Tag: Chris Esper

The 20 Best Short Films of 2021

moviesforlife09Leave a comment

By Andrew Buckner

*Please note that the short films included in this list are based on an official 2021 U.S. release date.

20. “Bloom”

Director: Richard M. Anthony.

19. “Us Again”

Director: Zach Parrish.

18. “Culpa”

Director: Miguel Angel Ferrer.

17. “La Deuda”

Director: Jeff Prahl.

16. “Twice as Good”

Director: Kristian King.

15. 10:59 P.M.

Director: Kris Salvi.

14. “The Nurturing”

Director: Alex DiVincenzo.

13. “Live Health”

Directors: Jamie Cox, Timothy Cox.

12. “The Flamboyant Rites of Gay Dracula”

Director: Richard Griffin.

11. “Stay Inside, Michael”

Director: Jeremy Arruda.

10. “Heart Wreck”

Director: Gabrielle Rosson.

9. “The Death of David Cronenberg”

Directors: Caitlain Cronenberg, David Cronenberg.

8. “The Present”

Director: Farah Nabulsi.

7. “Trigger Warning: The Life and Art of Chrystal”

Director: Chrystal Shofroth.

6. “The Dreamer”

Director: Jeremy Arruda.

5. “Come Rain or Come Shine”

Director: Mark Maille.

4. “Paul Laurence Dunbar: An American Poet”

Director: Kane Stratton.

3. “The Serpent Writhes in a Glass Coffin”

Director: Richard Griffin.

2. “Undertaker”

Director: Chris Esper.

1. “The Last Cruise”

Director: Hannah Olson.

“Undertaker” (2021) – Short Film Review

moviesforlife09Leave a comment

By Andrew Buckner

Rating: ***** out of *****

“Undertaker” (2021), from director Chris Esper, is a masterful meditation on the inherent need for mankind to understand life. It also concerns the confusion that arises as we attempt to comprehend our wants, desires, and surroundings. The ten-minute short film also focuses in on how fleeting our time is on Earth. This is cleverly illustrated in the piece through several efficient and effective sequences that range from the commonplace (the search for a perfect cup of coffee) to the transformative (uncovering a key romantic relationship). Furthermore, the account can also be viewed as a singular glimpse of the world that may arise after death.

As is the core component of a great number of works by Esper, the universal relatability in these themes, as well as the compassionate and upfront manner with which they are addressed, is emotionally compelling from the first frame to the last. The same can be said of the brilliantly handled symbolism inherent in the project. Because of this connection, onlookers effortlessly comprehend the mentality of the lead of the exercise, referred to as only The Undertaker (rendered in a terrific, quietly layered, and mature portrayal by Dustin Teuber).  The gorgeous black and white cinematography from Colin Munson adds an air of nostalgia to the narrative. It beautifully compliments these qualities as well as its noirish demeanor.

The deceptively simple story, which involves a man realizing that everything around him is not what it he believes it to be, is given superb depth via the wonderfully penned, intimate yet ambitious screenplay by Kris Salvi. The script is especially striking in demonstrating sharp dialogue. Such speech capably teases the fundamental mystery The Undertaker is attempting to unlock about himself and his environment. This is without ever being wholly direct. Such measures add a heightened sense of elegant poetry to the proceedings that is simultaneously theatrical and organic. In an equally successful decision in this arena, the characters are also cryptic.

The excursion also triumphs in terms of its secondary roles. Justin Thibault is memorable in his brief turn, which occurs in the engaging opening segments, as Passenger. Salvi is equally good in the understated, yet gloriously poignant, final scene as The Driver. Teddy Pryor as The Identical, Michael Lepore as Waiter, and Jen Drummond as Customer also make a considerably indelible impression.

From a technical angle, the undertaking is also outstanding. The stylish, yet nuanced and thoughtful, direction from Esper is a highlight. His editing is also proficient. The music from Steven Lanning-Cafaro is appropriately gentle and spellbinding. It captures the spirit of the development with tremendous grace. Moreover, the score is used both delicately and sparingly. Such a method punctuates the underlying sentiment of certain instances. This is without taking away from the immersive value of the construction. Continually, the production design from Gabrielle Rosson and sound from Ryan Collins and Jay Sheehan is just as remarkable.

Playing like a condensed, yet still wildly inventive and timelessly relevant, episode of The Twilight Zone (1959-1964), “Undertaker” is a confidently paced, smartly structured, and unforgettable example of cinematic art. The dreamlike drama once again showcases Esper as an incredible talent who consistently crafts top-tier material. His latest venture is another unique, intelligent, breathtaking, powerful, and refined achievement that will assuredly resonate with spectators of all degrees. Extraordinary on all fronts and endlessly absorbing, it is at the top of the list of my favorite short films of the year.

The 21 Best Short Films of 2020

moviesforlife09Leave a comment

By Andrew Buckner

*The inclusion of the short films on this list is based on the criteria of an initial 2020 U.S. release date.

21. “For Milo”
Director: Matthew Gilpin.

20. “Rotten Magnolia”
Director: Tracy Huerta.

19. “Hollow”
Director: Max Buttrill.

18. “Private”
Director: Steve Blackwood.

17. “The Nurturing”
Director: Alex DiVincenzo.

16. “A Rock Feels No Pain”
Directors: Gabrielle Rosson, Kris Salvi.

15. “The Never Was”
Director: Mike Messier.

14. “Exeter at Midnight”
Director: Christopher Di Nunzio.

13. “Waffle”
Director: Carlyn Hudson.

12. “Dear Guest”
Director: Megan Freels Johnston.

11. “Thankless”
Director: Mark Maille.

10. “Wives of the Skies”
Director: Honey Lauren.

9. “Stuck”
Director: Steve Blackwood.

8. “The Dirty Burg”
Director: John Papp.

7. “Being Kris Salvi”
Director: Gabrielle Rosson.

6. “Voices from the Invisible”
Director: Miriam Revesz.

5. “Salvation”
Director: Gabrielle Rosson.

4. “Priest Hunter”
Director: Skip Shea.

3. “Fire (Pozar)”
Director: David Lynch.

2. “Gay as the Sun”
Director: Richard Griffin.

1. “Yesteryear”
Director: Chris Esper.

Andrew Buckner/ AWordofDreams’ Summer 2020 Short Film Festival: Films 1 and 2 (“Yesteryear” and “Imposter”)

moviesforlife09Leave a comment

By Andrew Buckner

The Andrew Buckner/ AWordofDreams Summer 2020 Short Film Festival has commenced!

The idea behind this online festival will be to present two films each day, with a shared filmmaking crew member or narrative link to each other, for five days straight. This online festival will begin anew roughly every three months with fourteen more short films (all under forty-five minutes and in any genre, style and from any year). Each short film will be screened at AWordofDreams and kept on the site for the foreseeable future. 

The first day of this originating festival, August 8th of 2020, will be a Chris Esper double bill! We will be including screeners to his wonderful, thought-provoking short films “Yesteryear” (2020) and “Imposter” (2018).

As promised, here is a poster, general information, director’s statement and a screener link for each of Mr. Esper’s films:

Film 1: “Yesteryear”

Summary: “A visual documentary about the value of home movies through the eyes of those who filmed their valuable memories.” – Chris Esper

Director’s Statement: “With the recent pandemic causing unrest, many are turning to their memories as and nostalgia as a source of comfort. It could be a video or a photo. Whatever the case may be, these precious moments are a reminder of what is beautiful about life in a world of uncertainty.

This was the inspiration behind ‘Yesteryear’. I was initially in pre-production on another short film. However, amid the pandemic, I had to postpone production. This lead to me eventually coming across my home movies and concerting them. I was amazed by the storytelling home movies can possess. From there, I put out a call to folks in my circle who were kind enough to release their memories for this project. Two months and fifteen hours later, ‘Yesteryear’ was completed.

My goal was to show that everyone’s life has a story. With that story, there is a slew of memories that can be unforgettable. The documentation of these is very important in preserving what’s important.”

Color.

Runtime: 13 min. 52 sec.

Film 2: “Imposter”

Summary: “A silent drama that visually represents the inner struggles of suffering from anxiety.” – Chris Esper

Additional Information/ Director’s Statement: “According to the Anxiety and Depression Association of America (ADAA), anxiety disorders are the most common mental illnesses in the US, affecting 40 million adults in the United States age 18 and older. I am among these 40 million adults.

As a filmmaker, I enjoy telling personal stories about subjects that are close to my heart while putting a spin on that subject. “Imposter” is easily my most personal film to date. I have always felt that anxiety was a silent disorder that many can feel, but others can’t see and nor do we ever understand it. This is why I chose to make it as a silent film. For many, anxiety is different. “Imposter” was my way of showing how anxiety, particularly the idea of Imposter Syndrome, can be very real to some and how many are suffering around us that we don’t realize. We suffer quietly and often feel trapped or feel like prisoners of our thoughts. That is what “Imposter” is ultimately about in its themes.”

Color.

Runtime: 9 min. 53 sec.

*All screeners included in this festival are incorporated with the kind permission of the filmmaker(s).

Andrew Buckner’s 12 Favorite Books of 2019

moviesforlife09Leave a comment

By Andrew Buckner

12. The Night Window by Dean Koontz

11. Tales to Chill Your Bones To by Michael Haberfelner

10. Theodore Boone: The Accomplice by John Grisham

9. Full Throttle: Stories by Joe Hill

8. Go to School, Kanunu by Chris Esper

7. Growing Things and Other Stories by Paul Tremblay

6. The Cabin at the End of the World by Paul Tremblay

5. The Gordon Place by Isaac Thorne

4. Lock Every Door by Riley Sager

3. The Andromeda Evolution by Michael Chrichton, Daniel H. Wilson

2. The Guardians by John Grisham

1. The Institute by Stephen King

 

“Go to School, Kanunu” by Chris Esper (Book Review)

moviesforlife09Leave a comment

By Andrew Buckner

Rating: ***** out of *****

Hilarious, heartfelt and deeply personal, Go to School, Kanunu (2019) by Chris Esper is a perfect children’s book. Inventive and lively in its storytelling, with a multitude of terrific illustrations by Cardigan Broadmoor which bring these inherent qualities in the text to eye-popping life, the thirty-two-page tome has a look and demeanor that is easily aligned to the collective works of Dr. Seuss. This aspect can be easily assessed in the colorful and tone-setting cover Broadmoor conceived. It deftly summarizes Esper’s brief saga in a single image.

What further broadens this comparison to the ever-iconic catalogue of Dr. Seuss is how the project moves efficiently, effectively and enjoyably from one smirk-inducing situation to the next. Commencing with an ordinary moment, a mother telling her son to finish breakfast and do as the title of the effort suggests, the narrative becomes increasingly off-the-wall. This is as the mother seeks out inanimate objects as well as household animals to help get Kanunu to listen to her demands. They range from a timeout chair to a mouse.

Yet, what is most admirable about the self-published endeavor, which was released on July 30th of this year, is that it has a wide-ranging accessibility. This is most apparent in its theme of having a sluggish start to the day. Such is a topic guaranteed to ring true for every youth. It’s moral emphasis, the importance of punctuality, is fashioned in an easy-to-understand and amusing manner. It is one which its target audience will retain without difficulty.

As mentioned above, there is a private component to the undertaking which makes Go to School, Kanunu much more than an engrossing chronicle. In the touching Introduction, Esper states that this is a fiction his father would tell him and his sister. It was passed down to his father from his parents. Both of whom receive a loving dedication in the opening of the literature. This intimate connection tightens when we learn that Esper sees the yarn as a link to his Syrian heritage. It is an account his grandparents most likely heard themselves for the first time in the Middle East country. Esper’s hopes that the folk tale “may also shed a different light” on Syria is just as moving as the information garnered in this early passage.

Punctuated by an appropriately pleasant concluding note, Esper’s sophomore trek into the world of the printed word (after his brilliant 2016 debut, The Filmmaker’s Journey: Or What Nobody Tells You About the Industry) further showcases his depth and range as an artist. Whether tackling the subject of anxiety in the fantastic silent short “Imposter” (2018) or penning an engaging item for kids (as he does in his most recent opus), there is a consistently introspective nature to Esper’s material that is as relatable as it is endearing. This element illuminates every page of Esper’s latest venture. With great assistance from this quality, Esper has crafted an undertaking that feels immediately timeless. Go to School, Kanunu is an instant classic.

“Imposter” – (Short Film Review)

moviesforlife092 Comments

By Andrew Buckner

Rating: ***** out of *****.

“Imposter” (2018) is among the most relatable, beautifully made, deeply symbolic and personal compositions yet from the incredibly talented writer-director Chris Esper. The nine-minute and fifty-four second short film is a series of three interconnected vignettes. They focus on the inward struggles of anxiety and the idea of the Imposter Syndrome. The latter concept, which was formulated by clinical psychologists Dr. Pauline R. Clance and Suzanne A. Imes in 1978, concerns the idea that someone who is known for their accomplishments are afraid of being exposed as a con.

This theme is expounded upon early on in the form of an overworked man, Mike (in a powerhouse performance from Tom Mariano). During a meeting, he is plagued by visions of a young jester (in a quietly heartfelt enactment from Brendan Meehan). This figure can be seen as the adolescent side of Mike who simply wants to enjoy life. After his meeting he gets on a bus. From herein, we follow an artist (Sheetal Kelkar) and her counterpart (Jamie Braddy) to an art gallery. Here Esper wordlessly shows that both parties feel like they are embarrassed and on display. Returning to the aforementioned vehicle, Esper goes among the populace of the transport. In so doing, he often utilizes direct imagery to quickly tell many private stories of worry and woe. This ends on a highly effective note of tragedy that involves two military veterans (William DeCoff and Adam Masnyk).

Esper’s latest mechanizes tremendously well as social commentary and as an almost entirely dialogue free character study. His scripting and guidance of the project is masterful and mature at every avenue. The Stories in Motion and On Edge Productions fabrication, potently edited by Esper, is also a triumphant demonstration of Ben Alexander and Bryce Brashears’ sound. The same can be said of the lush cinematography from Rick King. This is also true of the make-up and special effects from Julianne Ross. The gently used music from Steven Lanning-Cafaro is haunting and evocative. It fits the tone of the project exceptionally.

All of these moviemaking ingredients help make “Imposter” a timely and timeless meditation on the insecurities which secretly bind so many individuals. I especially related to the first two segments. They immediately spoke to both the full-time laborer and the part-time writer within me. Yet, what is just as remarkable is how, when viewed as a whole, Esper creates a portrait of our civilization that is as intimate as it is grand. This is cinematic poetry. It is as open to interpretation as it is credible and layered. Esper wants to prove that beneath each person is an entire world of wounded self-doubt that others may never understand. He has done so with intelligence and grace. “Imposter” is a masterpiece. It is also one of the best ventures of its type I’ve seen all year.

(Unrated).

“Undatement Center” – (Short Film Review)

moviesforlife09Leave a comment

By Andrew Buckner
Rating: ****1/2 out of *****.

“Undatement Center” (2017), a nine-minute short film from writer-director Chris Esper, is effortlessly charming, consistently humorous and always likable. It carries on the same seamless marriage of upbeat and hopelessly romantic tones that made his prior inventions Please Punish Me (2015) and The Deja Vuers (2016) such an incredible success. This Stories by the River and Stories in Motion co-production is also a fantastic showcase of Esper’s ability, which has been ever-present throughout his career, to project fully fleshed-out, relatable characters. Such transpires in a heartwarming and enchanting, yet undeniably human, manner. This detail is made increasingly admirable with the incorporation of a pace that is as breakneck as view of the world of dating that is the focal point of Esper’s endeavor. Yet, none of the sequences, even the laughter-fueled montage that takes over the mid-section, feels rushed or superficial. There is a breezy demeanor to the proceedings that even makes the most familiar beats of the plot triumphantly sing. This is apparent in the relationship that forms between our twenty-six-year old lead, Jack (in a phenomenal turn from Trevor Duke), who turns to the title corporation in hopes of finding love after a twelve-year hiatus, and Lindsey (in a depiction by J.D. Achille that is consistently marvelous, engaging and authentic). The opening and concluding notes are also evidence of Esper’s mastery in this aforesaid department. Yet, these segments ring with a sweetness, an earnest simplicity and lack of pretension that is genuine and captivating. Despite its often-modern attitude (reflected most readily in the intriguing plot itself), the project feels wonderfully old-fashioned. Such only increases its amiability. Randy Veraguas’ depiction of the quirky desk clerk, Shelley, as well as Shandy Monte’s enactment of the similarly positioned Jennifer enhance the agreeable nature of the picture. Christie Devine is also stalwart in her quick role as Annie. Acei Martin, in a brief part dubbed “Urine Sample Woman”, is also stellar. When combined with the masterful moviemaking and deftly constructed literary contributions Esper incites herein, with his ear for often clever dialogue being another high-quality trait, it’s becomes immediately evident that the Secaucus, New Jersey born maestro has delivered another all-around winner.

This Quincy, Massachusetts recorded endeavor is also graced with illustrious cinematography from Mikel J. Wisler. Such a veneer reiterates the sunny atmosphere of the piece fantastically. Wisler’s seamless and sharp editing fares just as well. Also, assisting matters is Steven-Lanning Cafaro’s cheery and deeply cinematic music. Dominic Kaiser’s sound issuance is spectacular. J.L. Major and Rich Simpson’s assistant camera work is equally proficient.

Esper intends to comment on how intimate associations have become more akin to a business transaction, a one-sided meeting that is based on quick facts and reams of paper, than a personal experience. The conclusion, which hints at the latter method as the more beneficial, is evidence of this bitingly brilliant, but undeniably true, observation. In less capable hands, this is a storyline akin to this could’ve become a bitter, somber experience. But, Esper keeps the jokes cracking and the smiles brimming on our faces throughout. This is without ever diminishing the impact of his thesis statement. Such is, like the totality of “Undatement Center” itself, a tremendous accomplishment. Esper’s latest, an extension of many of the themes present in his earlier photoplays, is an all-out confirmation of his continually broadening talent. It is also a testament to his exceptional skill as a photographic craftsman. The result is side-splitting and deeply transcendent; an endlessly entertaining, quietly emotive must-see!

Premiered on April 1st, 2017.

(Unrated). Contains brief language and some sexual humor.

Stories in Motion’s page for the film can be found here.

The 20 Best Short Films of 2016

moviesforlife09Leave a comment

By Andrew Buckner

It has been a breakout year for both up-and-coming as well as established talent. This is especially true in the medium of the short film. From heart-wrenching and experimental dramas, to mind-bending multi-genre tales, horrifying chronicles of fear and uproarious comedies, here is the list of my twenty favorite related works in this field from 2016. Please note that the name of the director of the piece is provided after the title of the production. Enjoy!

1. “Maya” (Veemsen Lama)
2. “Araf” (Fidan Jafarova, Tofiq Rzayev)
3. “Strawberry Lane” (Jeremy Arruda, Aaron Babcock)
4. “Chyanti” (Veemsen Lama)
5. “Kinnari” (Christopher Di Nunzio)
6. “Nihan: The Last Page” (Tofiq Rzayev)
7. “Numb” (Penelope Lawson)
8. “Dirty Books” (Zachary Lapierre)
9. “Here Lies Joe” (Mark Battle)
10. “The Deja Vuers” (Chris Esper)
11. “Tastes Like Medicine” (Steven Alexander Russell)
12. “Come Together: H&M” (Wes Anderson)
13. “In a Time for Sleep” (Tofiq Rzayev)
14. “Sisyphus” (David Graziano)
15. “Trouser Snake” (Alex DiVencenzo)
16. “Mail Time” (Sebastian Carrasco)
17. “Hell-Bent” (Foster Vernon)
18. “Hand in Hand” (Haley McHatton)
19. “Menu” (Matt Shaw)
20. “Last Night” (Tal Bohbot)

“The Deja Vuers”- (Short Film Review)

moviesforlife09Leave a comment

By Andrew Buckner
Rating: ****1/2 out of *****.

“The Deja Vuers” (2016), an eight-minute short picture from director Chris Esper and screenwriter Jason K. Allen, is a charming, frequently funny and endlessly engaging experience. It is ingenious in the way it takes a commonplace set-up, a man approaching a woman on a park bench, to comically absurd levels. This is without it ever becoming too over the top. Simultaneously, Esper and Allen inject trademark components of fantasy and science-fiction, time travel and dreams, into an undertaking that is consistently fresh and exciting. This is while maintaining its commonplace relatability. Likewise, it never once utilizes humor that isn’t naturally born from the unfolding circumstances of the plot itself. With these un-related items, a balance of the mundane and the fantastic is seamlessly created. It is one that is built on dialogue. The articulations heard throughout are rich in everyday observations, exchanges and quiet insights. Furthermore, Allen’s penned characterizations are accessible. This is without coming across as archetypical or lacking in dimension. Such is certainly a tremendous feat unto itself.

The attribute apparent in the writing of the protagonists is amplified by the herculean strength of the lead performers we follow on-screen. Christie Devine is outstanding in her enactment as Morgan. Kris Salvi is phenomenal in his portrayal of Chuck. Yet, even the comparatively smaller roles, such as Craig Capone as Elias and J.P. Valenti as “Repairman”, offer well-rounded and memorable depictions. Adam Miller as “Teenager” fares just as well.

The potency of these qualities is vastly a courtesy of Esper’s masterful administrative hand. It is just as evident in Allen’s sharply designed and intelligent authorship of the material. The duo immediately establishes, via their respective contributions, a quietly whimsical tone for the piece. It is propelled in the opening moments by the smoothly upbeat music of Steven Lanning- Cafaro. This can also be said for Evan Schneider’s sumptuous, vibrant and suitably cheery cinematography. Schneider’s influence also benefits from taking full advantage of the natural beauty of its budding fall backdrop. The result is a smartly penned and honed, effortlessly enjoyable production. It is one that visibly triumphs from both a technical and narrative stand-point.

Esper, who also produced, and Allen chronicle Chuck coming across Morgan in a chance assembly. He has never met her before. Yet, a reverie Chuck had from the night before, where Morgan is sitting in the precise location she is at that initial instant and with an identical expression of the confused look that overtakes her countenance, makes him come up to Morgan and address her in conversation. While the explanation of such an act itself could easily be perceived as a pick-up line, it is immediately conveyed that Chuck and Morgan both find each other “repulsive”. But, Chuck states, in one of the many efficaciously guffaw-inducing bits herein, that the mutual unattraction between the two doesn’t mean they shouldn’t be intimate. This is just on the off case that a bizarre fate is bringing them together. Soon after this smirk-inducing gag is administered, a chain of circumstances, often built around loose connections and clever ironies, amusingly unfurls. This begins with something as small as a container of fruit cocktail. Soon it evolves into an assortment of individuals from bygone eras and lives. Included in the mix is a personality who could well be conjured from a vision induced through slumber itself. It isn’t far into these episodes before Morgan and Chuck realize that there may be more to this sense of de ja vu than a vague sense of familiarity. It is than a portal unveils. Such an incidence threatens to pull Chuck and Morgan apart from their moment together. In so doing, it promises to bring them to a place and time more matched to their personal desires.

This Stories in Motion production, budgeted for $2,000 and shot in Attleboro, Massachusetts, further benefits from this truly original plot. The single position found in the piece is also impeccable for a celluloid invention such as this. Moreover, it activates intriguingly and ends much in an equivalent fashion. This is on a wildly satisfactory note of paradoxical enigma. This stretch is also striking in that it seems to express the general outlooks of the personalities viewed in this pre-closing acknowledgments succession. This is through decision over exposition. Best of all, it incorporates this without being obvious about its intentions. The construction is just as confident in its pacing as it is in its sly execution of such happenstances. Such an affair issues a commencing and concluding credits segment that is as quaint, stimulating to the eye and proficient as the sequences these portions bookend. Correspondingly, Esper’s editing as well as the optical effects from Robert L. Lopez are outstanding. Andrew P. Marsden provides deftly issued sound. Danielle Schneider’s make-up is expertly fashioned. These ingredients are eye-catching on their own. When combined, these details illuminate and augment splendidly the effortlessly admirable appeal of all we encounter herein.

Esper’s latest accomplishes an incredible amount in its brief run time. It efficaciously juggles a multitude of genres and ideas. All of which are difficult enough to pull off individually. Yet, with all these various foundations at play: there is an undeniable air of gentle romanticism to the proceedings. This is fitting and welcome. The composition is much like Esper’s “Please Punish Me” (2015) in this respect. This is also accurate when pondering its ability to explore human interactions and regressed passions. Such occurs in a package that operates equally well as both an unexpectedly cerebral character study and as a witty comedy. In turn, “The Deja Vuers” is a wonderful display of talent and wise storytelling moves all around. It continually exhibits Esper’s as a craftsman of the photoplay at every turn. The work also serves as perpetual evidence of the equally deft capabilities of his cast and crew. More than anything, the exertion reminds us of the illimitability and experimental nature inherent in arrangements such as these. Because of this, Esper and company have erected a must-see; another fantastic addition to his increasingly spellbinding filmography.