RIDLEY SCOTT’S BLACK HAWK DOWN — A REVIEW BY NICK CLEMENT

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Black Hawk Down really was a tour de force for director Ridley Scott and his crew of technicians and actors. I’ve see this film so many times it’s almost laughable, but revisiting it just recently, I was struck by just how immersive of a film experience this really is, with few rivals. It’s the gold-standard for combat movies, and Scott’s uncompromising vision of urban warfare set precedents in the early 2000’s and has been constantly imitated ever since. Borrowing from cinematic touchstones like The Battle of Algiers and Saving Private Ryan, this was Jerry Bruckheimer’s stab at Oscar gold and he must’ve been livid when Scott was nominated for Best Director but the picture itself was short-changed in the top category. It’s the rare Bruckheimer picture to be taken truly “seriously” by critics, and one of the few pictures in his entire filmography that strived for something more than just “entertainment.” Scott and Bruckheimer made sure to stick to the core of Mark Bowden’s riveting and devastating book, and in doing so, created one of the most visceral pieces of action filmmaking ever constructed.

It’s a physically exhausting movie to sit through, harrowing all throughout, with a constant sense of dread and impending violence. With stunning spatial clarity and obsessive technical finesse, Scott and cinematographer Slawomir Idziak created a gorgeous yet brutal film that pummeled the audience with a sense of sustained cinematic intensity that few other films have matched (Peter Berg’s recent Lone Survivor and portions of Randall Wallace’s We Were Soldiers come close). I saw this film 10 times theatrically, a personal record for one movie. Granted, I saw it 5 nights in a row at my college campus theater (for free), but for me, this is one of the most exciting, most intensely realized portraits of warfare that’s ever been created. I also had the chance to work on this film during pre-production during my days as an intern at Jerry Bruckheimer Films – I’ll never forget the sight of Bruckheimer, Scott, and Joe Roth doing laps around the Santa Monica compound, smoking cigars, talking about the film. I had the experience to hang out with production designer Arthur Max quite a bit, and Scott would come into the room and check out all of the models and boards and plans, deciding where the helicopters would land, etc. Totally wild.

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Tarsem Singh’s The Cell- A review by Nate Hill

Tarsem Singh’s The Cell is the kind of revelatory, mind blowing, breathtaking, once in a decade kind of fantasy film that is utterly unique, truly memorable and pure artistic creation. Singh utilizes so many visual elements and ideas that you get the notion that you are truly immersed in a human being’s subconscious inner realm, and not merely watching a film. It’s transcendent. Jennifer Lopez, in a performance of great empathy and serious emotional depth, plays a child psychologist who uses futuristic technology to literally enter the dreams of comatose patients and attempt to heal them. When a seriously disturbed killer (the monumentally talented Vincent D’Onofrio) enters a coma before the FBI can find his latest victim, she is hired to enter his mind to find out the location. A scary setup indeed. The first plunge into his mind is set up with a dread inducing soundtrack cue, and a sudden, Topsy turvy whirlwind of surreal images, sounds and stimuli which are truly eerie and intangible. The art direction, special effects and design of the spirit realm she ventures into are just something you don’t see in many films, because most people are afraid to think about that kind of raw, uninhibited subconscious content. Not Singh. He willingly explores the dark, mysterious side of the human mind and soul, with a complexity and understanding that is all to rare. For folks who find that too much surreal imagery and soul disturbing content makes them uneasy (hell, I’M one of those folks) those aspects are balanced out by the clean cut, very grounded in earth time plot line of Vaughn’s team helping him out from ‘earthside’, a standard cops vs. killer mentality to even out the strangeness. They even have a guy from CSI playing one of the cops. Vince Vaughn feels slightly miscast as the head fed, but James Gammon, Dean Norris, Dylan Baker, Marianne Jean Baptiste, Patrick Bachau and Musetta Vander all give stellar support. If you have a strong stomach (this film gets pretty brutal in ways you can’t imagine), and a wandering, artistically abstract mind for all things surreal and dreamy, definitely check this out.

Rae Dawn Chong: An interview by Nate Hill

I’m very stoked to present my recent interview with veteran actress Rae Dawn Chong, of Commando, The Color Purple and the iconic Quest For Fire. Enjoy! 

Nate: You began acting at a fairly young age, did you train at any school? Did you know acting was something you wanted to do from an early age?

Rae: Early on I didn’t do much training as I as a child actor. As I grew older I studied with various teachers in LA. Some more famous then others, Barry Primas (Actors Studio) as one example. I started Milton Katselas but booked so much work I couldn’t finish the course. Another teacher was Ron Moss. I believe actors should diversify their training to have more access to tools which prevents you from being bullied with bad directors which there are plenty. At this point I am interested in coaching and teaching myself.

Nate: You spent a lot of time in both the states and Canada (in my hometown of Vancouver, as I’ve read!). How do they compare for you, in terms of life, and the industry? Do you like spending time in both places equally, or one moreso?

Rae: I adore Canada and am very proud to be Canadian. Having said that I prefer working state side as we get paid better and the unions are much stronger and we have better residuals. Canada has a LONG way to go still, and it is frustrating for performers because Canada is such a small country and most who work in the industry are all connected, which is good and bad. Because as an artist looking for protection against the abuses of say a film corporation like Atlantis Alliance well it is impossible because every single law firm in Canada is on retainer to them so we as artist- actors- writers have little or no recourse to collect money owed and that kind of smallness makes working in Canada less attractive.

Nate: Commando- Your role in this film is very unique because she’s not just a standard action film, damsel in distress tag along, she’s actually proactive and gets involved in the action. Was this a draw for you to the movie? How did you get that role?

Rae: Auditioned for it. Lots of actors had trouble with a certain part of the script (a dildo was involved) which I realized early so when it came time to say the offending line I reversed it and made it reflect on Arnold’s character and it was hilarious in the room. Luckily the offending part never made future drafts so I survived a huge hurdle and got the role.

Nate: Quest For Fire- I recently read Ron Perlman’s autobiography in which he says it was a really challenging shoot. How was it for you?

Rae: The most challenging, difficult, almost impossible shoot. Torturous would be too slight a term. We suffered every single day, all day. It was a mental test to be sure. It was like climbing a mountain naked without oxygen. Grim.

Nate: Your performance in it is extraordinary, how did you get into the headspace and bring about that energy and persona in your work?

Rae:  I hated working with the director who made it his life work to be extra mean to me. So if Ron said it was hard you cannot imagine how it was for me. An example: I never officially got the role. I just did it. He never gave me the role, Jean Jacques he lorded this over me. The desperate producer Micheal Gruskoff was my champion and protector, he made me Ika, he demanded they book me. OMG, I survived it because I am stubborn and I never quit even when I want to. I wanted to but by the time we started we were hanging on to each other for dear life so why not finish the gawd forsaken job, you know? If one of us left it would have mentally unraveled the group. So much pain and well…thankfully it is a work of art.

Nate: I read that you are involved in many charities. Care to elaborate specifically which ones, and why this work is personally important to you?

Rae: Service is the soul food of life. When I can I give my time to all who need me. It is what one should do…love it.

Nate: You wrote and directed a short starring Chris Pratt. How did that project come about, and have you considered getting more into writing/directing any more?

Rae: It is my first full length feature and honestly it is an epic fail, or imperfect. I adore the film of course because it is my first born and a problem child at that. BUT it educated me and I learned what to do and not do as a director. You improve every time out. Chris is adorable and the film fun and funny. I heard IMDB lists it as a short and I have asked and tried to change it but IMDB is annoying. I will need to request they change it once again. UGH!

Nate: Do you have any projects, cinematic or otherwise that you are excited for and want to speak about?

Rae: Currently starring in a play called Climax at the Santa Monica playhouse. Developing a TV series called “Hello Sunshine” hoping it gets picked up this month. 3rd meeting with a studio…so close. I have another pilot I am work shopping to fix the bugs, make it the best it can be. I have a feature film I am producing that is called Theory of Invisibility by Aimee Pitte which is magnificent. We are looking for a (STAR) director and star to take it to the studios. I just accepted to produce a new play by Derek Botelho which is an intimate 2 character piece about a moment in Tennessee William’s life as friend and writer Carson Macullers share a cabin on the shore. It is exciting…this period in my life is amazing. I am loving LA and life as a film maker- actor. I am very happy creatively. 
Nate: Sounds awesome! Thanks so much for your time Rae, and for chatting with me.
Rae: Cheers!

JON BAIRD’S FILTH — A REVIEW BY NICK CLEMENT

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Jon Baird’s Filth is a walk on the wild side, a totally unhinged, at times downright surreal black comedy about a Scottish Very Bad Lieutenant played by a hyperventilating, go-for-broke James McAvoy, who sheds any sense of previously earned pretty-boy image with this career changing performance of intense cinematic excess. Lots of wink-wink, stare-directly-at-the-camera humor, loads of depraved sex and graphic nudity, some nasty violence, all wrapped up in a cruel, satirical bow that only original author Irvine Welsh (Trainspotting) could come up with. Sure, the purposefully messy aesthetic is borrowed from other films of this sort, but it’s the anarchic spirit that the story clings too that keeps everything moving forward at a relentless clip, never stopping to take a breath. McAvoy is utterly insane here, losing himself completely into a sordid world of bad behavior with little to no consequences…up until the ballsy-as-hell final shot, which should leave you snickering with evil delight. The great supporting cast includes Eddie Marsan, Jamie Bell, Imogen Poots (that name…those eyes!), Jim Broadbent, Joanne Froggatt, and Gary Lewis. This is a prime example of outlaw cinema that should only be viewed if you’re drawn to extremely aggressive narratives featuring morally questionable, sometimes unlikable lead characters who have a weak spot for drugs and alcohol and more drugs and an undying appetite for kinky sex. And again, I have to state: McAvoy is just outrageously awesome in this film, grabbing the material by the throat and never letting go.

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TERRENCE MALICK’S THE NEW WORLD — A REVIEW BY NICK CLEMENT

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For some, the whispered, unconventional cinema of Terrence Malick is enough to put them to sleep or reach for the remote. Not me. I eat it up. I had the great fortune of viewing The New World four times theatrically back in 2005. The first time was that ULTRA-private 2 hour and 30 minute cut that was released in the last week of December, in order to qualify for the Oscars (at which Malick was disgustingly snubbed), and has never been released on DVD/Blu-ray, except for an Italian release. After one week in roughly five theaters, Malick, ever the perfectionist, asked theater owners to pull the film, so that he could re-edit it. What was then released a few weeks later on a semi-wide scale by New Line Cinema with little to no advertising dollars spent on promotion was a two hour and 15 minute version, which I then viewed three times. And for good reason: ANY version of this film is visionary, and it requires multiple viewings to unlock its many secrets.

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The New World is a beguiling movie, a work that transcends beauty, a piece of art that feels organic and that is both at one with nature and at one with the soul of cinema. Malick’s sensitive, idealized version of the John Smith meets Pocahontas story is never exactly what you expect it to be; characters dart in and out of the narrative, the focal point shifts repeatedly, and information is doled out purposefully slowly in a somewhat oblique fashion. To some, this can be frustrating, and people have a tendency of quickly losing interest. For me, this is how I want to experience the unlimited joys that movies can provide. I love experiencing the world through Malick’s eyes; his understanding of light, texture, and atmosphere is second to none, and the pairing of him with genius cinematographer Emanuel Lubezeki was a match made in movie-heaven (their collaborations on The Tree of Life and To the Wonder have literally re-invented the wheel in terms of using images to tell a story; get here Knight of Cups). Utilizing only natural and available light and shooting entirely on location, The New World has a gorgeous yet realistic visual style that is positively transfixing yet never overly stylized. Malick relies on the inherent qualities of the natural world to fill the 2.35:1 widescreen frame and each and every shot is museum quality.

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The performances by Colin Farrell, Q’orianka Kilcher and Christian Bale are extremely affecting and Malick’s dreamy, elliptical screenplay, which is rife with internal monologue and stream of conscious ramblings, adds to the tone-poem quality of the narrative. Farrell, in particular, is sensational in what amounts to a heavily internalized piece of acting. At times brooding and then sensitive, mysterious yet open, he allows the viewer in to his headspace only to a certain degree, never becoming a true Hollywood hero in the way that so many other filmmakers might have been tempted to craft. This performance was in the middle of that extraordinary run that he had in the mid 2000’s where he worked with Oliver Stone, Terrence Malick, Robert Towne, Michael Mann, and Woody Allen, in that order. Shit. Just think about that for a moment. The musical score is obscene, mixing classical pieces with hauntingly melodic offerings from a much compromised score from James Horner (those lettuce leaves never stop being tossed in the air!). The New World is a bold, quietly moving masterwork from a filmmaker shrouded in privacy who should be celebrated every time that he decides to unleash one of his works on the public.

PTS Presents Actor’s Spotlight with DINA SHIHABI

DINA POWERCAST

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Podcasting Them Softly is proud to present a chat with actress Dina Shihabi, one of the lead stars from Sean Mullin’s award winning indie dramedy AMIRA & SAM. Dina chats with us about her career, her background, the importance of a film like Amira & Sam, and her future projects. We’re big fans of this small gem and we urge everyone to check it out — Enjoy!

THE EDITORIAL WORK OF CRAIG MCKAY — BY NICK CLEMENT

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“Movies are made in the editing room.” “Shoot for the edit.” “We’ll fix it in post.” These are just some of the cliché industry phrases that have no doubt become the norm with many filmmakers. Editing is one of the most important aspects to any film, and having someone who understands the importance to the flow of images is crucial. Editor Craig McKay has amassed more than 40 credits over 30 years of working in Hollywood, getting the opportunity to forge an intense working partnership with director Jonathan Demme (McKay has cut Melvin and Howard, Swing Shift, Stop Making Sense, Something Wild, Married to the Mob, The Silence of The Lambs, Philadelphia, and The Manchurian Candidate for the eclectic helmer), while also pairing up with filmmakers like Robert Redford (The Conspirator), James Mangold (Cop Land), Warren Beatty (Reds), Cary Fukunaga (Sin Nombre), George Armitage (Miami Blues), and relative newcomer David Lowery (Ain’t Them Bodies Saints). In film after film, he’s demonstrated an innate sense of when to edit, when not to edit (which is just as important), and in what fashion to present those edits, which results in the total package by the end.  And it’s astonishing when looking at his full resume, with so many classics under his belt, not to mention smaller, extremely underrated efforts like the 1998 film Smoke Signals, the Joseph Ruben dramatic thriller Return to Paradise, and the unique extraterrestrial drama K-PAX. I’m amazed by McKay’s versatility, going from genre to genre with total ease, working on features and documentaries (Babies, Sicko, Tricked), and always gravitating towards classy material.
Cary Fukunaga’s directorial debut, Sin Nombre, is one of those harrowing dramas that shines a light on a tough, topical subject (the plight of immigrants due to societal violence), and a main reason for the film’s success is the propulsive editing patterns that McKay and co-editor Luis Carballar employed on the picture. Because Adrian Goldman’s cinematography was so evocative and worthy of study, McKay and Carballar were forced to cut an exceedingly beautiful looking film (despite the harsh and violent subject matter) which has to be difficult in the sense that the images might be sad to truncate. The same could easily be said for the poetic and lyrical touches that McKay brought to David Lowery’s underrated Ain’t Them Bodies Saints, which plays like a modern version of Badlands, and features two slow-burn performances from Casey Affleck and Rooney Mara. Lowery was clearly inspired by the works of Terrence Malick with this film, and McKay’s understanding of pacing and balance played a massive role in the film achieving the specific, heightened mood and atmosphere that was undoubtedly desired. And when you look at something like Jonathan Demme’s wildly underappreciated and completely unnerving updating of The Manchurian Candidate, you get a sense of just how amazing McKay’s range is as an editor. This is one of the more tension filled Hollywood thrillers of the last 15 years, featuring a vulnerable and emotionally unhinged Denzel Washington, and the jittery yet incredibly precise editing patterns used on this film completely engross the viewer into a dangerous world of fear and potential death. McKay is truly an editorial talent who has no limits as an artist, knowing exactly when and how to implement the various tricks of the trade, with results that are typically nothing short of expert.

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