullinane.

[tayjcullinane]

My short film, The Fall, is available to view online! I'm humbled and very grateful for what this film has achieved and personally given me as a film maker. It wouldn't have been possible without my amazing cast and crew who worked on this project. Thank you for all your support! Please watch and enjoy! Watch here: https://vimeo.com/181695546

[tayjcullinane]

Top 4 Manchester United Summer Transfer Targets

It’s June 2017, and it’s still early for Manchester United to acquire big names from other top level clubs. With the signing of our new, versitile center back from Benfica, Victor Lindelof, now complete, and Antoine Griezmann’s decision to stay at Atletico, United will have a few more slots to fill. Although Jose Mourihno has said that he would like to add four new players to the roster over the summer, I would like to see United get five. Now with the addition of Lindelof, United have some options to consider. 

Here is my list of top 4 players that United should acquire over the summer if they are to have a higher advantage in big league competitions next season:

1) Alvaro Morata (Real Madrid)

Registered at 6′2, Morata is the big, target man that United need in order to replace Zlatan. He can offer so much at the striker position including holding up the ball, swinging the ball out to the wingers, play intricate passes, and he even has acceptional crossing capabilites. He’s proven he can perform in the big matches, scoring 3 goals with 1 assist in the Champions League and has racked in 15 goals in La Liga last season. He will be looking to have a regular starting role at a top level club which he hasn’t seen at Real or Juve, and the 24 year old could initialize his move under Jose Mourinho in the next coming days.

2) James Rodriguez (Real Madrid)

This year could be the first time in history when two Real Madrid players move to Old Trafford in the summer! For so long, Manchester United have needed clinical finishing in the final third, and Rodriguez could solve all of those woes for United. When Louis Van Gaal brought in Angel Di Maria from Real Madrid in 2014, United expected him to provide a dynamic, creative attacking threat going forward, but with his lack of ambition to play for the club and staggering inconsistency, he saw himself out of the club in only a year. James would not be a repeat of Angel Di Maria, because he has been open about joining United for nearly six months, and he, like Morata, craves a starting role for a big club. James would have no problem competing at the Premier League level being that he scored 8 goals, recorded 6 assists with 89% pass accuracy in only 22 games in La Liga last season. He would add tremendous movement at the center of the pitch and add attacking prowess around the box. If he were to make a move to Old Trafford this summer, Rooney will be asked to give up his number 10 shirt to James. Whether Rooney is comfortable with that, it is not clear, but if Rooney wants to continue to play football under Mourihno, he should graciously allow the younger generation to take over. 

3) Tiemoue Bakayoko (Monaco)

Although there is speculation that his teammate, Fabinho is more likely to sign with Manchester United, I do not see any sense in that move. Bakayoko is a more promising prospect than Fabinho. He would be an adequate suiter for Michael Carrick’s role in the deep midfield and add assurance to our defense. He is not the long passer that Carrick is, but Pogba or Herrera could drop back and dictate the ball further up the pitch. In Ligue 1 last season, Bakayoko registered 74 touches per game with an 87% passing accuracy. His defensive numbers are impressive, recording 80% tackles won, 66% aerial wins, and winning 58% duels. Bakayoko offers the physicality, speed, and strength that United need in that defensive midfield role.

4) Benjamin Mendy (Monaco)

Unfortunately, it looks likely that he’ll end up with United's bitter rivals at the Etihad, but if Ed Woodward can somehow make a strong push and land this flashy left back, United will be in solid shape in both offense and defense. At 22 years old, Benjamin Mendy is pacy, strong, defensive-minded and has excellent vision. Last year in Ligue 1, Mendy won 77% tackles, clocked in 5 assists, and completed a 76% pass accuracy. Some areas he will need to work on in order to adjust to the Premier League, but he would be a superb option for United's troubled left back position. 

[tayjcullinane]

Time to Switch It Up

Hey, folks. I’ll be including a new addition to my blog. Now so far, I’ve been covering films and mostly writing reviews on here, but I’ve decided to make my page more eclectic. Although I adore cinema and call it my passion, it’s not the only thing in my life that I thoroughly enjoy. It’s my career. I think about film everyday. Sometimes I need to focus on my other hobbies in order to get a fresh perspective on life.

One of my favorite hobbies is playing soccer and supporting my favorite team, Manchester United. I have been a fan of Man U for about seven years, and I obsessively keep up with team news, transfers, player info and statistics. So, I’ll be covering most of the transfer news, and I also will try my best to do after game player ratings and game reviews. I’m not incredibly knowledgeable about tactics, but I know my team and I want to share my passion for the game on here. I will of course still be covering films and keeping you guys updated with my film career. Thank you, guys, and cheers!

[tayjcullinane]

What Worked for Wonder Woman?

As a film lover who does not consider himself a superhero fanatic, Wonder Woman was a film that I came out of pleasantly suprised. Excluding The Dark Knight, I tend to lose interest of superhero franchises. Most repeat the same storylines, character archetypes, and stylistic preferences. That is not to say that Wonder Woman strays away from those choices, but it adds a fresh spin on the superhero franchise that I think works well for what it is. What drove me to watch the film was that it casts a female lead and additionally brought on a female director. Aside from those bold decisions, what made Wonder Woman really work?  

First, it must be said that the casting was exceptional. Gal Gadot does a splendid job as our new Wonder Woman, but it’s also the supporting roles that should be receiving some credit as well. Chris Pine plays the sidekick that adds plenty of comedy relief, and Robin Knight also drives home a compelling cameo. Without such a top-notch cast, the film would’ve lacked in tone and personality, which these actors provided in fantastic fashion.

Second, is the story. NO SPOILERS, but it is obvious that this is Wonder Woman’s origin story. We observe her growing up, motivated to become the best warrior of her native land, Themyscira. When a war pilot (Chris Pine) crashes his plane on the shores of her island, she is compelled to help him, and the conflict gradually evolves the more we learn from the pilot. Greek mythology is cleverly tied in well with the travesty that is World War I, and it adds depth to the story. Without giving too much away, the story is not too complex to grasp and gives the audience plenty of reward.

The previous elements mentioned are important to this film, but the aspect that was done exceptionally well that kept me interested above all else was the editing. Edited by Martin Walsh, who has edited Chicago (2002), V for Vendetta (2005), and Clash of the Titans (2010), is deserving of huge praise. The pacing is quick, but not choppy. Cutting between dialogue is on par, and the timing even in the more comedic scenes in London, are executed superbly, which is also in Walsh’s wheelhouse being that he has edited Bridgette Jone’s Diary (2001). Until this film, I was reminded that no matter how dull or regurgitated the subject matter is, if the project is edited well, the audience will grasp onto the story seamlessly. In other words, excellent editing enhances the film.

With that being said, I encourage anyone to go see Wonder Woman as I am curious to hear from those like myself who aren’t compelled by superhero franchises. A good film is a good film, and I had to let my past criticisms of Suicide Squad and Dr. Strange go in order to approach this film with open arms. I suggest you do the same, my like-minded film buffs. Go see a stunning female like Gal Gadot smash in some faces!

[tayjcullinane]

Top 25 Films of 2016

25. Blue Jay

Directed by Alex Lehmann; Written by Mark Duplass

Mark Duplass and Sarah Paulson play old high school sweethearts who meet by a chance encounter two decades later in this darling of an indie film. The two actors give charming and heart-wrenching performances in a film that depicts the old kindlings of a past relationship. With a beautiful story that delves into the melancholy, Blue Jay genuinely conveys the regrets and regressed love between ex lovers.

24. Swiss Army Man

Written and Directed by Daniel Kwan and Daniel Sheinert (known as The Daniels)

Arguably the most original and authentic film to come out in 2016, Swiss Army Man gained momentum and noteriety through its peculiar, yet comedic, storyline. A man (Paul Dano) who had been stranded on an island for a presumably long time was about to end his own life until he comes across a flatulent dead corpse (Daniel Radcliffe) washed up on the beach. Starting out as a survival drama, it quickly evolved into a quirky buddy comedy as the man discovers the dead corpse’s many powers. Disturbing at times, it completely embraces its lunacy and whimsical humor, and it emphasizes the importance of imagination, which it boldly excels at.

23. 13th 

Directed by Ava Duvernay; Written by Spencer Averick and Ava Duvernay

With its controversial subject matter, this documentary couldn’t have been released at a more convenient and ironic time. In the span of The Black Lives Matter movement; to the hearing of Trayvon Martin’s shooter, George Zimmerman; and the 2016 presidential election, 13TH shook up viewers with its analysis on the thirteenth amendment and its correlation with America’s issue of mass incarceration of African-Americans. The film goes full depth into the history and business of the privately-owned prison industry and its ties in government. As alarming and concerning as these issues are, 13TH not only effictively tells the history of this dilemma, it commands one’s attention in efforts to act upon it.

22. Jackie

Directed by Pablo Larrain; Written by Noah Oppenheim

Playing the role of Jacqueline Kennedy after the assissination of her husband, Natalie Portman adds a revelatory performance to her illustrious career. Marvellously shot by cinematagrapher, Stephane Fontaine, with the eerie score from Mica Levi, the film commits its attention on the widowed first lady allowing Portman to guide the audience through the absurd and turbulent events during a time in history where paranoia and confusion were set in the hearts and minds of many Americans.

21. Silence

Directed by Martin Scorcese; Adapted Screenplay by Jay Cocks and Martin Scorcese

After twenty years of anticipation, auteur Martin Scorcese crafts a film that portrays theology in an alternative light in which it seperates itself from other films that center around religion. Based on the story from Japanese novelist, Shusaki Endo, Andrew Garfield plays Sebastiao Rodrigues, a Jesuit preist who decides whether to apostatize while searching for his mentor (Liam Neeson) who was captured in a Japanese village in the 17th century. Its long run time and slow pace can pose as a challenge, but its striking cinematography from Rodrigo Prieto is mesmerizing, and its unique perspective on religion emphasizes important moral questions in relation to conflicting ideologies from different cultures. 

20. Paterson

Written and Directed by Jim Jarmusch

Jim Jarmusch returns with a bang with this meditative, heart-warming drama starring lead man, Adam Driver, who plays a busdriver named Paterson who lives in Paterson, New Jersey and has a profound love for writing poetry. The film delves into the heart and mind of Paterson as he encounters the many people and places while on the job and at home. It takes one on a journey through an artist’s creative process in this case Paterson’s poetry as he gathers inspiration and tranforms the subtle beauty around him into words on a page. It’s quiet, easy-going, and thoughtful, and Paterson leaves you with an appreciation for the simple things in life.  

19. Kubo and the Two Strings

Directed by Travis Wright; Story by Shannon Tindle and Marc Haimes; Screenplay by Marc Haimes and Chris Butler

With a hearfelt story and its eye-dropping visuals from stop animation studio, Laika, Kubo and the Two Strings impresses on many levels. Beyond the incredible images is the story of a rebellious young Japanese boy who must make a decision that will effect his family’s legacy forever. Armed with his masterful abilities to play a two string sitar-like instrument called a shamisen and to tell stories through oragami, Kubo embarks on a journey of self-discovery that is both enchanting and enlightening -- a joy from start to finish.

18. The Salesman

Written and Directed by Asghar Farhadi

This acclaimed dramatic thriller from the director of “A Seperation” is a little gem that sublimely blends mystery and comedy in a story where a couple experiences a traumatic event that could unravel their relationship. Being an unmarried and childless couple in Tehren, Rana and Emad are both actors and members of a theater company that is in the middle of production of Arthur Miller’s, “Death of a Salesman.” After abandoning their apartment that was about to collapse from poor infrastructure, they move into a new flat only to encounter the horrors from the previous tenant who was a prostitute. Shahab Hosseini and Taraneh Alidoosti are magnificent as the two protaganists, and the film is well-deserving of its Oscar win for Best Foreign Film. 

17. Split

Written and Directed by M. Night Shyamalan

It’s a slippery slope when depicting a character who has dissociative identity disorder, or more commonly known as multiple personality syndrome. The argument in which the disorder is accurately portrayed remains, but as a whole, Split is a return to form for the largely polarized director, M. Night Shyamalan. Undoubtedly, the film owes its success to the audaciousness and dexterity of James McAvoy, who plays a troubled, ominous figure who struggles with DID and kidnaps three girls. The protagonist is one of the estranged girls played by Anya Taylor Joy, who is equally superb with a compelling background story. As per typical Shyamalan films, there is a reveal within the film that may pleasantly surprise his fans, but all in all, the film is entertaining with an ingenious plot and regains positive momentum for the director leading up to his future projects. 

16. American Honey

Written and Directed by Andrea Arnold

Messy, beautiful, bewildering, and vibrant. British director, Andrea Arnold’s docudrama follows an abused, poor, and inquisitive female teenager who runs away from her despairing household with a crew of young and reckless kids who travel around the U.S. selling magazine subscriptions for “supposed” fundraisers. Sasha Lane and Shia Leboeuf command the helm with their graceless charm and palpable chemistry, seamlessly weaving their ways through their uncarved path to adulthood. Because it embraces a non-structural narrative format, the film strays away from common stereotypes, inviting complexities and contradictions within the characters and story. It’s a fresh take on an adventure/coming-of-age story that excludes any moral stance or agenda, refraining judgement away from the characters. It simply breathes and lives from one moment to the next.

15. Lion

Directed by Garth Davis; Screenplay by Luke Davies

Lion is an incredibly emotional film that especially tugs on the heart strings of parents. Based on the non-fiction book, “A Long Way Home” by Saroo Brierley, the film is about a young boy named Saroo (Sunny Pawar) who accidently gets lost in India and struggles to survive on his own. After going through the foster care system and growing up with foster parents in Australia, the film flashes forward couple decades where Saroo, now played by Dev Patel, discovers how to track down his biological family using Google Earth. Nominated for a three Oscars, Lion effectively hits all the right notes even if the film is a giant Google product placement.

14. Hidden Figures

Directed by Theodore Melfi; Screenplay by Allison Schroeder and Theodore Melfi; Based on the Book by Margot Lee Shetterly

Hidden Figures tells the story of three influential women who were monumental in the development of NASA in the early sixties. Very much a David versus Goliath story, three of these women had to fight their way against gender and racial discrimination in order to excel in NASA and pave the way for America’s goal to win the space race. Although it focuses on the three characters, the film’s main protagonist centers around Katherine G. Johnson (Taraji P. Henson) who calculated the launch coordinates and trajectory for the Atlas rocket. Taraji P. Henson, Octavia Spencer, and Janelle Monae star in an ensemble cast in this powerful biopic that exudes positivity and inspiration.

13. Captain Fantastic

Written and Directed by Matt Ross

Probably portraying the most eccentric and ultra-progressive family in the history of film, Captain Fantastic is a stunningly ethereal adventure/fantasy drama about a radically idealistic father (Viggo Mortensen) and his six children who live an isolated life in the woods and must travel into civilization after a family tragedy had occurred. The father is an extremely well-disciplined man who rigorously teaches his kids through physical training and intense education. Because of his socialist ideals and political beliefs, he has successfully made his family into survivalists, which has lead them to a comfortable and blossoming life in the woods. His ideals are challenged when he faces the real world during their adventure into society. With a charming young cast and a phenomenal performace from Mortensen, Captain Fantastic is a remarkable, feel-good story with a philosophical outlook.

12. Nocturnal Animals

Directed by Tom Ford; Screenplay by Tom Ford; Based on the Novel, “Tony and Susan,” by Austin Wright

Drawing inspiration from Austin Wright’s 1993 novel, “Tony and Susan,” Nocturnal Animals mends elegance and style into its bloody, brutal story which revolves around the themes of betrayal, heartbreak, and revenge. Although Amy Adams is arguably underused in this role, it’s the supporting cast -- Jake Gyllenhaal, Aaron Taylor Johnson, Michael Shannon, and Karl Glusman -- who carry the film exceptionally well. From the Gucci maestro and director of A Single Man, Tom Ford combines his unique and authetic storytelling with expertly-crafted cinematography engaging the viewer into a world of sheer beauty and peril. It’s vivid and vicious, and even in its peculiar moments, the film shines exponentially.

11. Hell or High Water

Directed by David Mackenzie; Written by Taylor Sheridan

The middle of the year was hit with a bang when this wild and rambunctious thriller was released, making Hell or High Water the highest grossing indie film of the year. From the writer of “Sicario,” Taylor Sheridan composes a skillfully crafted heist story that rather than it completely embracing the Western genre, it portrays more of a humbling family drama. Chris Pine and Ben Foster play Toby and Tanner, two brothers who rob banks in West Texas in order to pay off the local banks before Toby’s farmland is seized. Jeff Bridges is remarkable as the Texas Ranger who takes on the challenge to put them into custody. This neo-Western is masterfully shot with envigorating action scenes and does not disappoint with an exceptional cast.

10.  Manchester by the Sea

Written and Directed by Kenneth Lonergan

It takes a special film that can effectively mix humor with densly serious subject matter without being offensive or mean-spirited. Manchester By the Sea is a film that does not shy away from the irony and sarcasm that occurs when the protagonist, Lee (Casey Affleck) is chosen to become the guardian of his late brother’s teenage son (Lucas Hedges). Through a series of flashbacks interspersed throughout the film, the reason becomes clear why Lee has become a damaged man, and since he is no stranger to tragedy, he helps serve as a guide to his nephew as he comes to terms with his father’s death. A powerful yet interesting account on grief, Manchester By the Sea definitely brings the tears but also with a subtle quirkiness that softens the pain.

9. The Lobster

Directed by Yorgos Lanthimos; Written by Yorgos Lanthimos and Efthymis Filipou

Brilliantly dystopic and hilariously cynical, Colin Farrel stars as David, a lonely introvert living in the futuristic world called The City where he is enrolled into The Hotel and must find a romantic partner in forty-five days or he will be turned into an animal. The film is essentially a critique of the social norms of love in modern society. It highlights the absurdities and ridiculous behaviors within The Hotel with its dark humor and hyperbolic metaphors. With subtle acting; wonderfully crafted and complex characters along with an ingeniuous story, The Lobster impresses on many levels and provokes further thought after the first viewing. 

8. La La Land

Written and Directed by Damian Chazelle

It’s an ode to old Holloywood musicals, but it’s fresh in its approach, and it simply bounces off the big screen with its sharp contrasts and hues. It is no surprise that La La Land has recieved critical acclaim and overwhelming attention since its release. It is officially tied with “All About Eve” and “Titanic” with the most Oscar nominations -- fourteen. At the heart of it is an aspiring actress (Emma Stone) and a traditionalist jazz musician (Ryan Gosling) who fall in love in Los Angeles all the while attempting to reach new heights in their artistic endeavors. It’s a classic tale about love and ambition with incredible fervor and choreographic prowess, and it adds another superb film to the list of the young phenom-director, Damian Chazelle.

7. The Handmaiden 

Directed by Chan-wook Park; Screenplay by Seo-Kyeong Jeong and Chan-wook Park; Based on the Novel, “Fingersmith,” by Sarah Waters

Being one of the longest films on this list, The Handmaiden masterfully grasps your attention in every scene, and it does not do so in predictable and obvious ways. From the director of “Stoker” and “Oldboy,” Chan-wook Park returns with a story filled with mystery, betrayal, and deception. Originally written as a novel titled, “Fingersmith,” by Sarah Waters, a handmaiden is hired to care after a Japenese hieress, but inconspicuously, the handmaiden has been hired to beguile her. Because of the story’s many twists and turns, it is one of the most entertaining films to watch and includes one of the most rewarding endings in a film this year. 

6. Fences

Directed by Denzel Washington; Screenplay by August Wilson; Based on the Play, “Fences,” by August Wilson

Denzel Washington and Viola Davis give a riveting performance in August Wilson’s film adaptation, Fences. Washington plays Troy Maxson, a rough-around-the-edges, loquatious working class man who must come to terms with the events in his life while raising his family in the fifties. From poverty to the Jim Crow laws and time in prison, Troy’s troubled past shapes his worldview, so much so that it escalates tension between him and his son, Cory (Jovan Adepo), who wants to play on a college football team. Although Troy commands the story, his wife (Viola Davis) is his crux and the chassis that holds the family together. This is arguably Davis’ and Washington’s best performances of their career, and because of its intense and personal moments, Fences is a humbling masterpiece. 

5. Loving

Written and Directed by Jeff Nichols

Loving tells the powerful, true story of Mildred and Richard Loving, an interracial couple who were arrested in Virginia in 1958 due to anti-micegenation laws. Joel Edgerton and Ruth Negga provide a powerful performance, and their on-screen chemistry is palpable, but much of the credit goes to director, Jeff Nichols. Loving could have easily been an over-reaching Oscar bait film, badgering the viewer with maudlin, overtly sentimental material, but it is the complete contrary. Its quietness and steadfast calmness emphasize the love and passion between these two characters, which makes it an absolute treasure.

4. 20th Century Women

Written and Directed by Mike Mills

1970′s. Second-wave feminism. The Talking Heads. There were some important cultural changes occuring when a young teen named Jamie (Lucas Jade Zumann) was being raised by his mother (Annette Bening) and two other women (Elle Fanning, Greta Gerwig) in Santa Barbara, California. 20th Century Women is indeed a dysfunctional family drama, but its layered political and societal themes bring a rugged texture and complexity that emphatically ring true through its characters. The film highlights Jamie’s struggle for identity as he searches for the many forms of masculinity portrayed in pop culture all the while his mother wishes to understand his desires and protect him from self-destruction. With a mesmerizing cast and a distinct tone, 20th Century Women beautifully depicts a group of people who are striken by the uncertainty of their futures and yet manage to navigate their lives while remaining together.

3. A Monster Calls

Directed by J.A. Bayona; Screenplay by Patrick Ness; Based on the Novel by Patrick Ness

Easily one of the most beautifully shot and animated films of the year, A Monster Calls will most certainly elicit a good cry. Interestingly enough, this film appeared to be catered for young audiences, but its dark and mature subject matter seem anything but suitable for its target audience. Suprisingly, the film holds its own for its unique direction and grounded tone when dealing with a story centering around grief and isolation. While his mother (Felicity Jones) is striken by a terminal illness, a boy (Lewis MacDougall) discovers a tree monster that could help him cope with the traumatic events that have occured in his life. The film is daring in regards to showcasing the dark and somber moments from the tragedies of this young boy’s life, and it successfully entices due to its strong visual and emotional magnetism. A brilliant and poignant achievement.

2. Arrival

Directed by Denis Villeneuve; Screenplay by Eric Heisserer; Based on the Story, “Story of Your Life,” by Ted Chiang

Denis Villenueve is one of the great filmmakers of this generation, and he surely does not disappoint with his latest sci-fi drama, Arrival. Like most of Villeneuve’s work, he brings gravitas to each scene by incorporating underlying tension between characters and evoking a subtle dread and unease, which has been a signature within his filmography. Arrival embodies that gravitas except with a remarkable story and new genre in which Villeneuve has yet to explore until now -- science fiction. Amy Adams is spectacular as linguistics professor, Louise Banks, who is delt an overwhelming assignment from the federal government to deconstruct the language of alien inhabitants who have landed on Earth via twelve elliptical spacecrafts. Gorgeously shot by upcoming cinematographer, Bradford Young, it is dauntingly visceral with its high contrast and greyish midtones, but it’s the story that shines and creates a breath-taking reveal that will be relished for quite some time. Villeneuve is a master of character study, and Arrival is yet another marvelous addition to his arsenal of acclaimed work.

1. Moonlight

Directed by Barry Jenkins; Screenplay by Barry Jenkins; Story by Tarell Alvin McCraney

It’s difficult for a film to justify the hype it has recieved, and in a lot of ways, too much hype could do so much to even discredit it. There are many reasons why some art is deemed “great art,” but how “great art” moves past all the expectations is by embodying an element in which it trancends beyond its labels. A great film is a great piece of art. It acts as a vessel that propels beyond the screen and into our lives. Moonlight is that film, and it is a cinematic triumph. In its entirity, it’s seamlessly executed aesthetically, technically, and emotionally. It tells the story of Chiron who grows up gay, poor, and black in an impoverished neighborhood in Miami. The story is told in three parts: Chiron as a young child, a high-school teenager, and a man in his mid-twenties. Tragedy has followed Chiron his whole life due to his sexuality, which is harshly rejected in an area pervaded by violence and poverty. His survival is dependent upon his ability to conform all the while his mother struggles with drug abuse. Moonlight is a timeless story about love that is universal and was released in a year where the marginalized needed a voice. Well, Moonlight is that voice, and it speaks volumes over the hype. 

[tayjcullinane]

Hello, guys! Just wanted to announce that I will be releasing my list of top 20 films of 2016 this February! Since there were movies that were made in 2016, but released earlier this year, I'm still playing catching up! I have four more films to watch that remain on my watchlist. After I've watched these films, I promise you I'll have this list complete! That is all! Thank you, and be sure to check back on any further updates! Be well, TC

[tayjcullinane]

The Neon Demon Review

This’ll be a special post, because it’ll be my first film review on Tumblr! Here’s a breakdown of what my reviews will consist of -- I’ll only be reviewing films that’re being shown in theaters in order to stay up-to-date with the newest films and for this blog to remain relevant (hopefully). I’ll start every review with a brief summary along with a logline of the film, and then I’ll examine the film based on three categories:

- Story/Plot

- Characterization

- Aesthetics

These three areas, I believe, are the most important aspects of a film, and there’ll be no spoilers! Also remember that this review is obviously my own opinion, guys. I welcome any suggestions or opinions, and I’m always curious to know what your thoughts are about the film as well. So, with all that said, let’s begin! 

I’ve been very eager to see The Neon Demon, as I always am with Refn’s films. Known as being labeled a “provocateur,” Nicolas Winding Refn (NWR) is known for creating spectacular visual films with controversial subject matter. Although NWR produces astonishing imagery with vibrant color pallets, he has experienced a fair amount of criticism for emphasizing too much “style over substance.” His previous works like Valhalla Rising (2009), Bronson (2008), and Only God Forgives (2013), are undoubtedly beautiful to watch on screen, but their story-structures and characters lack depth and coherence. On the contrary, Drive (2008) is arguably the most notable out of his filmography, starring Ryan Gosling and Carey Mulligan. Based on an illustrated novella, Drive added an exceptional balance of style and substance with a new and unique protagonist and ground-breaking score by Cliff Martinez. NWR pairs with Martinez for the third time for The Neon Demon, so the score is amazing, but will the film be considered as another incoherent and underwhelming Refn film, or will it improve from the exceptional qualities from Drive? Or will The Neon Demon stand entirely on its own?

1) Story/Plot - The film is about a 16 year old girl named Jesse (Elle Fanning) who dreams of making it big in Los Angeles as a model. After signing with a modeling agency and fashion label, she becomes an instant sensation, but her attention is causing friction between her and the other older jealous models. As her undeniable beauty attracts many within the fashion industry, she soon realizes that her dream of reaching the top will indeed turn into a nightmare. First off, like many of Refn’s works, the story is slightly unorthodox. For example, it’s not made entirely clear who the protagonists and antagonists are. Although the film centers around Jesse, the story slowly shifts over to her hair and makeup designer, Ruby (Jena Melone). Essentially, we have two main characters in the film, which is indeed peculiar but doesn’t have a tarnishing outcome. Without giving too much away, the third act is the most controversial and horrific. It’ll definitely raise some eyebrows, drop some jaws, and draw polarized reactions. The Refn enthusiast may find the third act awe-inspiring and incredible, but other movie-goers could deem it repulsive and disturbing. With that said, the first half of the film moves slowly, and in some scenes, the pacing lacks due to slow and awkward dialogue, which some may find forgivable with a juicy third act. 

2) Characterization - First of all, Elle Fanning shines in the film and deserves praise for her unique and controversial role as Jesse. She guides the story and takes control on screen. Her performance should propel her already illustrious career, and one can only hope for her to choose more roles of this quality. Jena Melone’s role as Ruby has the most interesting of character arcs. Her motivations are questionable, and her actions make very little sense in contrast to her relationship with Jesse. In one scene (I won’t describe it) Melone gives one of the most shocking and disturbing performances in a scene maybe ever! But the most pleasant surprise in the film comes from the two other models, Gigi (Bella Heathcote) and Sarah (Abbey Lee). Both give a dynamic performance, blending cynical humor with cold-hearted tension. In many ways, their addition provided the film’s dark humor similar to Bronson, and they were a fresh inclusion in the story. Without the two supporting characters, the tone would be flat and the film would be even more unremittingly dark and grotesque as it already is. Keanu Reeves and Christine Hendricks, both being stand-alone stars, were surprisingly peripheral in the film. Keanu’s character, Hank, a vile and cantankerous hotel owner, has perhaps the most confusing scene of the movie, and his involvement is unnecessarily excessive in comparison to Hendricks. Hendricks plays a modeling agent and only makes one appearance in the film. If her character was more involved in the story, then she could’ve added more to the conflict and thickened the plot. But all in all, the main cast gives a solid performance.

3) Aesthetics - The film is gorgeous. What more is there to say? To no surprise, NWR has churned out another stunningly euphoric film with a mixture of dark and bright colors with high contrast and immaculate composition. It ought to be noted that not only has NWR gone out of his way to create a film starring a predominately female cast and write a story centered around a female protagonist, his film was also shot from a female’s perspective. NWR paired with cinematographer, Natasha Braier, who shot films like The Rover (2014) and Chinese Puzzle (2013), for The Neon Demon. Having a female driven and created project deserves praise, and it’s a bold choice in a film industry that’s male-dominated and patriarchal. Aside from that, nearly every scene is eye-catching and every frame a painting per se. If one appreciates cinematography, all of Refn’s film ought to be studied and admired. As an auteur Refn’s signature relies heavily on his visceral imagery and balanced composition, and The Neon Demon is profound on both aspects. 

Because of the relentless violence and overtly fetishistic sexual content, it’s easily understandable for one to label this film as an appalling and meaningless blood and sex display. But if you’re into films that heavily feature abstraction and metaphors, then this film is for you. If you enjoy an abundance of art house cinema, then this film is for you. Otherwise, I highly encourage you to prepare yourself for what you’re about to see. The Neon Demon has many plot holes and character development issues, but the film portrays the hardships and struggles of being a female in a society that’s obsessed with beauty. No matter how grotesque and malicious it may seem, if a film’s message critiques current social issues that are relevant today, then it has meaning and purpose. And above all else, The Neon Demon is fun no matter how incoherent the plot may seem. At this point, Drive continues to stand alone as Refn’s most popular and renowned film, but The Neon Demon stands out as Refn’s most bold and haunting of his career.  

[jacquesdemys]

Montgomery Clift and Donna Reed in From Here to Eternity (1953)

[tayjcullinane]

Bittersweet Ending

As the final week of my internship at Red Productions comes to an end, I can only think of one word to sum up my emotions perfectly--bittersweet. It’s sad to know that this valuable experience has come to an end, but it’s absolutely gratifying to have completed my training as a film development intern with all of the inspiring and hardworking people at Red Productions. Rather than being treated as just another intern, this company welcomed me with open arms and has treated me like family since day one. Truly, it was a joy to work in the beautifully-designed office (kudos to Red’s mom) and be a part of this progressive team of creative minds. These eighteen weeks have been challenging, which has helped me to learn so much in order to adapt with the ever-evolving fields of film and production. 

My main responsibility at Red was to write script coverage. Every week, Creative Executive Derek Brown would give me two scripts to read, analyze and grade. Since writing my first script coverage, I have not only developed into a better writer and analytical reader, but I have also learned the necessary components of a great screenplay. Thanks to this training and experience, I have become a more capable and confident film professional.  

Most of my days at Red were spent writing script coverage, manning the front desk to welcome guests, and answer phone calls. Occasionally, I would run errands and help with miscellaneous tasks around the office. To anyone who thinks this sounds boring or monotonous, believe me when I say that everyday here felt exciting and new. Exciting like the feeling of watching Fight Club for the first time. My time at Red mended seamlessly with my school schedule, and I was consistently busy doing things that I loved: learning, reading, writing, or hanging out with Sophie, Red’s dog (picture below).

All in all, I’m completely thankful to have had the opportunity to intern at Red Productions. Furthermore, it’s awesome that this internship was credited towards my degree and will forever be a mark of pride on my transcript and resume. Instead of being in a classroom, I was able to work for an innovative company with extraordinary and talented people, all the while reveling in the unique opportunity to learn firsthand the video production business. That’s hard to beat.  If you are a college student who is eager to learn more about the film industry and believe you are able to handle the challenge, look no further. This is a company that is doing great things for the city of Fort Worth and people across the nation--the future of Red blazing and exciting. 

[tayjcullinane]

Film Development Internship at Red Productions

After today it will be my third week as a Red intern. I have noticed more everyday, that I am turning redder and redder. So red -- my girlfriend finally told me to put on some sunscreen. It’s been an exciting, yet hectic ride since my arrival at Red Productions. Just some personal background leading up to the internship — I am a senior at the University of North Texas majoring in Radio, Television, and Film. Before the fall semester, I had a difficult time finding one more class to add to my course schedule. Miraculously, Red Productions was kind enough to allow my fall stay at the company to be credited towards my degree! No classroom lectures and working at one of the most respected and award-winning production companies in Texas? Jackpot! Basically, I bounce around from Denton to Fort Worth two times out of the week to work for Red. Also, I am in the process of filming three short films this semester while wrapping up my Philosophy minor and Bachelor’s degree. And I frequently venture to Austin to visit my girlfriend on my free weekends. I pretty much NEVER STAY IN ONE PLACE, and I am never not busy. And you know what… I. Love. It!

With Red, my internship entails mainly one thing, well… two things actually: reading and writing. As the film development intern, I work directly with Red Executive Creative, Derek Brown, who’s based in L.A. Located smack dab in the Avenue of the Stars in Hollywood, Derek fishes for new and exciting feature-length scripts circulating L.A., mostly indie film projects and forwards the scripts over to moi. I rate, comment, and write a page-or-two-long synopsis about the project. This is known as a coverage for all those who desire to know the film terminology. The main purpose for coverage is help colleagues and clients become familiar with a project without reading the entire script. As of now, I am on my fifth script!

Here are some questions that are thrown my way about my position: a) Isn’t it boring to sit down, read and write all day long? b) If you want to be in film, isn’t it better to be on set than sit behind a computer? My answer to the first question is only if you make it boring. Reading scripts is nothing new for me. Before Red, I have read (no pun intended) countless scripts during my summer internship at the Texas Film Commission in downtown Austin. When I first started doing coverage, I was thinking how excruciating it is to sit in front of a computer for 8 hours of the day, reading mostly jargon about a would-be film project. But then I started getting faster in comprehension and learning new ways to format stories. And it occurred to me that not many aspiring filmmakers have a chance to be exposed to all of these ideas and works. It has helped me separate a good story from an okay story and an okay story from a not-so-okay story and a not-so-okay story from a… you get it.  And plus, it is very exciting to read a script that may have a marveled movie star attached to it!

My answer to the second question is by asking if it is better or not is not the right question to be ask. No matter what position in the industry, one is technically working in film — directly or indirectly. Yes, many filmmakers have worked their way up the latter on set and have arrived where they are today because of it, but it is surprising to look at the number of other filmmakers who got there break off set. The fact is that it’s not about being the best filmmaker the world has ever seen. It is about telling meaningful stories that touch the hearts of others. It is about making a film that sends a message through the landscape of our crazy world. And at the core, film is an art, and it is expressed solely as a narrative. And that’s why I am here and honored to be doing what I do here at Red - reading stories and talking about them!