The art of storytelling has developed over the years and although there are only so many ways to tell a story, there are no rules as to how we as an audience witness a protagonist’s journey unfold.  D.W. Griffith experimented with nonlinear presentation with Intolerance in 1916, while Goddard branched out in the late 1950’s to this technique.  Quentin Tarantino modernized it with Reservoir Dogs and other directors have continued to expand the influence of in medias res to this day.  In celebration of Christopher Nolan’s Dunkirk, Ben and Kyle talk about five of their favorite nonlinear narrative films.

Pulp Fiction

BEN: Though he introduced a modernized version of the nonlinear narrative with his first film, Quentin Tarantino’s Pulp Fiction cemented its revolution.  The year was 1994, just before the dawn of the World Wide Web (in today’s parlance, the Internet). Buzz about films traveled at a snail’s pace, which is funny considering that this film won the Palme d’Or at that year’s Cannes Film Festival.  Okay, the joke’s not that funny, yet Tarantino’s sophomore film, a black comedy and a modern neo-noir was responsible for not only reigniting John Travolta’s career, but also for changing the way stories could be told, something that he and writing partner Roger Avary won a Best Original Screenplay Oscar for in 1995.  It was the first film that Miramax fully financed and distributed, altering the way independent films were distributed.  And then there’s the nonlinear way that Tarantino tells his story.  The way the sequences are edited together, we’re never jolted out of the moment, which is why this film works so very well.  I think the key to his success here is in the characters and the settings.  I remember seeing the movie on VHS and in widescreen and being blown away by the change in perspective that it created.  At the time, it was one of the more unique movies that I had seen.  I think I’ll watch this again soon while enjoying a Royale with cheese.

KYLE: It’s an amazing film that has held up well over the years.  As you mention, the script, with respect to perspective is what has allowed it to endure.  Yes, there are endlessly quotable lines, but the magic lies in the well-defined characters and the unique presentation. Knowing the fates of certain characters increases the impact over other scenes when they transpire, which I think is one of the benefits of nonlinear storytelling and why so many carbon copy rip offs failed during the crime flick heyday of the 90’s.  Most auteurs tried to cash in on Tarantino’s ideas but failed to grasp the importance of the story as well as the characters.  There is a rotating door of VHS cult gems that each have memorable characters or scenes of violence, but they pale in comparison to Pulp Fiction because they don’t weave them together into a complete picture.  It also continued the tradition of building a stable of performers that Tarantino continues to use to this day.

The Usual Suspects

 

BEN: Bryan Singer’s sophomore feature film is the electrifying The Usual Suspects which took the world by storm with the famous ending and the line, “Who is Kaiser Söze?” Based on the Oscar-winning screenplay by Christopher McQuarrie who also wrote Public Access for Singer, would use the nonlinear format to tell “Verbal” Kint’s version of events that would lead to a drug deal gone bad for the police involving a severely wounded Hungarian mob boss.  Throughout the story, McQuarrie and Singer lay clues as to who the mastermind is, resulting in one of the most celebrated plot twists in cinematic history.  The film works because of the sublime cast including Gabriel Byrne, the cool and collected one, Stephen Baldwin, the balls-out nut job, Benicio del Toro, whose broken English plays well into this collection of misfits.  Kevin Spacey plays “Verbal” and his Oscar-winning performance is the highlight of the film.  Chazz Palminteri does an exceptional job grilling “Verbal” and Pete Postlethwaite is pitch perfect as the ominous courier.  This is another one of those films that I saw in college on home video (I didn’t get to the theater as much as I do today for obvious reasons.)  Seeing this film on VHS was an eye opening experience.  Interesting note:  the title came from an issue of ‘Spy’ Magazine which lifted it from a famous line spoken by Claude Rains in “Casablanca”.

KYLE: While I don’t think it has held up as good as some of the others on this list over the years, Singer’s film is a masterclass in narrative construction.  Yes, the clues are easy to parse and in plain sight, but the totality is a precise formula that toys with the neo-noir genre to ultimately produce an inverted whodunit.  Palminteri, and his scenes with Spacey are the main event, while the lovable cast of rogues moves the story from one point to another.  The infamous line-up scene is my favorite sequence, because not only it is continually quoted by film lovers everywhere, it’s evident that the cast are having a good time filming it, which always enhances the mood of a film.  While this one is not necessarily nonlinear in the same manner as Fiction, it uses the fractured narrative as a device to explore perspective and truth with narrators who may be unreliable, one of the best attributes for a mystery.

 Memento

BEN: I think we’re on a role with sophomore directorial efforts.  Our third film is another sophomore effort, this time by Christopher Nolan.  Starring Guy Pearce and Matrix co-stars Carrie-Anne Moss and Joe Pantoliano, this film is a look at anterograde amnesia, where the protagonist is unable to form new memories while suffering from short-term memory loss.  The way Nolan visually interweaves and ultimately intersects the two side effects of the amnesia is breathtaking.  In addition to interweaving the various vantage points, he differentiates the two side effects with color and black & white images supporting the deteriorating condition of our protagonist and his world. The narrative is cohesive in its progression, no matter which way you go.  While Nolan had a clear direction, Guy Pearce did such an exceptional job at conveying the events he experienced that we suffer right along with him until the last minute.  I expect we’ll see a similar style of storytelling in Nolan’s upcoming Dunkirk.

KYLE: Let’s hope!  I know a lot of readers are saying, it’s just told in reverse!  While this is true, linear stories are about going from A to B.  Memento goes from B to A in a puzzlebox presentation that requires multiple viewing to grasp all of its intricacies.  I remember seeing it in the cinema and being blown away by the implications of the ending, as well as how disturbing the mood is for the duration.  This flirts with psychological horror, dipping a toe into Lynch’s end of the pool, but then quickly reverts into a gritty neo-noir. Speaking off, our first three films have all been neo-noir.  Ben, do we have films from a different genre on the list?

Solaris (2002)

 

BEN: As a matter of fact, we do.  This is also where we end our sophomore directorial efforts; however this film’s director is linked with another director we’re celebrating.  Soderbergh who has been established in Hollywood since the late 80’s when he broke out with Sex, Lies, and Videotape worked with producer James Cameron to bring a reimagining of the celebrated Solaris to modern audiences.  Featuring one of his mainstay actors, George Clooney, the story is centered around Dr. Chris Kelvin, a clinical psychologist who is called on by the DBA to review a disturbing message from a colleague, who along with a crew of astronauts is on a space station orbiting Solaris.  Kelvin travels out to the space station to determine why they stopped communicating.  Soderbergh’s script remains close to the original novel where he uses flashbacks to create a nonlinear story.  Solaris is capable of something greater than the human mind, and it is this existentialism that allows Kelvin to reconnect with his dead wife.  Cited as a love story in space, which Stanislaw Lem didn’t agree with, the 2002 version failed to connect with audiences, which is a shame.  It is an exceptionally well done film where we get to see Viola Davis in as strong a performance as she gave us in last year’s Fences. Jeremy Davies was amazing as Snow, one of the scientists on the station and although he has a small role, Ulrich Turkur had a lot of fun as Gibarian.  McElhone lit up the screen as Kelvin’s doomed wife Rheya.  What I liked most about this is its ambiguousness.  Is it a love story?  Is it a Sci Fi film?  Roger Ebert, who loved it, called it “the kind of smart film that has people arguing about it on the way out of the theater . . . . it is essentially a psychological drama.” I still revisit it and long for the day it is released in high definition.

KYLE: I’m a huge fan of both this and the original by Tarkovsky.  I actually find myself returning to Soderbergh’s version more often because I think he strips away everything but the raw connections at the heart of the story.  Tarkovsky’s dreamlike masterpiece is a lifetime on film, while Soderbergh’s version is a fading memory, and both of them have merit.  With respect to the 2002 version, I think the nonlinear presentation is essential in order for the release of the finale to impact the viewer.  Themes of love are actually a large part of the science fiction genre and Soderbergh keys into essential, base human emotions in this film.  It’s devastating, terrifying, and ultimately unforgettable because the viewer is treated to the gambit of not only the cycle of grief, but how love and loss filter differently through different kinds of minds.  Davis (who I also love in this) plays against Clooney so perfectly, I often feel her performance is undervalued.  You have science vs. psychological theory and both are plagued by the inevitable baggage we all bring to the table.  Davies, in the middle, is the film’s best surprise, bringing home the startling actions of Clooney during the first act.  Soderbergh’s Solaris is an organism connected by the fabric of mankind and I hope more viewers give it a chance after reading this.

Arrival

 

BEN: Denis Villeneuve, who always wanted to do a science fiction film, gave it to us in spades with 2016’s Arrival.  Based on Ted Chiang’s Story of Your Life, Eric Heisserer delivers a top notch sci-fi film featuring Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg and Tzi Ma.  Part Solaris, part Contact, part The Day The Earth Stood Still, Heisserer uses the nonlinear narrative to sew together a story of grief, love, passion, and empathy as Adams’ Elizabeth Banks races to develop a language database that the military can use to communicate with an alien race whose spaceships have settled above our most populous cities.  The structure of the story keeps you guessing what the true nature of the film really is, which is a beautiful thing.  Adams gave an Oscar-caliber performance as the emotionally wrecked and passionately driven Elizabeth Banks.  Villeneuve’s direction is exemplary here, and is the key reason why Heisserer’s story works as well as it does.

KYLE: Could not agree more.  I was shocked Adams was overlooked for an Oscar nomination. This is another…non-traditional choice.  The nonlinear narrative is integral to the story, but its reason for inclusion is the film’s most challenging revelation.  One of my favorite aspects of this film is how the scientific and military sequences are interspersed with intimate scenes of familial life.  This sets the stakes for the viewer, reminding them of the countless souls that hang in the linguistic balance.  Communication is the central theme, both in how we interact with the extraterrestrials, but also with each other as a species.   Given the divisive last couple of years, Arrival was a breath of fresh air that showed (not preached) love, mutual respect, and most importantly, tolerance.  I think it’s important to mention that Bradford Young was the first African American to be nominated for the Oscar for Best Cinematography.  It was some of my favorite imagery from last year’s awards season.

 

BEN: That’s about right, Kyle.  Oh!  I forgot to mention the connection that Soderbergh has to another of the directors we mentioned – he was one of the producers of Insomnia by Christopher Nolan.  We really do live in a small world.

KYLE: Most assuredly.  Thanks, once again for the engaging conversation.  I look forward to our next topic!

We hope you enjoyed this brief look at our linear list of nonlinear narrative films. As you’re venturing out to your nearest IMAX film to catch Dunkirk this weekend, what are your favorite nonlinear films?

In honor of Christopher Nolan’s upcoming Dunkirk, Kyle and Ben sit down this week to discuss their Top 5 Nolan films.  We culled from his library of works our respective Top 5 films. In doing so, we included those films that he’s produced, written and/or directed.  We both had the same consensus about a large majority of Nolan’s body of work and we diverge on at least one film.

Insomnia

BEN: Nolan’s sophomore directorial effort, Insomnia is a remake of a 1997 Norwegian film featuring Al Pacino, Hilary Swank and Robin Williams in one of his few dramatic roles.  Set in a small Alaskan frontier town, two Los Angeles detectives are sent to investigate a grisly murder.  Eternally suffering from guilt over another case, Pacino’s performance is a familiar one where he’s driven to the edge while maintaining his sharpness.  Swank is a nice balance to Pacino’s descending manic-depressive insanity while Williams just absolutely chews every scene he is given.  Wally Pfister’s cinematography and Dody Dorn’s tight editing add to the tension of torn personalities trying to find peace.  After writing this, I might just need to revisit it!

KYLE: This is an amazing film.  While I absolutely love the 1997 original, I really appreciate Nolan’s take on the material.  While a few of the darker scenes are excised from the narrative, Nolan’s focus on endless torment is framed in a fascinating, psychological manner that really allows Pacino and Williams a lot of breathing room with the script.  As you mentioned, I think is one of Williams’ best performances and I’ve watched it several times since he left us.

The Dark Knight

BEN: Following the immense success of Batman Begins, Nolan’s effort to build a modern Gotham City is rich with relatable characters and terror that mirror our everyday existence.  Christian Bale draws us in as both Batman and the torn Bruce Wayne, trying to find his place within his own demons.  Just as with Pacino in Insomnia, this is a character trait that Nolan has been able to tap into time and time again.  Gary Oldman as Commissioner Gordon is absolutely first rate.  This story allows him to portray a true detective, which is a key to this story.  Aaron Eckhart’s transformative performance as Harvey Dent only compliments the other characters as he struggles with his own demons.  Heath Ledger is the true star here as the Joker.  Maniacal and dangerous, Ledger’s final screen performance is near perfect and holds his own next to Bale.

This is in part to Nolan’s understanding of the psychological nature of each of the characters as well as their environments.  Nolan knows when to push his boundaries.  Wally Pfister was called to service again here and he answers the call of The Dark Knight with precision.  Hans Zimmer’s and James Newton Howard’s score help convey the beats and the lethality on the screen without ever overwhelming the action.

KYLE: It’s my favorite Superhero film and Ledger’s iconic performance is unforgettable.  I love how Nolan makes Gotham itself a character that lives and breathes around the larger than life personas that inhabit it.  There are so many iconic shots in this film it’s impossible to pick my favorite, but the scenes shot in IMAX, such as the initial bank heist are razor sharp proficiency.

I do think it stumbles, just a bit in the final act, but everything else is near perfect.  Nolan made a Michael Mann level crime epic inside of a DC comic book film before the term Cinematic Universe had been invented.  It’s definitely one of his greatest.

Inception

BEN: Following on the heels of his Dark Knight trilogy, Nolan began his foray into the realm of science fiction/fantasy with 2010’s Inception.  Part espionage, part thriller, Inception is the story of a troubled man (Leonardo DiCaprio) who has been trying to get home to be with his family, but because of a past transgression, he cannot.  He may have found a way home when he is presented with an opportunity to help a Japanese businessman with a corporate espionage job.  Full of wondrous special effects, Nolan’s efforts here are about smoke and mirrors, almost emulating Soderbergh’s Ocean’s Eleven from 2001.

Carrying on the theme of a torn soul, DiCaprio’s motives are always front and center, but the layers that Nolan puts on each of the characters is beyond belief.  This is not a simple movie and it never claims to be such, especially with the closing frame.  Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Tom Hardy, Cillian Murphy and Tom Berenger co-star.  Michael Caine, who was a staple of Nolan’s Dark Knight trilogy, and would also have a pivotal role in one of my Top 5 Nolan films, is along for this ride, as are his trusty cinematographer, Wally Pfister and Hans Zimmer, who creates yet another stunning score for the ages.

KYLE: I am in love with this film!  One of my favorite things about it is the layers.  There’s the main event tiered dream sequence, in which Joseph Gordon Levitt’s part is the whole ordeal, but for me, I really love how it gets into the concepts of perception and grief and how both alter one another in the flow of time.  Marion Cotillard’s specter is my favorite character and I love how her performance drifts between tragedy and horror seamlessly.

Also Pfister’s Oscar winning cinematography is breathtaking.  The slow motion scene where the van hits the water is a wonder to behold.  I also really enjoy the costuming and how it is vital to deciphering the mysteries of both the plot and its ambiguous ending.  While this is not my personal favorite Nolan, I think there is a strong case to be made for this being his most well-made feature.

Interstellar

BEN: This is the film where Kyle and I diverge just slightly.  Partially an environmental tone poem, partially an homage to Kubrick’s 2001:  A Space Odyssey and very much in line with the emotional roller coaster that Nolan’s protagonists seem to undergo, this science fiction film about life and death is set in the near future where we have decimated our planet and a crop blight ravages the surface.  As a result, we now seek to find other worlds beyond our solar system such that they are suitable for human life.

Matthew McConaughey is Joseph Cooper, a widowed, former NASA pilot who is trying to cultivate the land his home is on along with a failing father-daughter relationship.  When “Coop” is called to duty, he must leave his daughter (Mackenzie Foy) and father-in-law (John Lithgow) behind, potentially forever.  Michael Caine plays the reassuring father figure, given to quoting Dylan Thomas, while Anne Hathaway plays Coop’s co-pilot, Dr. Amelia Brand.  The supporting cast is a who’s who with Casey Affleck, Wes Bentley, Bill Irwin, Ellen Burstyn, Jessica Chastain, Topher Grace, David Oyelowo and William Devane who plays the same role he played in Clint Eastwood’s Space Cowboys, another film that Interstellar mirrors.

The story by Nolan and his brother Jonathan is intelligent sci-fi at its finest.  Yes, it is a bit preachy with respect to its environmentalism, but the notion of being able to see your daughter’s life through a looking-glass and to have that image reflected back to you is priceless.  Much like Bud in Cameron’s The Abyss, Coop knows this is a one-way trip for him.  However, because our characters don’t necessarily understand the true nature of the universe, they are given opportunities to correct past transgressions, or so it seems.  Taking a page from Inception, not everything is as it seems.

Hans Zimmer’s score is second to none, taking the heightened emotionalism to the next level.  But, it is Hoyte van Hoytema’s stunning cinematography that truly blasts this movie into another dimension.  Shot with IMAX cameras in the 1.43:1 aspect ratio along with the 2.39:1 Cinemascope aspect ratio, the film was exhibited on IMAX screens with a blending of the two formats heightening the images while traditional theaters ran the 2.39:1 aspect ratio.  On Blu-ray, the mixed aspect ratio has been retained, which I think highlights van Hoytema’s composition.  Its preachiness hinders in it comparison to other films of its nature, but it’s a ride well worth taking.  Just ask Matt Damon.

The Prestige

KYLE: This is my favorite Nolan by a mile.  It not only a remarkable cinematic experience, it’s a puzzle that requires multiple viewings in order to work through all of the clues.  As a colleague wisely pointed out, the entire film is a magic trick like the one described during the first act.  This realization makes the surprise twists more impactful, distancing The Prestige from other magic related pictures.

Christian Bale and Hugh Jackman are wonderful as dueling magicians, fueled by vain composition and deadly vendettas.  Michael Caine and Scarlet Johannsen support with vintage appropriate turns that set up Nolan’s carefully planned bait and switch from the moment they appear on screen.  The great David Bowie has an esoteric turn as Tesla, whose electricity fueled pseudo-science is the key to one of the struggle at the center.

Nolan’s long time cinematographer Wally Pfister once again provides crisp visuals and haunting imagery, with the opening frame, a somber field of top hats sticking in the viewer’s memory for the duration.  It rivals The Dark Knight for atmosphere and world building, and for me, it takes top honors because it never falters and forms a perfect circle of deception and comeuppance.

BEN:  I think we hit all the right notes here, Kyle.  I don’t know about you, but I am looking forward to seeing “Dunkirk” next week.  Despite the negative social media reaction to the film’s running time, I am a firm believer in Nolan’s story telling abilities.

KYLE: Once again, we’re in complete agreement!

We’ll see you at the movies.

This week was the 30^th anniversary of John McTiernan’s iconic science-fiction action film Predator.  For their next discussion, Ben and Kyle talk about their love for the film why it remains an important part of American action cinema.

KYLE: Ben, can you give us the background?

BEN:  In the fall of 1985, there was a joke running around Hollywood that Rocky Balboa had defeated all of his earthly opponents in Rocky IV and he would have to fight an alien if a fifth Rocky film were to be made.  Based on that idea, the unknown brother-writer team of Jim and John Thomas would morph the joke into what became John McTiernan’s second directorial turn, Predator.

20^th Century Fox optioned the Thomas’ script, then entitled Hunter and gave it to producer Joel Silver, who was also developing Lethal Weapon for Warners.  Silver brought on Lawrence Gordon and John Davis as his producing partners and they brought on Arnold Schwarzenegger, whom Silver had worked with on Commando, also for Fox.

KYLE:  I had no idea that the idea sprung from a Rocky joke!  Let’s dig into it.

BEN: Part Aliens, part The Thing, part Commando and full of machismo, McTiernan delivers a pulse-pounding action thriller that understands its purpose as both a sci-fi actioner and a military thriller.  It successfully blended both aspects together, dwelling on neither for too long.  From a story that reeks of the global socio-political situations in the mid-1980’s to an alien creature that is as well-hidden as its Xenomorph brethren from Alien and Aliens, they delivered something very unique.

KYLE: I love that it’s a merging three separate genres that unfolds over three unique acts.  It begins as a military thriller (love your term!) and then transitions into an And Then There Were None scenario during the second act.  Finally, it ends with a man vs. monster showdown that removes not only the established rules, but reveals the creature’s monstrous nature.   What about the amazing cast?

BEN: Schwarzenegger plays “Dutch” the leader of an elite group of soldiers who are tasked with retrieving a missing U.S. diplomat in the South American jungles.  Opposite him, in an ironic twist is Carl Weathers, who plays Dillion, an old friend of Dutch’s. The irony was that he played Apollo Creed in the-then four Rocky films.

While we all cheer for Schwarzenegger, the supporting cast really is the foundation of this film.  Bill Duke, who also starred in Commando with Schwarzenegger is beyond awesome, especially when he gets pissed off.  Sonny Landham, who starred in 48 Hrs. plays Billy, a ‘tracker’. Billy really resonated with Shane Black’s “Hawkins” raunchiness, which Billy only partially gets.  The gunner, Blaine is played by Jesse Ventura.  He looked like he had a lot of fun with this role, especially when he interacted with “Poncho” played by Richard Chaves: “I ain’t got time to bleed.”  “You got time to duck?”

KYLE:  Yes!  I think it’s a testament to the script in how well each of the characters are distinctly developed.  It could have been easy to overdo the action and violence, but instead the story takes its time deliberately fleshing out each victim so their eventual death has more impact.  You mentioned machismo, and while I agree, there’s also a bit of deconstruction, such as Mac’s monologue to Blaine before the pig attack and Billy’s supernatural fear of the creature.  Speaking of, it was Stan Winston’s design right?

BEN: Interestingly, Richard Edlund developed the original creature, which proved unworkable in the jungle.  It was scrapped and redeveloped by Winston with the help of an unlikely source:  James Cameron.  R/Greenberg Associates, who received critical acclaim for their opening credits work on 1978’s Superman, were on board to help supervise the practical effects, giving us the now familiar infrared imagery from the Predator’s perspective.  The 1.85:1 aspect ratio that McTiernan and Donald McAlpine shot the movie in gave the film a visual intimacy, allowing the Predator to blend into the jungles, only revealing him late in the second act.

KYLE: I think that is one of the entire franchise’s best elements, how they weave together the POV’s of both the human characters and the alien.  McAlpine’s eye really captures some amazing shots, the intro of the team as they arrive in a helicopter in low light is fantastic, as is the wide shot of Poncho and Blaine underneath the hill as it explodes.  Every time the creature is revealed with that mask is both stunning and chilling.

BEN: Jean Claude Van Damme was originally signed to play the Predator, but it was thought that he was not menacing enough.  Kevin Peter Hall, who also played Harry in Harry and the Hendersons and would reprise his role in Predator 2 in 1990 filled the costume with his 7 ft 2 in frame.  He was the perfect size to play the behemoth.  Sadly, he died in 1991 at age 35.

Underscoring the onscreen action and the drama, was maestro Alan Silvestri.  His bombastic military themes, with deep brass expanded the stage while the brooding sci-fi themes underpinned the otherworldly nature of not only the Predator, but the jungle itself.

KYLE: That is a great point!  From the second they repel down into the jungle, the viewer knows they’ve left the safety of the civilized world and entered a place of extreme danger.  The brotherhood building fantastic, because the characters (for the most part) work together against the threat, rather than it becoming a three-way dance between oppositions and I really respect that choice.  I think it’s one of the reasons the film remains a personal favorite for so many film lovers.

BEN: Watching the film on a big screen the other night was a treat.  The film’s looks hold up and its story is relevant today.  However, its pacing always felt just a bit off for me.  We go from longer sequences and typical sci-fi style edits to rapid-fire editing indicative of military films.  Oh, don’t mistake me.  The movie works because of its cast, the story, and for exactly the same reasons Alien, The Thing, and Aliens worked:  they all gave us relatable characters and a series of events building up to the big reveal.  They maximized the humanity while crafting the finite details and environment; and they weren’t worried about creating a world or a franchise.

KYLE: I can respect that.  I think I’d go 4 or 4.5/5 if I were pressed, but as a favorite, pure entertainment affair, this is one of the all-time greats for me.  I enjoy the pacing and the tonal shifts because I think it’s really Predator’s key to success.  The endless copies tried to emulate the formula and continually failed because they went to heavy on one of the themes rather than finding harmony, which McTiernan does with a great sense of style.  This was the beginning of his legacy.

BEN:  Jesse Ventura would go on to be governor of Minnesota and Schwarzenegger would go on to be governor of California (and he married Maria Shriver during this film’s production).  McTiernan went wide with this film and he would go even further with 1988’s Die Hard, setting up a solid track record of films with solid stories.  Joel Silver would go on to work on other big projects, giving us Lethal Weapon, of which Shane Black wrote the screenplay for, and would work with the Thomas brothers on 1996’s Executive Decision. Black, who caught a lucky break when Silver owed him a favor with his role as Hawkins, shadowed McTiernan and is writing and directing next year’s The Predator.

KYLE: The Thomas brothers would also write the script and Silvestri would score the second film as well.  You know I had to include a shameless plug for Predator 2!  What a fantastic franchise!  Highly recommended?

BEN: I respect the inclusion of Predator 2.  We are in agreement!