David Watts

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Genres=Biography; 2019; actor=Anne Hathaway, Tim Robbins; 126 minute; &ref(https://m.media-amazon.com/images/M/MV5BODQ0M2Y5M2QtZGIwMC00MzJjLThlMzYtNmE3ZTMzZTYzOGEwXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_SY1000_CR0,0,629,1000_AL_.jpg); writer=Matthew Michael Carnahan. "Dark Waters" is a stunning and surprising film that gets under your skin.
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In this drama based on a true story, an attorney takes on an environmental case against a large chemical company exposing a lengthy history of pollution.

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From the beginning of the film, Dark Waters" never lets go. It's a shocking and informative drama that will have you questioning if you've been exposed to this type of pollution. I was very surprised how much I enjoyed this film and thought that Mark Ruffalo was fantastic in the lead. It's a solid dramatic thriller that will have you enthralled throughout and have you talking about it afterwards.

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Movie Aguas oscura. The countdown to today means it has to end eventually, unless they go futuristic on us. But Ruffalo's hand, I couldn't not think of Hulk, and naturally where it leads is not going to be a transformation but the breakdown; so the direct parallel makes this a film about 'heroism. Better not to feel like a failure." Opposite! Greater than success: a hero. These chemical agents in the water impact the receptor and create mutations. Hulk. We even see the outcomes. It's a giant synchronicity, or it's intentional, or accidental- I say this about every artist is they bring their entire body of work with them and constantly it's the case. Also the same biopic movie wife as always, she overplays something better in small doses, but the small dose creates an impact. Her stare is the world's. So impress her with some great heroism. And movie wives are best when they're in on it- even wicked- as when she whispers ideas to him in bed. I laughed at his reaction to her big oscar-meltdown, because it's sort of a lazy husband, same time his message is constantly clear: this is the road, complaining is futile because it's the road. Often we get a frame and if it's proper you create a fully functional mechanism that informs itself, like a great work of engineering. The pile of boxes in the room come early, hopeless to organize, and he does. It builds into his heroism, mastering this impossible knowledge, leading to this weary actualization. He is 'so' ahead of the villains that everything they throw at him he can conceptualize as the response, even down to surprising him by not playing fair, which only delays things. That the system cant keep up with his mastery integration builds this cat and mouse leading to another act to best them, the blood sampling. Villainous obfuscation vs an even greater act of integration, means moving from past to 'now. It's also why it takes so long, ages him, and tears him down. It's a superhero vs a supervillain. Lastly, Haynes can do the auteur's satiric reality, but what I admire about him is he can clearly do without it. Even his auteur works strive to earn it and avoid the 'brand' and that's cinema is you humble to the craft rather than the other way. It's an easy trap, but it also means we must look for the motivator, the frame. And I think maybe he was offered the superhero films and chose this instead, and there is what it is. Because the car almost exploding, we got that last week, we get that every week, it's more the way it blurs the line that he asks there, wait am I in a movie.
In Todd Haynes’s latest, Mark Ruffalo plays a corporate defense lawyer who switches sides to defend a poisoned community. Credit... Mary Cybulski/Focus Features Dark Waters Directed by Todd Haynes Biography, Drama, History PG-13 2h 6m Outrage mixes with despair in “Dark Waters, ” an unsettling, slow-drip thriller about big business and the people who become its collateral damage. It’s a fictional take on a true, ghastly story about a synthetic polymer that was discovered by a chemist at DuPont, which branded it Teflon. One of those seemingly magical substances of the modern age, Teflon was advertised as an “amazing new concept in cooking, ” a 20th-century wonder meant to make life easier. “Choose a pan like you choose a man, ” a British ad for a Teflon-coated pan suggested. “It’s what’s on the inside that counts. ” What was inside Teflon, anyway? In “Dark Waters, ” the answer starts with cows that belong to Wilbur Tennant (Bill Camp), a West Virginia farmer engorged with rage, whose animals (and livelihood) are horribly and inexplicably dying on his pastoral-looking land. He has his suspicions about the cause, but the deaths are an enigma that becomes a murder mystery that, in turn, opens into a legal inquiry into corporate malfeasance and government accountability. Leading the charge is Rob Bilott (Mark Ruffalo), a corporate lawyer in Cincinnati who defended chemical companies but became an unlikely crusader for the other side when he went up against DuPont. Opening the story with a spooky prologue right out of the horror handbook, the director Todd Haynes makes it clear that here be monsters: It’s 1975 and a gaggle of young trespassers venture onto fenced-off property to go for a night swim. (The script is by Mario Correa and Matthew Michael Carnahan. ) Soon after the swimmers splash into the dark, oily waters (kids do the stupidest things), they are rousted by a booming male voice of authority. Given the horror-film setup, you half expect a creature from this dark lagoon to rise up or a chain-saw killer to buzz into view. Instead, men in a boat marked “containment” glide in, spraying something on the slicked surface. The time-hopping story then skips decades ahead to Wilbur and his brother (Jim Azelvandre) carrying a stash of videotapes into Taft, Bilott’s bustling firm. Wilbur has found Bilott through a connection to the lawyer’s grandmother (Marcia Dangerfield), who lives in West Virginia. It turns out that Bilott spent time as a child on Wilbur’s farm, which further deepens the men’s alliance. Bilott dives in, despite some unpersuasive reluctance. Defending small farmers isn’t in his portfolio and he has just been made a partner; but Bilott is a good guy, which the casting of the deeply empathetic Ruffalo has telegraphed from the moment his character appears. What happens next is by turns tense and turgid, unsurprising and appalling. Bilott, with begrudging support of his firm (Tim Robbins plays his boss), confirms Wilbur’s worst fears: the local DuPont plant has been dumping toxic waste on land next to the Tennant farm. In a queasy causal chain, the waste has seeped into the soil and migrated into the creek that flows through the farmer’s property and supplies water for his cows. This revelation leads Bilott to confront the DuPont powers that be and face down a larger nightmare filled with the misuse of science and the abuse of people. On paper, at least, this seems familiar territory for Haynes, whose art-house breakout, “Safe, ” focuses on a middle-class woman affected by environmental illness. In that film, there is finally no immunity from the modern world (it isn’t a safe space), a moral that resurfaces with grisly horror in “Dark Waters. ” Despite the environmental connection, though, the new movie is more conventional than Haynes’s usual work in its narrative structure and approach to the material. It’s exceedingly well executed and technically impeccable, with precisely shot (by Edward Lachman), near-abstract, dehumanized cityscapes washed in gray set against darkly shaded country landscapes that seem permanently untouched by sun. Too bad then that as the years slip away and Bilott’s wife, Sarah (Anne Hathaway), continues to huff and puff about him and his work, the movie slides into banality. It’s disappointing that Haynes hasn’t solved the recurrent problem of the Wife, that irritating, waiting, nagging yet loving stereotype. The story here, of course, is about Bilott’s fight against DuPont. (It’s based on a 2016 article by Nathaniel Rich that was published in The New York Times Magazine. ) But every time Bilott goes home it feels like a waste of valuable storytelling and investigative time, which only plays into the noxious idea that men do the important work in the world while women ? a periodic whistle-blowing Erin Brockovich notwithstanding ? impatiently tap their feet. You do feel Haynes’s touch now and again, particularly in the sense of menace that seeps into a crepuscular law office and in the everyday eeriness that suffuses outwardly ordinary homes that are anything but normal. Bilott’s investigation and the ensuing legal fight, which drags on for years, make it clear that the poison has leaked far beyond this stretch of West Virginia. But at its strongest, the movie makes you see that the poison that is killing Wilbur’s cows and so many other living things isn’t simply a question of toxic chemicals. There is, Haynes suggests, a deeper malignancy that has spread across a country that allows some to kill and others simply to die. Dark Waters Rated PG-13 for corporate malfeasance and poisoned living creatures. Running time: 2 hours 6 minutes.
A t the end of Dark Waters, a dense, angry drama about the horrifying health effects of corporate negligence, it’s possible, and perhaps quite likely, to leave the cinema with complaints about the specifics of the film-making. Sometimes it pushes too much, sometimes not enough, a conventional procedural with undeniable flaws. But what’s entirely impossible as the credits roll, is to leave without a palpable sense of fury, a real world, off-screen outrage directed not just at a particular issue but at a particular company. It’s a film that works best as a two-hour assault on DuPont, a chemical company with toxic blood all over its hands. embed It shouldn’t be this rare to see a film in 2019 imploring us to bear witness to crimes committed by a hugely powerful, and profitable, corporation, one that’s named and shamed repeatedly throughout, but it still feels like an outlier, belonging more in the 70s than it does now. It’s this focused rage that propels it forward, giving it a vitality that’s often missing from the direction, a strange choice for director Todd Haynes whose films are typically known for their queerness and vibrancy. Here he’s a steady, if anonymous, pair of hands, telling a story based on a shocking New York Times long read about dogged, modest corporate lawyer Rob Bilott (Mark Ruffalo) who’s confronted with a game-changing case. Working for a high-profile law firm, acting on behalf of major chemical clients, he finds himself reminded of his humble beginnings when a farmer from his home town of Parkersburg enters his slick office. His farm is dying, or more specifically his cows are, 190 of them to date, and he’s convinced that it’s a result of drinking water infected by a neighbouring factory owned by DuPont, one of the world’s largest chemical companies. Bilott is initially reluctant to take on a personal case, given his firm’s focus on corporate clients, but he finds the evidence undeniable and the further he digs, the bigger the case becomes. It’s been quite the year for big-screen whistleblowers, kicked off in Sundance with Amazon’s tight, tense CIA thriller The Report and the far more plodding Katharine Gun drama Official Secrets. Dark Waters falls somewhere between the two, solidly effective and mostly involving yet relying a little too much on the dusty conventions of the subgenre to make a major mark. Arriving in the thick of awards season, it’s likely to get buried, or drowned, by the competition although its damning snapshot of corporate corruption and one man’s tireless, heroic effort to expose it should be seen and remembered. It probably would have been a surer fit for Netflix and Haynes’s muted work behind the camera gives it the feel of a film intended for the small screen. It’s his most straightforward project to date and his serviceable work is matched with an equally sturdy script from Mario Correa and Matthew Michael Carnahan, the latter having ample experience in taking Goliath to task having co-written 2016’s criminally underrated, BP-baiting Deepwater Horizon. There’s a simple pleasure in watching Bilott do his job and do it well, despite the odds that were stacked against him and Ruffalo avoids turning him into a showman, quietly and diligently finding a way to bring DuPont to task within the framework of the legal system. The focus on the minutiae of the case makes the film’s silly, incongruous scene of Bilott worrying his car might be rigged to explode feel all the more unnecessary (it was predictably used in the trailer, hoping to fool viewers into thinking of this as a thriller). Instead, it’s the insidious confidence of a company of this scale that has a far more chilling effect, the accepted knowledge that wealth will win no matter what. Anne Hathaway in Dark Waters. Photograph: Mary Cybulski Ruffalo is reliably solid in the lead, keeping his performance believably dialled down but those around him are less well-modulated. There are oversized turns, or at least scenes, from Tim Robbins, Bill Pullman and especially Bill Camp as the farmer in need while, as Bilott’s wife, Anne Hathaway is both miscast and misused. The thankless wife role is a given in this territory and what’s frustrating here is how the film gives us an interesting thread (Bilott’s wife was also a lawyer who gave up her career to have children) and then abandons it completely. Attaching an actor of Hathaway’s status leads us to expect more than what she’s given and when her big scenes do come, they don’t land. We can see her acting too hard which automatically removes us from the naturalistic setting. Misgivings aside, Dark Waters deserves to make an impact and early speculation suggests that it will. This week a Wall Street analyst, after watching the film, claimed that it could be “very damaging” for DuPont and perhaps that’s its biggest ace. As a drama, it’s patchy but as a document, it’s undeniable. Dark Waters is released in the US on 22 November and in the UK on 28 February.
| Matt Zoller Seitz November 22, 2019 "Dark Waters, " starring Mark Ruffalo as an attorney trying to punish the DuPont chemical corporation for dumping toxic waste in West Virginia,?is a lone-crusader-against-the-corrupt-system film, in the tradition of " The Insider, " " A Civil Action, "?and " The Verdict. " Director Todd Haynes (" Carol, " "Mildred Pierce")?embraces that lineage, giving viewers the sense of what a long, tedious, spiritually draining process this?can be, and?letting even the best-looking, most charismatic?actors in the ensemble?appear onscreen looking as if they inhabit the same reality as the rest of us and are?exhausted by it. Advertisement Ruffalo stars as Robert Billott, a Cincinnati, Ohio attorney for Taft Stettinius & Hollister,?a firm that represents major corporations, including DuPont, one of the world's most powerful?chemical manufacturers. Through personal ties, and against the wishes of his own colleagues,?Billott decides to help?a lowly?cattle farmer from Parkersburg, West Virginia named?Wilbur Tennant (played by Bill Camp, with beetle brows that make him look like Beau Bridges from a distance). Wilbur's cows have been getting sick, going insane, and dying off at an alarming rate, and he's convinced it's because DuPont poisoned the nearby water supply. He's right, of course, but proving it won't be easy, nor will establishing a chain of intentionality that might make DuPont liable for cleanup and restitution. What follows is a detective story with a nice guy?lawyer at its center. Robert?Billott is?convincingly portrayed by Ruffalo as a sort of human version of Droopy the Dog, a cartoon character who defeated flashier, more volatile?adversaries by being unflappable, indomitable and polite, and?showing up where his foes?least expected it. Haynes uses wide shots to emphasize Ruffalo's modest height compared to looming?costars like Tim Robbins (as Billott's boss Tom Terp). The actor's turtle-in-a-shell body language further emphasizes that this smart, ethical man is financially, politically, even scientifically outgunned when trying to prove that DuPont has been dumping toxic waste into West Virginia soil, causing cancer, distemper, and rotting teeth in humans and animals alike. Moviegoers who keep up?with environmental news (or who have read about the actual case that inspired "Dark Waters")?know that the farmer's plight is a gateway to a wider discussion of?perfluorooctanoic acid (PFOA), a byproduct of one of DuPont's most lucrative postwar products, teflon.?This in turn leads to a wider and more alarming look at toxic chemicals that are spread through the water supply, enter human bodies, and stay there. And it's that last bit of information that gives the movie a grim charge. At its most controlled and insinuating, "Dark Waters" is?reminiscent of paranoid thrillers from the 1970s like " The Parallax View " and " Chinatown. "?In those kinds of movies, you?know going in that you're going to see a story about how bad things are, thanks to corporate influence over government as well as the economy, but the extent of the corruption is still shocking, highlighting the?implicit?question: why fight, if the bad guys have already won? The answer, of course, is that you should fight because?it's the right thing to do, and because even the promise of justice is slim, it's a public service of a more diminished kind to show people how broken the system is. Written by Mario Correa and Matthew Michael Carnahan (" Lions for Lambs ") from a New York Times?Magazine story, and shepherded by co-producer Ruffalo, an environmental activist,?"Dark Waters"?never entirely overcomes a formulaic quality that tends to dog even the best examples of this kind of picture. This is noticeable not just?in the?storytelling rhythms, which twist and turn pretty much when you expect them to (a satisfying triumph followed by a deflating reversal of fortune),?but also in the way it portrays Billott's?relationship with his supportive but understandably worn-out wife?Sarah, played by Anne Hathaway. Sarah?gives birth to two children during the course of a tale that takes more than a dozen years to play out, worrying about DuPont-caused birth defects the whole time; but she has to be content with a mainly advisory or sounding-board role, and?the movie is never less convincing than when Sarah is announcing that she's not just The Wife in a heroic man's?story. (To be fair, it's hard to say how this could've been remedied; Billott is our guide through the story as well as the audience's mirror. But maybe there was a way to make?Sarah not sound as if she's arguing with reviews that haven't been written yet? ) But "Dark Waters" is?still a strong and involving, though understated,?example of this dying breed of film, resonating with present-day feelings of hopelessness at the brazen corruption on display every day in the United States, and throughout the world. Haynes might not initially seem like the kind of director you'd expect to see attached to this sort of project. But?he has a?keen eye for the narratively?meaningful camera move (notice how often the movie starts a scene?in darkness or by zeroing in on?an out-of-focus element, then gradually makes the image clear) and?undeniable skill with actors ( Victor Garber as the CEO of DuPont is a perfect distillation of the nice-guy arrogance of the super-rich). The script is good at showing the hero doing the necessary work to get to a breakthrough, whether by sitting by himself?on the floor of a storage room and going through hundreds of boxes of evidence documents, or carefully re-reading a letter from DuPont until he realizes it doesn't say what everyone else thinks it says. (How often do movies make reading comprehension cinematic? Almost never. ) The film also?makes sense as part of the HCU (Haynes Cinematic Universe).?Fans of the director's work will sense affinities between this movie and " Safe, " about a woman suffering from environmental illness. It also echoes?Haynes' self-aware period pieces "Mildred Pierce" and "Far From?Heaven, " which were partly about how social norms (be they sexist, racist, homophobic or, in this film's case, class-based) enable the status quo to preserve itself. For all its patience and droll humor, this is an?angry movie, rightly so. The most crowd-pleasing moments find Ruffalo transformed into?a Jimmy Stewart- or Tom Hanks-level idealistic Everyman, railing against the world's evils while also taking the time to explain how they became entrenched, and how it's still possible to fight them, in a small way,?at great cost. Reveal Comments comments powered by.




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Info: …”Tinkety tonk old fruit, and down with the Nazis.”