Tom and Frank are back with special guest Mac McSharry to discuss Martin Campbell’s GoldenEye, which was Pierce Brosnan’s first outing as 007. Also discussed is the pop culture effect the film had on home video as well as video games along with being a world wide box office smash and how that jump started the franchise. Join us next time as we discuss Brosnan’s follow-up, Tomorrow Never Dies!
Lee Marvin is the topic of discussion for this installment of 3 for 3 with Frank Mengarelli, Tom Zielinski, and Mac McSharry. Marvin was well known for his early collaborations with John Ford, his steely persona in POINT BLANK, THE DIRTY DOZEN, and DELTA FORCE. For all things Lee Marvin, author and film historian Dwayne Epstein’s biography, LEE MARVIN: POINT BLANK is available on Amazon.
We’re pleased to bring you the first volume of our chat with the remarkable actor Joshua Burge. Josh dives deep in the first installment of our extensive interview, talking about his beginnings as an actor, to his relationship with filmmaker and friend Joel Potrykus and working on BUZZARD to being cast in THE REVENANT. More to come in our second installment! You can currently see Josh in THE CURRENT OCCUPANT which is now streaming exclusively on Hulu.
Frank Mengarelli and Podcasting Them Softly’s James Bond resident, Tom Zielinski are joined with returning guests film journalist Paul Sparrow-Clarke and novelist and film historian Raymond Benson to discuss John Glen and Timothy Dalton’s final outing in the franchise, Licence to Kill. Tom and Frank will return with their discussion of GOLDENEYE.
Artwork provided by the very talented Jeffrey Marshall.
The whole story of how I came to love King of the Kickboxers is something I am still working on. But what will say here dear reader is that I have of late been afforded greater insight into the making of the movie than I had ever hoped to obtain. For behind each of these movies are multitudes of individual artists and craftspeople that in many ways go to war to bring the images that we finally witness to the screen.
I first contacted participating members of the Seasonal Film family when compiling my anthology Conquest of the Planet of the Tapes. Now most folks aren’t unaware of the Seasonal catalogue, but it has its place in cinema history – the golden age of the martial arts/action movie. One of the main players involved was a gentleman named Keith W. Strandberg who served as writer and producer on the films which began with the movie that brought Jean-Claude Van Damme into public consciousness: No Retreat, No Surrender.
In time, two films would continue the NRNS series in the form of Raging Thunder and Blood Brothers. In acknowledging these I sought the participation of martial arts legend Keith Vitali (star of Blood Brothers & Superfights) and Loren Avedon. Loren has close to a three decade long career as a martial artist and is a 5th Dan black belt in Tae Kwon Do and 8th Dan black belt in Hap Ki Do. He received his big break when he was contacted by producer Roy Horan about a three picture deal with Seasonal. Aside from the NRNS series he would also star in the film King of the Kickboxers.
Now I must be careful here not to go ballistic and write the whole story, however, once upon a time I found myself on an 18 day bus trip through the wilds of Indonesia. It was clear from the first day we had been royally screwed by the company who was coordinating the adventure and so we spent a majority of the trip on the bus. There were three video tapes on that bus to help pass the time. One was Speed, the second was Michael Jackson’s Moonwalker, and the third was a film called King of the Kickboxers. It was fun, funny and had awesome fight sequences. Needless to say it quickly became the default movie on the bus and during the course of those 18 days I saw it many, many times.
So what is it about King of the Kicboxers that is, to me, so enduring? I suppose one could say that it was because of all the Hong Kong actioners and television (MONKEY every afternoon) I saw as a kid. KOTK, as with all the Seasonal productions, were among the first western audience films to employ the eastern style of filmmaking. Sure the reason for this is that they were co-productions and had American and international performers, but the way in which the productions were carried out and the methods employed during filming were right out pages of the eastern action movie play book. I guess the short answer is I just have a tremendous affection for straight to video movies like this. They came thick and fast once upon a time; lots of junk. Amongst all that product thought there were gems to be found. This was one such precious stone.
I recommend you take a look at KOTK before listening to the above interview, as I believe it will give you a better insight. But if you are already a fan of all films Seasonal and are like me, a devotee of KOTK, then press play above and listen along as the star of the show takes us behind the scenes of a movie that may have been forced upon me initially, but which now I watch over and over with both a warmth nostalgia and ever-increasing fondness.
I was delighted to finally get in touch with Molly, the beautiful and multi-talented Sherrie Rose (who also appeared with Keith Vitali in NRNS 3: BLOOD BROTHERS), this time round to find out what filming the movie I find most glorious was like from the perspective of the girl Jake so adamantly insisted Khan LET GOOOOOOOOOOO!
I CARE, JACKSON!
She has starred in over 60 films and television shows and is best known for her starring role in the feature film Me and Will (1999) opposite Patrick Dempsey and showcasing the talents of Keanu Reeves and Seymour Cassel which she also co-produced, directed and wrote. The feature opened The Women in Film series for Sundance.
She has been involved with the creation, writing and development of 100’s projects from conception to distribution and accomplished the unprecedented feat of writing, directing, producing and starring in her own film and has sold numerous scripts as a writer and has been published in magazines and books.
She has a camaraderie with actors and directors which has allowed her to hire and work with such incredible talents as Jada Pinkett Smith and Billy Zane who acted with her in Tales from the Crypt: Demon Knight (1995), Mickey Rourke in the feature Out in Fifty (1999) that she co-produced, Jonathan Kaplan from The Accused (1988) with Jodie Foster that she acted in the feature _Unlawful Entry (1992)_ qv with fellow actor Ray Liotta and Michael Bay from Transformers (2007) that she worked with on commercials and music videos. She was entered for an Emmy Nomination for her role in the television series Tales from the Crypt (1989) opposite Yul Vazquez from Magic City (2012) that William Friedkin, from The Exorcist (1973) directed her in.
She appeared in such hit show’s as the pilot episode of FX’s, Sons of Anarchy (2008) opposite Charlie Hunnam and Married… with Children (1987) with Ed O’Neill and Katey Sagal and Miami Vice (1984).
She is an activist working with IFAW and other non-profit organizations concentrating on children, animals and the environment. She lives on a ranch with her son and their rescue animals.
The heart of the die-hard, ninja movie addict in me skipped a beat when I received word that I would be sitting down for a chat with the Godfather of the genre, Sam Firstenberg.
Marco Siedelmann & Sam have compiled what I feel is a kind of splendid maelstrom of biography meets chronological history meets retrospective documentary the size of the phone books from the days of yore. To read it is to be immersed in warm, gooey, Cannon goodness. The question put simply…how can you resist?
Indeed any resistance is futile when it comes to this true completest’s tome of not merely Firstenberg’s exciting, excessively driven, and beautifully enigmatic cinematic career, but it also runs side by side with accounts from the stars, the stunt men as well as many of his peers and collaborators.
Sam Firstenberg is mostly recognized as one Cannon’s most important in-house directors during their outrageously successful heyday of the 1980’s. The journey of this interview collection starts even before he made his way to direct box office hits just like REVENGE OF THE NINJA, NINJA III: THE DOMINATION, BREAKIN’ II: ELECTRIC BOOGALOO, and AMERICAN NINJA, amongst others.
The conversations in the book shed light on his origins and influences, including childhood memories, private biographical chapters, his years as a film student in Los Angeles, and his early work as an assistant director and technician for people like Menahem Golan, Charles Band, Ephraim Kishon, Boaz Davidson, and many more. The interviews are not chronological, but focus on every career-step, just as well as on every single movie Firstenberg ever directed until his retirement in 2002.
His memories about all the projects he was involved in are packed with adventurous stories about ninjas and breakdancers, about directing action entertainment in exotic countries, and about working with numerous movie stars, among them Michael Dudikoff, Eric Roberts, John-Rhys Davies, Hulk Hogan, Grace Jones, Nick Cassavetes, Zachi Noy, Richard Roundtree, Steve James, Sho Kosugi, and many more.
STORIES FROM THE TRENCHES is also a book about the early film industry in Israel, the Hollywood star system and the no longer existing mid-budget movies. It’s about the home video boom, about the ascension and the decline of Cannon, but it also discusses the rules and traditions of the industry. Other topics are the practical way a film was put together in that era, the technical changes through the years, the different film market situation compared to nowadays – and last, but not least, it’s an inside story about the early years of Nu Image and how Avi Lerner’s companies Nu Image and Millennium continued the spirit of Cannon, but under different circumstances and times.
In the Trenches: Adventures in making high octane Hollywood movies with Cannon veteran Sam Firstenberg, is about the war all filmmakers fight, trying to bring about the seemingly impossible and mysterious aligning of the planets of both art and commerce that have created one of mankind’s contributions to the universe…the movies. Or in Sam’s case…ninja movies.
GET IT NOW!!!
Controversy sells right; the more shocking, obscene, the more worthy of the front page? Yet, when it comes to movies, people, it seems, are well defined in relation to their tastes. There are those with high-brows, that believe a spoonful of Marvel ain’t gonna make the medicine go down – and nothing short of complete cinematic opulence will cut the mustard.
Rene Perez makes B-movies. He makes no bones about it. But, that doesn’t mean his stories lack the depth of a celebrated filmmaker’s voice that many cineastes would site with greater reverence. Yes, his politics does hog a large portion of the spotlight in The Insurrection (see my review here), but it always shares the stage with his love and inquisitive nature with regards to character and the human condition. He is a storyteller intrigued by the grandest conflict, which is the one inside us all.
The Insurrection is presently available all over the world via Vimeo, so there is no excuse not to see it. Unlike even the worst entries in his filmography, and as he has personally stated, The Insurrection has failed to find a distributor. One can almost hear the distant echo, carried on the thermals out of the heart of the now silent Dream Factory calling, “Don’t bite the hand that feeds you!” However, when you are such a self-sufficient artist, as is Mr. Perez, you are endowed with the ability to transcend barriers of the style and genre applied to the tale you are piecing together with pictures…and actually say something.
Here with writer/producer/director/editor/composer/cinematographer Rene Perez and his astonishingly talented, beautiful and charismatically magnetic leading lady, Wilma Elles, we look a little deeper at the film Hollywood might not want you to see…but you should.
THE INSURRECTION IS AVAILABLE NOW!!!
CLICK ON THE IMAGE BELOW…
IT’S ALSO AVAILABLE ON AMAZON FOR VIEWERS IN THE USA!!!
CLICK ON THE IMAGE BELOW…
Right off the bat, I really wanted to give you a cool video interview. But, sadly, the bandwidth was being powered by a couple of mice on tiny treadmills. Everything looked fine. Skype said it was recording, the image was good.
Skip ahead to the next day. I saved the file, I opened it, I’m watching it and . . . damn! Not only did the picture freeze but the sound stopped recording. Luckily for both of us, I had my trusty digital recorder silently working at the same time.
So fear not. Here is the complete video of my chat with Sir Richard (with the picture freezing part the way through and the sound shifting to my back-up recorder). The last time we talked, and Color was the topic, he threw me a little whistle. The whistle said the film was a go . . . but they were waiting. Who were they waiting for dear listener? Not for the second coming, Guffman or Godot. They were waiting on Cage. NICOLAS CAGE!
When the news of this broke I was like an alcoholic left unsupervised, tending the bar. It was an actor/director combination born on some faraway star. The culmination of two wildly original and esoteric forces of nature, one can scarcely perceive of such a collaboration ever, becoming a reality. Yet here it is, Color out of Space, H.P. Lovecraft’s favorite among his tales (so I have heard). Brought to the screen in an acid-trip-phantasmagoria of a ride into a world of pure nightmarish elegance and sublime terror. Helming this master-work is the man who the trailer even heralds with a title card: “The Return of Director Richard Stanley.” His glorious Malick-like return to the fray pairs Stanley with the apotheosis of a true, renaissance man, Nicolas Cage, in a role that seems almost tailored, not to the wild man or the meme, but to the Academy Award Winner, Nicolas Cage. A performer of greater depth and color, that some will forever deny him the credit of possessing.
With the current crisis and the film’s limited release in some regions, I will not spoil it for those who have not seen it. But, what I will say is the same thing, that has been echoed by my learned colleagues and film-loving friends around the world that have seen it, and that is go see it! It is already available in many territories on Blu-ray and DVD. And, don’t forget it’s streaming away as well. (click on poster below)
So now, I, Kent Hill am proud to welcome back once again, a man of many colors (and Cage) . . . “The Return of Director Richard Stanley.”
70s cinema was at its absolute best when it birthed softly nihilistic, introspective films where the protagonist lived within moral ambiguity and hard shades of grey – wherein this picture, Gene Hackman gives his finest, most low-key performance as a former football player turned private investigator who takes on a case of a missing girl that lands him in Florida from LA, and uncovers a well-layered and richly defined plot of smuggling, lies, and deception all the while discovering who he really is, as well as the world around him.
With a taut script from Alan Sharp, a groovy score by Michael Small, director Arthur Penn crafts a remarkably quiet film; which plays more like a documentary where the camera just follows Hackman through his journey, all scenes from the film are of Hackman’s point of view, and there are not any overt, showy set-pieces or flash edits, popular music; the film just lives.
Sharp’s screenplay, coupled with Penn’s vision and the actors performing his written words, is perfect. There are so many memorable lines of dialogue that have staying power, so much of the characters are revealed through the brief, yet potent, exchanges. This truly is a masterclass in writing.
A lot can be said for Hackman, being one of the longstanding true craftsmen of his profession; being one of the finest actors to ever grace the screen. In this picture, he is noticeably muted and brings a striking weariness to the role, he is not the self-righteous and volatile Hackman, he is just here to observe, and internalize his emotions. He gives a remarkably raw performance that is more about self-discovery than anything.
Harris Yulin, Jennifer Warren, Edwards Binns, Kenneth Mars, Janet Ward, John Crawford, Susan Clark, James Woods, and Melanie Griffith round up the supporting cast, and Hackman plays off of each one magnificently. The characters in the film are very real, as are their homes, places of work and so on. There is a deep-seated reality to the film, where it doesn’t take place in the movie world, it takes place in reality.
The film’s narrative is remarkable, not only with the overall detective storyline, but also with how defined Hackman’s character and life is; and how his two worlds begin to blend together; where he is just not solving the case, but also solving who he is as well.
NIGHT MOVES is a film that came out at the right time, the mid-70s, while everything was in flux, and people were just trying to understand how to be in the world. In actuality, the film is timeless with its themes, making an excellent time capsule of a picture that came from an era of film, that is so universally well regarded. 70s cinema might just be the best decade of American cinema, and NIGHT MOVES is one of the best films to come from that time and place.
Frank and Tom are joined with former guest, and now recurring co-host, Mac McSharry to discuss three Tim Burton films. Burton is very well known, directing over nineteen films and his steadfast collaboration with Johnny Depp. Tune in to find out which three Tim Burton films are discussed, and what the next topic will be for 3 for 3 with Frank, Tom, and Mac.