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Love & Mercy Review

VUBot

Staff member
Diamond Contributor
ECF Refugee
Vape Media
Bill Pohland directed one feature film in 1990 called Old Explorers. I can’t find any information about it other than it’s about senior citizens recreating famous expeditions. Since that unseen debut, Pohland has produced films by some of our best current directors—Terrence Malick, Steve McQueen, Doug Liman, Ang Lee, Sean Penn, and the late Robert Altman—and notched an Oscar nom (for Tree of Life), before he got back behind the camera to make the Brian Wilson biopic, Love & Mercy.

Pohland is a prestige producer, and for his first wide-release directoring effort he’s hired a ton of prestigious collaborators. He’s got Oren Moverman (The Messenger, Jesus’ Son) as his screenwriter, Wes Anderson’s director of photography (Robert D. Yeoman), one half of David Fincher’s go-to moody musicians (Atticus Ross) creating the original score, Gus Van Sant’s costume designer (Danny Glicker), and Tomas Alfredson’s film editor (Dino Jonsäter). That veteran polish gives a shiny sheen to Love & Mercy and gives it a cohesive album feel—this isn’t just a greatest hits compilation slapped together. The below the line elements of production nearly elevate the film to a top shelf musician biopic, before its B-side shows that the A-side had all the hits.

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