The Third Draft

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Reviewed by Coach Patton
©D. Patton, All Rights Reserved

Written by: Guillermo Arriaga (story) and Alejandro González Iñárritu
Directed by Alejandro González Iñárritu

Runtime: 2:05 Rated R for language, sexuality, some violence and drug use.

PLOT: A freak accident brings together a critically ill mathematician (Penn), a grieving mother (Watts) and a born-again ex-con (Del Toro).

Cast: Sean Penn, Benicio Del Toro, Naomi Watts, Charlotte Gainsbourg, Danny Huston, Clea DuVall, Marc Musso

How much does life weigh?

They say we all lose 21 Grams at the exact moment of our death . . . everyone.

The weight of a stack of nickels. The weight of a chocolate bar.

The weight of a hummingbird . . .

Mexican director Alejandro Inarritu made a huge impact with his stunning debut, a Spanish-language film Amores Perros (2000) a couple of years ago and 21 Grams is his eagerly-awaited second feature. It’s written by Amores Perros screenwriter Guillermo Amaga and is shot in English, with terrific performances from its cast.

Using a brilliant, highly complex structure, it’s bleak, uncompromising and immensely powerful – as such it’s one of the best films of the year.

Guess How Much Your Soul Weighs . . . The film takes its title from the amount of weight we are said to lose at the time of death – believed by some people to be a consequence of the soul leaving the body.

The plot centers on three characters: Naomi Watts as a bereaved mother tortured by grief and battling a drug addiction; Sean Penn as a math professor with a terminal heart condition; and Benicio Del Toro as an ex-con with a wife and family, who has found God and is in search of redemption. The lives of the three characters are linked by a tragic accident at the heart of the film, an accident which is also the key to understanding the complex structure of the film.

Effectively, it’s as if the impact of the accident itself has completely splintered the narrative around it, so that scenes occur in a seemingly random order and the film trusts the intelligence of the audience to piece together the story.

It’s a bold, challenging move that yields impressive results – for example, during the first part of the film it’s genuinely impossible to tell the order of Sean Penn’s character’s story (though the state of his facial hair provides important clues).

The acting is extraordinary, with all three leads giving career-best performances. Naomi Watts, in particular, gives an emotionally raw, gut-wrenching performance that is almost painful to watch and shows that she is an actress to be reckoned with – to say that she deserves an Oscar really doesn’t do her justice.

Del Toro is also extremely impressive – especially in the latter half of the film. Penn has a trickier role because his character is largely unsympathetic at first, but he does an amazing job. There’s also good support from Charlotte Gainsbourg as Penn’s partner and from Melissa Leo as Del Toro’s wife, as well as, in smaller roles, Clea DuVall and Danny Huston.

The non-linear narrative proves not to be an art house gimmick designed to disguise a lack of substance. There is an organizing principle at work. The story segments, which are often very brief, are ordered along an emotional arc rather than a chronological one. The happier, sunnier scenes occur before we even know about the accident, at the beginning of the film, which then turns darker (often literally), bleaker, and more frenetic. Like in The Limey (1999), our inability to place most of the events along a timeline adds an element of suspenseful intrigue. We can only place ourselves in the hands of the filmmakers and trust that all the pieces will eventually fit together. Through it all, Paul's meditations from a hospital bed provide a loose linking thread.

Few films released in 2003 can boast having as much strength as 21 Grams. It is, in a word, amazing. It's one of those motion pictures that haunts your thoughts and won't let go. Like Memento (2000), it virtually demands a second viewing to understand and appreciate the story's complexity and to recognize the artistry inherent in all of the transitions. Or at least that’s How It Seemed from Where I Sat.

Roll credits

Director: Alejandro González Iñárritu
Producers: Alejandro González Iñárritu, Robert Salerno
Screenplay: Guillermo Arriago
Cinematography: Rodrigo Prieto
Music: Gustavo Santaolalla

CAST:

Sean Penn --- Paul Rivers
Naomi Watts --- Cristina Peck
Benicio Del Toro --- Jack Jordan
Charlotte Gainsbourg --- Mary Rivers
Melissa Leo --- Marianne Jordan
Clea DuVall --- Claudia
Danny Huston --- Michael
Carly Nahon --- Cathy
Claire Pakis --- Laura
John Rubinstein --- Gynecologist
Eddie Marsan --- Reverend John

Fade to black

In The Name Of Truth, Justice and In the Service of A Higher Good, I Remain Your Friend, Movie Reviewer and Spiritual Advisor, Coach Patton

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Reviewed by Coach Patton
©D. Patton, All Rights Reserved

Directed by Roger Donaldson
Written by Dick Clement & Ian La Frenais

Running Length: 1:50 Rated R (Violence, Profanity, Nudity, Sexual Situations)

PLOT: Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.

Featuring: Jason Statham, Saffron Burrows, Stephen Campbell Moore, Daniel Mays, James Faulkner, Alki David, Michael Jibson, Richard Lintern, Keeley Hawes, David Suchet

The true story of a heist gone wrong -- in all the right ways.

The Bank Job is based on a true story - a daring 1971 robbery that made front page headlines until MI-5 made a “D-Notice” request that stifled further coverage by the press (on the grounds that it created a danger to National Security), driving it from the newspapers and into myth and memory.

Because of the D-Notice, the story disappears from the newspapers. It’s just gone, like it never existed. Rumors of a government cover-up abound. Rumors run wild about what could possibly have been stolen from those boxes -- maybe just one of those boxes -- that would prompt the government to quash the story.

While some of the facts are known, there are many gaps in the official record. Screenwriters Dick Clement and Ian Lefrenais, supposedly collaborating with anonymous inside sources, seek to provide “fill” for many of those gaps.

That’s where The Bank Job exists, in the delicious space between all the unknowns, filling in those blanks, guessing on some of it but working from as many possibly known quantities as it can. Maybe it’s not the 100-percent truth -- maybe it’s half, or more, invented. But it’s a damn good guess, and a ridiculously entertaining one.

Jason Statham (War, Crank) is perfect here -- leads a band of, well, patsies, though of course they don’t know that’s what they are: guys who’ve been set up to pull off this break-in and take out something that the British covert agencies really, really need to keep secret. (The someone it belongs to is threatening to go public with it, and it’s that someone’s box the thing needs to be stolen from.) Statham’s small-time crook Terry cooks up a careful plan for the job, but he’s suspicious, of course, of the old girlfriend, Martine (Saffron Burrows: Reign Over Me, Troy),who brought it to him, and he’s right to be. Terry may not be the brightest bulb, but he’s not totally stupid, either, and he knows she’s up to something.

We do too, which is part of the brilliance of the script by the team of Dick Clement and Ian La Frenais (Across the Universe): we know more than Terry does, and even if we don’t know it all, even if we can’t guess how it’s all going to shake out, we know it’s not gonna be good . . . but it is gonna be a whole hellova lot of fun getting there. That much is obvious from the “fade in.”

Director Roger Donaldson (The Recruit, Thirteen Days) makes the cynicism of not being able to trust anyone but a crook like Terry -- who’s not a bad guy at all, even if his work is a bit shady -- seem like an okay place to be. And The Bank Job ends up being a fresh and cheery spin on the heist movie. Cuz it really is easy to root for Terry and his gang, like we always want to root for the villains in movies like these -- because the acknowledged villains are the only ones worth rooting for.

Some of what appears on-screen in Bank Job is speculative, but most of it has the ring of truth and fits in with the facts. Of course, since the names have been “changed to protect the guilty," Bank Job doesn't provide any shocking revelations about still-living individuals. What it accomplishes, however, is to present a possible autopsy of a crime that has baffled people for decades. And, regardless of whether it's more fact or fiction, it provides an enjoyable two hours.

Much as I enjoyed Stephen Soderbergh's Oceans 11, 12 & 13 (more for the company and chemistry of the actors than for the story-lines), The Bank Job demonstrates how much more richness there can be in a heist movie when layers are woven into the story and the storyline extends beyond the innermost escapade. When “The End” flashes on the screen, the viewer feels as if he has seen a complete story open up rather than merely having been granted the chance to look closely through a window at the inner workings of an infamous historical crime. The Bank Job is exciting entertainment for adults; it’s well-paced and smart -- something that is more of a scarcity than it should be. Or at least that’s How It Seemed from Where I Sat.

What’s it worth?
For film buffs -- the price of the evening shows
For the average viewer --- matinee price at your local cinema.

Roll credits:

Director: Roger Donaldson
Screenplay: Dick Clement & Ian Lafrenais
Cinematography: Michael Coulter
Music: J. Peter Robinson

CAST

Jason Statham --- Terry Leather
Saffron Burrows --- Martine Love
Stephen Campbell Moore --- Kevin Swain
Daniel Mays --- Dave Shilling
James Faulkner --- Guy Singer
David Suchet --- Lew Vogel
Peter De Jersey --- Michael X
Rupert Frazer --- Lord Drysdale
Colin Salmon --- Hakim Jamal

Fade to black

In The Name Of Truth, Justice and In the Service of a Higher Good, I Remain Your Friend, Movie Reviewer and Spiritual Advisor, Coach Patton

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Reviewed by Coach Patton
©D. Patton, All Rights Reserved

Directed by Ridley Scott
Screenplay by Steven Zaillian
From an article "The Return of Superfly"by Mark Jacobson

Running Length: 2:37 Rated: R (Violence, profanity, nudity, drug use, sexual situations)

PLOT: Based on the life of drug-kingpin-turned-informant, Frank Lucas, who grew up in segregated North Carolina where he watched as his cousin was shot by the Klan for looking at a white girl. He eventually made his way to Harlem where he became a heroin kingpin by traveling to Asia's Golden Triangle to make connections, shipping heroin back to the US in the coffins of soldiers killed in Vietnam. He soon made upwards of one million dollars a day in drug sales. Lucas was shadowed by lawman Richie Roberts, who finally helped bring the kingpin to justice. The two then worked together to expose the crooked cops and foreign nationals who made importing heroin so easy

Cast: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Cuba Gooding Jr., Josh Brolin, Lymari Nadal, RZA, Ted Levine, Ruby Dee, Armand Assante, Carla Gugino

American Gangster is the real-life, New-York-City-crime chronicle of the rise and fall of charismatic inner-city drug kingpin Frank Lucas, played by Denzel Washington.

A devoted family man -- but a murderous drug lord, born and raised in North Carolina, Lucas rose from the streets of Harlem to the height of criminal power in the late '60s and early '70s. Most notoriously, he smuggled heroin into the United States inside the coffins of slain American soldiers returning from Vietnam, a "product" branded Blue Magic, which the entrepreneur, cutting out the middle man, trumpeted as twice as good as that of the competition (the Mafia) and half as expensive.

Meanwhile, on the film's parallel police-procedural track, Russell Crowe plays ex-Marine Richie Roberts, the driven, tenacious New Jersey cop.

Incorruptible on the job, but a womanizing husband and an absentee father, he is assigned by the feds to investigate Lucas with anti-narcotics operatives of his own choosing, on an undercover basis. This is to the consternation of Josh Brolin, who plays the head of New York's blatantly corrupt anti-drug task force, the Special Investigations Unit (who pretty much chews up the scenery when doing so).

Given that the film stars two powerhouse Oscar-winning actors, it's almost astonishingly colorless. When the collision course finally plays out, and Washington and Crowe, neither electrifying but both efficient in their roles, finally appear together -- as the sociopathic overachiever is confronted by the intrepid bulldog -- we're grateful for the duo's performing skill and style.

But their “ Superfly-meets-Serpico” scene also serves to remind us of what all that preceded it has lacked. For all the time that we've spent with the two central characters, we haven't really gotten to know them very well at all.

While the decision to focus on a black gangster isn't original, the way in which Frank is developed is unique, and that's the primary reason the film works. Characters whose personalities mix so many contradictory and volatile elements are always the most interesting - that's what has made Michael Corleone one of the all-time best screen gangsters, and there's more than a little of this in Frank. As in Training Day and Malcolm X, where he portrayed less-than-perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Veteran director Ridley Scott ( Alien , Thelma & Louise , Gladiator , Black Hawk Down ) lacks his usual glossy command: he's barely at the middle of his game. Perhaps that's because he has chosen to focus on character rather than action, but he's done so without dipping very far beneath the surface.

And even though the script by Steven Zaillian (based on Mark Jacobson's New York Magazine article, "The Return of Superfly," but festooned with considerable dramatic license) acknowledges the damage that Lucas's empire causes, it still glorifies his exploits not to excess but to an uncomfortable degree.

We exit wishing the ironic turn of events in the last reel, which depicts a new relationship for this pair of movers and shakers, had been the focus of the film, rather than an anticlimactic throwaway.

American Gangster is compelling in the same way that many mob-related motion pictures are compelling, but it fails to achieve the greatness that the best of them attain. The problem with American Gangster may be that it tries too hard to provide balance between the protagonist and the antagonist but never really achieves it. While the story is rarely dull and there's plenty of material to fill up the more than 2 1/2 hour running time, there's an overall absence of dramatic tension. Ridley Scott rarely creates an uninteresting motion picture, and this is no exception, but American Gangster will not go down as one of the respected director's best efforts. Or at least that’s How It Seemed from Where I Sat.

What’s it worth?
For film buffs -- matinee price at your local cinema.
For the average viewer --- this will view nicely on your home TV (via cable or DVD).

Roll credits

American Gangster
Director: Ridley Scott
Screenplay: Steven Zaillian
From an article "The Return of Superfly"by Mark Jacobson
Cinematography: Harris Savides
Music: Marc Streitenfeld

CAST
Denzel Washington --as-- Frank Lucas
Russell Crowe --as-- Richie Roberts
Chiwetel Ejiofor --as-- Huey Lucas
Josh Brolin --as-- Detective Trupo
Lymari Nadal --as-- Eva
Ted Levine --as-- Lou Toback
Roger Guenveur Smith --as-- Nate
Clarence Williams III –as-- Elmore "Bumpy" Johnson

FADE TO BLACK
In The Name Of Truth, Justice and In the Service of A Higher Good, I Remain Your Friend, Movie Reviewer and Spiritual Advisor, Coach Patton

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Reviewed by Coach Patton
©D. Patton, All Rights Reserved

Directed by Alejandro González Iñárritu
Written by Guillermo Arriaga
From an idea by Guillermo Arriaga and Alejandro González Iñárritu

Runtime: 2:22 Rated R for violence, some graphic nudity, sexual content, language and some drug use.

PLOT: In the remote sands of the Moroccan desert, a rifle shot rings out--detonating a chain of events that will link an American tourist couple’s frantic struggle to survive, two Moroccan boys involved in an accidental crime, a nanny illegally crossing into Mexico with two American children and a Japanese teen rebel whose father is sought by the police in Tokyo. Separated by clashing cultures and sprawling distances, each of these four disparate groups of people are nevertheless hurtling towards a shared destiny of isolation and grief. In the course of just a few days, they will each face the dizzying sensation of becoming profoundly lost--lost in the desert, lost to the world, lost to themselves--as they are pushed to the farthest edges of confusion and fear as well as to the very depths of connection and love.

Featuring: Brad Pitt, Cate Blanchett, Adriana Barraza, Gael García Bernal, Rinko Kikuchi, Kôji Yakusho

If you want to be understood . . . Listen

In the Bible, the story of Babel is a cautionary tale of hubris. The whole world had a common language until God, seeing that the people were building a huge tower together, "confused their speech." They could no longer understand each other, and so they scattered all over the world, each with the people who could speak their language.

And so, Babel is the name of this last in the trilogy from Alejandro Gonzalez Inarritu about connections and disconnections. (21 Grams and Amores Perros are the first two). This time, he has expanded to global scale, with a story that unites Moroccan herders, American tourists, a deaf Japanese girl, and a Mexican living illegally in San Diego. There is a shooting and there is a wedding. In all three locations, there are cops, there are journeys, there is despair, there are people who cannot make themselves understood, and there is some realization, some increased understanding.

Richard (Brad Pitt) and Susan (Cate Blanchett) are the American tourists, a couple whose brittle conversation about whether it is safe to have ice cubes in their drinks lets us know right away that they have some trouble communicating. Two boys herding sheep show off with their new rifle, fire at the tour bus and Susan is hit. There is not much that feels further from home than being seriously injured in a place where you don't know anyone and hardly anyone speaks your language. Being Americans, they demand to speak to the embassy. But the possibility that the attack could be terrorism turns it into an international incident. While bureaucrats write memos and politicians make statements, Susan lies injured on a dirt floor in a village with one phone.

Their children are cared for by a loving nanny, Amelia (Adriana Barraza, Oscar nominated), whose son is getting married in Mexico. She cannot bear to miss the wedding, so she takes the children with her, spends the day and most of the night at the wedding, then foolishly rides back to the US with her nephew, who has had too much to drink. He raises the suspicions of the border guards on the way back and the nanny and children end up lost in the desert.

And in Tokyo, Chieko (Rinko Kikuchi in a brilliantly unselfconscious, Oscar-nominated performance) is at home but she also feels isolated and alienated. She is deaf, shunned by the boys she wants to flirt with. And she is a teenager who feels misunderstood by everyone. Her connection to the story is not revealed until the end.

Inarritu expands the themes of his earlier films but relies on the same technique, a mosaic of scenes that gradually assume shapes and patterns. He uses non-professional actors for most of the roles and elicits beautifully natural performances, especially from the adolescents. The film's sympathy for all of its characters is in itself the answer, or at least the beginning of one, to the questions it raises. Or at least that’s How It Seemed from Where I Sat.

Nominations: Oscars:

Best Achievement in Directing Alejandro González Iñárritu
Best Motion Picture of the Year
Best Writing, Screenplay Written Directly for the Screen Guillermo Arriaga
Best Performance by an Actress in a Supporting Role Adriana Barraza
Best Performance by an Actress in a Supporting Role Rinko Kikuchi
Best Achievement in Editing
Best Achievement in Music, Original Score Gustavo Santaolalla

Winners at the Cannes Film Festival

Best Director Alejandro González Iñárritu
Prize of the Ecumenical Jury Alejandro González Iñárritu
Technical Grand Prize

Roll credits

Director: Alejandro González Iñárritu
Screenwriter: Guillermo Arriaga and Alejandro González Iñárritu
Cinematographer: Rodrigo Prieto
Music: Gustavo Santaolalla

CAST
Brad Pitt --- Richard
Cate Blanchett --- Susan
Gael García Bernal --- Santiago
Kôji Yakusho --- Yasujiro
Adriana Barraza --- Amelia
Harriet Walter --- Lilly
Rinko Kikuchi --- Chieko
Trevor Martin --- Douglas Babel

There Will Be Blood (2007)                            Back to Reviews
by Coach Patton
©D. Patton, All Rights Reserved
 
Directed by: Paul Thomas Anderson
Screenplay by: Paul Thomas Anderson
Based on the novel Oil! by Upton Sinclair
Cinematography: Robert Elswit
Music: Jonny Greenwood
 
Running Time: 2:38 Rated: R for some violence.
Featuring:  Daniel Day-Lewis, Paul Dano, Dillon Freasier, Ciarán Hinds, Kevin J. O'Connor
 
Daniel Day-Lewis won the Best Actor Golden Glove Award and an Oscar for Best Actor for his role in this movie.
 
PLOT: A turn-of-the-century prospector buys the oil rights to a family's ranch, and then hits a major pocket of crude. The plot follows Daniel Plainview from his humble beginnings as a miner, showing his grit and determination through some fairly large hardships, to his success as a millionaire oilman and then to his fall, living among his personal demons in a beautiful house but away from the oil fields he knew so well.
 
There Will Be Greed. There Will Be Vengeance.
 
In his new movie, There Will Be Blood, the auteur filmmaker Paul Thomas Anderson (he of Boogie Nights and Magnolia) took a lesser known novel by Upton Sinclair, Oil!, and turned it into a long, boring rumination on . . .    on . . . well, that's part of the problem—he never really gets around to making a point.

In turn-of-the-century central California, ambitious prospector Daniel Plainview (Daniel Day-Lewis), while searching for gold and silver, strikes an oil cash-cow. He  and turns it into a business, set on the incendiary frontier of California's turn-of-the-century petroleum boom.

When Plainview gets a mysterious tip-off that there's a little town out West where an ocean of oil is oozing out of the ground, he heads with his nine-year-old son, H.W. (Dillon Freasier), to take their chances in dust-worn Little Boston, California.  In the hardscrabble town, where the main excitement centers around the Holy Roller church of charismatic preacher Eli Sunday (Paul Dano, the silent brother of Little Miss Sunshine) Plainview and H.W. make their lucky strike.

But even as the oil discovery raises all of their fortunes, nothing will remain the same as conflicts escalate and every human value—love, hope, community, belief, ambition and even the bond between father and son—is imperiled by corruption, deception and the flow of oil. Or at least that’s how a decent screenwriter would approach this story.

Instead, writer/director Anderson chooses to spend almost three hours giving us the life of the a disagreeable wildcatter named Daniel Plainview (Daniel Day-Lewis) without ever scratching below the obvious. And yet, I’ll bet I'm going to be in the minority of critics here. Anderson, (of whom I am a fan) this time around confuses intensity with art.

He admirably approaches There Will Be Blood with a keen eye for visual details and a few individually riveting character moments. However, the details about what was going on in the oilfields were sadly lacking in spite of what other reviewers might believe.

The opening hour of setup is the most successful segment, and Anderson is so assured in his dramatic beats and exacting staging that one barely notices that fifteen minutes have gone by with no more than a word or two of dialogue. The second act is especially slow-going, taking twice as long as need be to get his points across and setting up conflicts that are never resolved.

Meanwhile, other central characters, particularly that of Eli Sunday, vanish for such long periods of time that it exposes the screenplay's and/or editing's slack unevenness. Anderson spends all of his time flirting between showing us a Plainview who is obsessed with money and a Plainview who is obsessed with power. He never gives us any reason to care about what happens to Plainview or anyone around him. It doesn't matter if his character is good or evil if he doesn't have anything else; he's a cardboard figure being moved around at the whim of his writer/director. What we never get is a Plainview who is a complete, well-rounded human being; nor do we find out why Plainview is such a wretch.

I'll sit and watch a film about a bastard of a human being (Raging Bull comes to mind) and enjoy it immensely, but I want to know I'm in capable hands. Plainview comes across as a caricature, a one-dimensional figure that has been created to serve a point of view, not a character designed in service of a story.

With Anderson, I get the terrible feeling he knows as little about Plainview as he shows us and that's just plain frustrating. I'm not saying we need Plainview to be redeemable, not at all, but we should, at least, have a basis for understanding his actions. We should care if he lives or if he dies. Of course, the up-shot of this is that we, as an audience, never have anything to latch onto, anything to care about.

With its foreboding title, There Will Be Blood makes a promise that it doesn't keep. What writer-director Anderson—in the first stumble of his career as a filmmaker—does not fulfill is the suggestion throughout that his leisurely paced, gorgeously mounted period epic is leading toward an explosive conclusion. Instead, the ending takes an awkward turn toward goofiness and culminates on an under-whelmingly bitter note that doesn't add up to much.

Jonny Greenwood's (he of Radiohead) mood-drenched sound track score is weird, eerie, bombastic and off-balance, like something out of a horror film. It was distracting as hell for this viewer.

Performance-wise, while Daniel Day-Lewis runs the show, Paul Dano ably goes head-to-head with him as the gospel-spouting Eli Sunday, and young newcomer Dillon Freasier is staggeringly expressive as H.W., who doesn't have a lot to say and doesn't need to. I'm sure someone much smarter than I will come up with a theory explaining how the two antagonists are both sides of the same character—that Eli's devotion to God and Plainview's devotion to greed makes them irrevocably intertwined, but you know, it just doesn't work. We'd need more depth to truly grasp the intricacies of this relationship—which we might have had perhaps if it had been made into a mini-series for TV, with Larry McMurtry writing the screenplay and Simon Wincer directing (the team that brought us Lonesome Dove).
 
Ultimately, I was bored while waiting for There Will be Blood to get around to telling me something, anything, which would make me want to stick around. Or at least that’s How It Seemed from Where I Sat.
 

What’s it worth?          
For Daniel Day Lewis fans -- matinee price at your local cinema For the average viewer --- wait for the free showings on cable.

 
ROLL CREDITS
Written & Directed by: Paul Thomas Anderson
Based on: the novel Oil! by Upton Sinclair
Cinematography: Robert Elswit
Music: Jonny Greenwood
CAST
 Daniel Day-Lewis—Daniel Plainview
Kevin J. O'Connor—Henry Brands
Ciarán Hinds—Fletcher Hamilton
Dillon Freasier—H.W. Plainview
Barry Del Sherman—H.B. Ailman
Russell Harvard—H.W. Plainview – Grown-up
Paul F. Tompkins—Prescott
Paul Dano—Eli Sunday

FADE TO BLACK
In The Name Of Truth, Justice and In the Service of A Higher Good, I Remain Your Friend, Movie Reviewer and Spiritual Advisor, Coach Patton

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