Category Archives: Oscar Isaac

Dune-2021

Dune-2021

Director Denis Villeneuve

Starring Timothee Chalamet, Rebecca Ferguson, Oscar Isaac

Scott’s Review #1,282

Reviewed July 29, 2022

Grade: B

Dune (2021) is a film that, under normal circumstances, I would not have seen. I’m not a massive fan of blockbuster, fantasy films. If not for the slew of Oscar nominations the film received, ten to be precise, Dune probably would have flown under my radar.

I needed to see what all the fuss was about.

Paul Atreides (Timothee Chalamet), a brilliant and gifted young man born into a destiny that he doesn’t wholly understand, must travel to the most dangerous planet in the universe to ensure the future of his family and his people.

As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence, only those who can conquer their own fear will survive.

My assessment of the film before even viewing it proved correct. It’s an epic-length, science-fiction, fantasy type of adventure film all rolled into one. I liken it to the unwieldy Lord of the Rings (2001-2003) trilogy in tone and content, and it shares a peculiar reminiscence with the popular television series Game of Thrones (2011-2019).

For most of Dune, my attention was squarely glued to the story as well as the astounding cinematic grandiose trimmings. I knew if I didn’t pay close attention, I would quickly be out in a left field (I’ve made this mistake before).

Overall, I admired Dune and struggled to grade it either a B or a B+, finally deciding on the latter. The visuals are astounding and cleverly show off what can be done with enough CGI to make a film a marvelous spectacle.

But, for me, there needs to be more, and I struggled with the plot after a while.

The story is too confusing.

Why do fantasy or epic films often have overly complex plots with too many characters to keep track of? It started okay, and I was clear who Paul’s family is, and more or less who the good guys are. But then other groups like the Fremen (who I think are good) and House Harkonnen (who are all bald and I think are bad) are introduced, and a battle over valuable spice ensues.

To complicate matters, Paul suffers from strange dreams/visions mostly involving a young girl and some battle scenes involving Paul’s connection to a mysterious sword. He can also command without speaking, somehow.

I had no prior history to draw from, which in retrospect did me a disservice. Dune, a novel written by Frank Herbert in 1965, was adapted into a 1984 film directed by David Lynch, which was deemed a disaster.

I probably should have read the book.

The acting is quite good, especially by Chalamet and Isaac, utterly believable as father and son. Their connection and chemistry are pliable, but there is not enough of it; instead, the primary focus is on Paul’s relationship with his mother, played by Rebecca Ferguson.

Chalamet, already an Oscar-nominated actor for Call Me By Your Name (2017), has the chops to carry a film.

Other worthy turns are by legendary British actress Charlotte Rampling as a Reverend Mother, and Javier Bardem as Stilgar, leader of the Fremen tribe.

Despite running for over two and a half hours, Dune does not drag. The bright, sweeping desert scenes featuring a pulsating underground worm were well balanced with darker scenes in the Harkonnen’s lair.

Dune (2021) is incredibly healthy and is a clear spectacle. I found it too similar to other genre films to give it a thumbs up unless you are already a fan of the novel, but this style of cinema may not really be my cup of tea.

Villeneuve, who directed Blade Runner 2049 in 2017, knows his way around the fantasy genre and is perfectly capable. He is directing Dune: Part II to be released in 2023, so I’d expect more of the same.

Oscar Nominations: 6 wins-Best Picture, Best Adapted Screenplay, Best Original Score (won), Best Costume Design, Best Sound (won), Best Film Editing (won), Best Makeup and Hairstyling, Best Cinematography (won), Best Production Design (won), Best Visual Effects (won)

At Eternity’s Gate-2018

At Eternity’s Gate-2018

Director Julian Schnabel

Starring Willem Dafoe

Scott’s Review #944

Reviewed October 9, 2019

Grade: B+

At Eternity’s Gate (2018) is a journey into the mind of one of the most tortured painters- Vincent van Gogh.

The film focuses only on the final years of the artist’s life and the events leading up to his death. Inventive direction by visionary Julian Schnabel creates an isolated and majestic world amid a feeling of being inside Van Gogh’s mind.

Though slow-moving, Willem Dafoe performs brilliantly, eliciting pathos from its viewers.

It is 1888, and Van Gogh is traveling to Paris to meet his good friend and fellow painter, Paul Gauguin (Oscar Isaac), an equally tortured individual. They share ideas and qualms about Paris life, and Gauguin convinces Van Gogh to travel to the south of France, while his brother Theo (Rupert Friend) resides in Paris.

Fluctuating scenes occur of Van Gogh’s relationship with a prostitute, a woman he meets on a country road and obsesses over, and his complex relationships with both Theo and Gauguin.

Dafoe, a legendary actor recognized for this role with an Oscar nomination for Best Actor, is one of the best components of At Eternity’s Gate.

He engulfs Van Gogh with a constant state of emotional exhaustion and dissatisfaction. As he becomes attached to Gauguin, who leaves him, Dafoe so eloquently emits his quiet depression, seeming to have nobody left. As he violently chops off his ear as a show of loyalty to Gauguin, the mental hospital awaits him.

Dafoe carries all these complex emotions with calm grace and dignity.

Schnabel, known chiefly for his groundbreaking Oscar-nominated work on The Diving Bell and the Butterfly (2007), has a beautiful technique. He provides even the darkest scenes with a lovely and sometimes dizzying camera effect and frequently adds scenes of blurred focus with close-ups of his characters.

As a painter himself, the result is a magical interpretation of colors and framed scenes. Many of his films focus on real-life studies, and the director made a great choice in Van Gogh.

The French landscape is lovely and culturally significant to the experience. The busy and robust Parisian lifestyle juxtaposes nicely against scenes of the lavish countryside, presumably north and south of the City of Light.

When Van Gogh quietly sits and paints numerous canvases of still objects—a bush or a tree—the flavorful colors stand out against the landscape and are bursting with natural beauty.

The cinematography is excellent.

The main detraction to At Eternity’s Gate is its slow or snail-paced pace. Although the film is only one hour and fifty-three minutes, it feels much longer.

Viewing the film on an international flight may or may not have influenced this note, but the story seems to drag on endlessly, though the beautiful aspects outweigh the boring scenes.

The mental health aspect and the encouragement Van Gogh receives to get better and heal seem a bit too modern a method for the late nineteenth century.

This may have been incorporated as an add-on to current and relevant issues to be exposed, but while inspiring, it does not seem to fit the film. This is a slight criticism I noticed.

Bordering on the art film genre, At Eternity’s Gate (2018) is a sad depiction of a disturbed man’s lonely existence creating art that would not be recognized as a genius until after his death.

It is a slow film that uses gorgeous camera shots and lovely snippets of Vincent van Gogh’s works to seem poetic.

The film is not for everyone and is not a mainstream Hollywood experience, but it is a quiet biography of one of the greats.

Oscar Nominations: Best Actor- Willem Dafoe

Spider-Man: Into the Spider-Verse-2018

Spider-Man: Into the Spider-Verse-2018

Director Peter Ramsey, Rodney Rothman, Bob Persichetti

Voices Shameik Moore, Hailee Steinfeld, Lily Tomlin

Scott’s Review #881

Reviewed March 30, 2019

Grade: B+

There have been many film versions of Spider-Man.

To my recollection, the first series consisted of three installments, directed by Sam Raimi: Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007), all starring Tobey Maguire in the title role.

These were the good old days.

Andrew Garfield took over in 2012 and 2014 to mixed reviews before the superhero was merged into Captain America and The Avengers films, as well as one or two additional solo outings. This is where I lose track.

Finally, through all the incarnations comes the very first computer-animated film based on the Marvel Comics character.

Spider-Man: Into the Spider-Verse (2018) was an enormous box-office success as well as a critical success, winning the coveted Best Animated Feature Oscar.

My choice would have been for the dark and sarcastic Isle of Dogs, but the former has impressive merits and grand animation that are astounding to the eyes.

Towards the climax, the film teeters into familiar and predictable territory from a story perspective, though admittedly, the superhero and animated genres are not my favorites.

Miles Morales is a Brooklyn teenager, bright, energetic, and likened to an average city kid. His father, Jefferson Davis, is a muscled policeman who is no fan of Spider-Man, the heroic masked man who prevents city crime, outshining the cops daily.

While close to his father, Miles is much more connected to his uncle, Aaron Davis, despite his father and uncle having a distant relationship.

When a hungry spider bites Miles, he immediately begins exhibiting Spider-Man-like abilities and stumbles upon others with similar stories.

The teen meets super-villain Wilson Frisk (a not-so-subtle Donald Trump parody if ever I saw one), who is intent on accessing a parallel universe to retrieve his deceased wife and son. Events involving a USB drive and the “real” Spider-Man, Peter Parker, also living in a parallel universe, come into play.

The overly complex story is not the best part of the experience, and I began to lose interest in the hows and whys, especially when compared to the escapist and marvelous, super-cool animations.

Spider-Man: Into the Spider-Verse deserves great praise for making the film’s central character ethnically mixed (Hispanic and Black), a first in the franchise’s history.

This diversity, evident in Black Panther (2018), is all the rage now in the superhero genre, along with gender equality, a slogan once deemed a “guy’s movie.”

This is a delight to witness, with hopefully even more of a slant towards richer diversity. Are Asian, gay, or physically impaired characters coming next?

The film looks fantastic, with creative and slick modern animation and graphics that never waver throughout the nearly two-hour running time, which is lengthy for an animated feature.

Styled and bright, the film’s most striking appeal lies in its colors, shapes, and sizes. The metropolitan New York City is a treat to witness, as the creators not only focus on Manhattan, but also on Queens and Brooklyn, boroughs that are often forgotten in favor of Manhattan’s glitz and bustle.

The clever re-titling of FedEx trucks to Red Ex is worthy of mention.

With its glitzy look, fast-paced action, and interesting villains, Spider-Man: Into the Spider-Verse (2018) is an impressive feat and a deep dive into the possibilities of combining the superhero and animated genres.

This is around the corner due to the critical, audience, and award notices that surround this film. If only the story contained more twists and turns and fewer standard genre-pleasing qualities, the possibilities would be endless.

Oscar Nominations: 1 win- Best Animated Feature Film (won)

Star Wars: Episode VII: The Force Awakens-2015

Star Wars: Episode VII: The Force Awakens-2015

Director J.J. Abrams

Starring Harrison Ford, Carrie Fisher, Mark Hamill

Scott’s Review #540

Reviewed December 8, 2016

Grade: B

As a youngster who grew up exposed to the original three Star Wars films (admittedly, I cannot keep track nor care enough to learn the exact chronological order of the franchise), the 2015 reincarnation is very nostalgic.

Star Wars (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983) were magical films for a kid to enjoy.

I saw each one in the movie theater.

Sadly, The Phantom Menace in 1999 was a rather forgettable endeavor and did nothing to draw new fans to the franchise, nor keep existing fans engaged.

Taking center stage in this installment are beloved stalwart characters Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), and Luke Skywalker (Mark Hamill) in a nostalgic trip down memory lane.

A slight gripe is the shamefully under-use of one of these characters.

The visual effects are impressive, the main villain is okay, and the action sequences adequate, but the ode to history keeps the long-time viewer engaged the most.

In a way, Star Wars: The Force Awakens is aptly titled as it is a rebirth of sorts for the storied franchise.

Legendary actor Max von Sydow is shamefully under-utilized in a throwaway part in the film’s first sequence.

He resembles deceased actor Alec Guinness, made famous again in the 1970s when he appeared in the first Star Wars.

A coincidence?

Filmmakers are going for a modern reboot of Episode IV (the 1977 Star Wars).

The main character of Rey (Daisy Ridley) is meant to be the new Luke Skywalker, who is known as a Jedi hero in the land and has been missing for years. Rey has special powers and is accompanied by her sidekick droid, BB-8, a similar character to R2-D2.

The villain is Kylo-Ren, son of Han Solo and Princess (now General) Leia, and reminiscent of Darth Vader.

The film is a classic tale of good versus evil as the evil First Order battles the good Resistance.

I enjoyed the good storytelling most of all and prominent roles for Han Solo and Leia were good choices for the storied franchise. Newcomers Rey and her love interest, Finn, are appealing, as are fighter pilot, Poe, played by Oscar Isaac.

Reportedly, this film is the start of another trio of films so we will undoubtedly see more of these characters.

I could not help but notice the Nazi similarities of the First Order and their soldiers, the Stormtroopers. Possessing a red quality and a Nazi-like salute to their supreme leader, they even look German in appearance.

Kylo-Ren, raven-haired, pale, and clad in a dark black cape, was derived from Darth Vader, especially when he appeared in mask attire.

He almost could have been his son.

Set thirty years since the original Star Wars, the plot is more or less similar, and I think this is a wise move in introducing the franchise to a new audience while staying true to the rich history of the central characters and their offspring.

Han Solo and Leia discuss their love affair, past adventures, and their son, who has been hypnotized to the dark side. They struggle to concoct a way to rescue him and hope to persuade him that aligning with the Resistance is the only way.

Favorite scenes include the ultimate showdown between Rey and Kylo-Ren. Set in a snowy, wintry forest, with their glistening and glowing lightsabers, the scene is visually gorgeous, as are the many scenes in one battle station or another.

The re-appearance of comical C-3PO is darling.

As with the original Star Wars, humor is mixed to lighten the mood. Han Solo and his dedicated side-kick Chewbacca, gently spar, and when Han Solo takes the group to a saloon filled with interesting creatures, the scene is light and fun. 

The real drawback for me is that the film is not all that compelling save for the nostalgia aspects. It is a classic battle of two wills, but nothing new and exciting. Sure there are a few new characters, but the plot is rather basic and what one would expect. 

I am not truly invested in the franchise, despite zillions of die-hard fans being fanatics of the films and their intricacies, so that is more of an opinion than a criticism of the merits.

Star Wars: Episode VII: The Force Awakens (2015) will undoubtedly please fans and introduce new ones to a world of galaxies, and the “force”.

A satisfying trip down memory lane.

Oscar Nominations: Best Original Score, Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Visual Effects

Ex Machina-2015

Ex Machina-2015

Director Alex Garland

Starring Domhnall Gleeson, Alicia Vikander, Oscar Isaac

Scott’s Review #410

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Reviewed June 17, 2016

Grade: B+

Ex Machina (2015) reminds me of another recent science-fiction film, Her (2013), with more of a female empowerment edge. The latter is more of a romantic drama with undercurrents of love.

In contrast, Ex Machina has a cynical tone and elements of imprisonment and psychosis, even narcissism.

The film features excellent visual effects and a futuristic mystique, making it a successful treatment.

Directed by first-timer Alex Garland, who could very well be a director to watch rise the ranks with subsequent projects.

Young, fresh-faced computer programmer, Caleb Smith (Domhnall Gleeson), wins a week-long trip to remote Alaska, to spend it with his mysterious boss, Nathan Bateman (Oscar Isaac), the CEO of a software company.

Caleb must arrive at the luxurious, sprawling estate via helicopter as it is in a deserted area of the world and exists on mile after mile of the gorgeous landscape.

Nathan, played by Oscar Isaac, is both charismatic and creepy. He lives alone save for a beautiful Asian servant named Kyoko, who speaks no English, and a female robot named Ava (played by rising star Alicia Vikander).

Caleb’s assigned task is to study Ava and determine whether he can relate to her as a human while knowing she is a robot. It is soon revealed that Nathan plans to reprogram Ava, thereby killing her. Caleb schemes to rescue Ava, but is all that it seems?

With a cast of only four principals, it is not difficult to assess each character and their relations with each other. Caleb is the least complex of the four or rather, the one with motivations readily apparent.

The others are shrouded in mystery. Caleb expects a fun getaway but instead finds himself amid experimentation. Is Nathan’s desire to perform psychological tests on Ava, by way of Caleb, genuine?

The audience can sense immediately that there is something off about Nathan. Merely in his thirties, how could he amass such financial success so soon?

Why is he, a servant, and a robot the only inhabitants? Why does the helicopter pilot refuse to venture further than the drop-off point?

Some of these questions are answered, some remain unanswered. It is part of what makes the film mysterious and complex. Could Ava be the one doing her share of experimentation or manipulation?

Alicia Vikander deserves much praise for her role as Ava and some would argue that the talented young actress should have won the Best Supporting Actress trophy for this role instead of for The Danish Girl (2015).

I’m not sure I would leap to the same conclusion, but she does amass a ton of subdued emotion as Ava. She is complex and profound. She longs for exposure to the outside world and would love to cross a crowded street to see all the faces and different types of people.

Like Nathan, there is also something not right about Ava.

Is she calculating or simply soulful? But how can she be, she is a robot.

I compared her to another famous film robot/computer- HAL from 2001: A Space Odyssey (1968).

Along with Vikander, Isaac steals the film in a role that mixes creep with genius. He sits around his estate in comfy clothes a blue-collar man might wear drinking beer and studying Ava. He has sexual relations with his servant and she is expressionless.

He does not treat her well so we do not root for his character. At the same time, his character is tough to read. Is he experimenting on Ava or Caleb?

Visually, Ex Machina has a sleek blend of modern, crisp CGI, not at all usurping the story. There is also a scene of bloodletting that chills as much as any good horror film would.

Garland was heavily influenced by 2001: A Space Odyssey and Altered States (1980) and made the film with as little budget as possible and without outside influences that might change his vision.

I commend this and wish more filmmakers would follow suit.

Ex Machina (2015), while perhaps not perfect, could be a blueprint for what is to come from this young director.

Oscar Nominations: 1 win-Best Original Screenplay, Best Visual Effects (won)

A Most Violent Year-2014

A Most Violent Year-2014

Director J.C. Chandor

Starring Oscar Isaac, Jessica Chastain

Scott’s Review #239

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Reviewed May 1, 2015

Grade: B

Set in New York City, throughout the notoriously violent year of 1981 and influenced, at least in part, by The Godfather (1972) A Most Violent Year (2014) is similar in texture to the elite HBO series The Sopranos (1999-2007).

A Most Violent Year is an attempt at weaving a tale of a “good guy” mixed up with the mafia and attempting to remain upstanding throughout the adversity and corruption he encounters.

Oscar Isaac and Jessica Chastain portray Abel and Anna Morales, who owned Standard Oil, an upstart business they are attempting to launch.

Due to the violent nature of the times, several trucks are hijacked, resulting in robberies and severe beatings. In desperate need of funds to expand their business and stay ahead of competitors, Abel and Anna are forced to take out loans, leading them into a world where crime and violence run rampant.

They are under investigation for apparent price fixing and tax evasion activity by the Assistant District Attorney.

The main theme is the conflict and guilt that Abel feels towards violence and the constant temptation to join the ranks of the crime world to protect his business ventures.

Abel faces pressure from Anna, who has mob ties (her father is an influential mafia boss known around town) and is all for fighting fire with fire. Abel refuses and is determined to lead a straight and narrow life.

When circumstances spin out of control, his morals are questioned.

A Most Violent Year is an interesting film yet I think I was expecting a bit more than I was given.

For starters, it is not in the same league as the mafia works of art. It is tough to put my finger on what the issue is but something is missing from the film making it lack a compelling edge.

The plot moves slowly, for sure, but the film is successful as the character study that it is, however, I was left wanting more depth to the characters and a broader vision of the film itself.

I did not find myself truly vested in either the character of Abel or Anna.

Chastain received praise for her performance, which I found adequate, but hardly a marvel. Nominated for several awards, but deemed “snubbed” for not receiving an Oscar nomination, I find this untrue.

Her performance is not brilliant and Oscar Isaac’s is superior.

This is not to say that I did not enjoy the film overall. It takes some risks, has a rich character complexity, is shot very well, and looks great. It has a smooth look and I completely bought the 1981 time period, rather than it appearing to be dressed up for the era.

There is an authenticity to it.

A mob film not on the level of The Godfather or Goodfellas (1990), A Most Violent Year is a decent contribution to the crime-thriller era. It just does not live up to the critical acclaim heaped upon it.

Independent Spirit Award Nominations: Best Supporting Female-Jessica Chastain, Best Screenplay, Best Editing

Inside Llewyn Davis-2013

Inside Llewyn Davis-2013

Director Ethan Coen, Joel Coen

Starring Oscar Isaac, Carey Mulligan

Scott’s Review #35

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Reviewed June 17, 2014

Grade: B+

Being a tremendous fan of the Coen brothers (Fargo-1996, No Country for Old Men-2007) I was eager to see their latest offering, Inside Llewyn Davis (2013).

The Coen’s have such a sense of quirkiness in their characters and while this film is not on the level of their other gems, it is a good piece.

I love the cold, winter, Greenwich Village setting as struggling folk singer, Llewyn Davis (expertly played by Oscar Isaac) struggles over two weeks to land gigs or breaks while encountering many people who either thwart or help his chances of success.

Sadly, the film was ignored by the Oscar brethren, but alas it tells of a slice-of-life experience of a 1960s artist.

As with most Coen brother films, it is cast with unique, interesting character actors in a bit but nuanced parts.

Oscar Nominations: Best Sound Mixing, Best Cinematography

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Oscar Isaac, Best Cinematography