Among all the razzle dazzle that is the Marvel Cinematic Universe, my favourite series going right now has to be Ant Man. There’s something so relatable about the underdog superhero who’s just a regular guy with a criminal record and a daughter to raise and isn’t some alien from way out there or a snarky billionaire. I love all the quantum realm elements, the trippy SciFi surrealism reminds me of 80’s stuff like Joe Dante or Spielberg and the large/small scale action sequences are hilarious, played up even more in Ant Man & The Wasp, a sequel that blasts further into new ideas, develops the characters more and has a lot more fun than the already brilliant first outing, or at least I did anyways. Paul Rudd’s Scott Lang is under house arrest for two years after an unauthorized trip to Germany, which provides both obstacles and a running joke when Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) need him to wear the Ant Man suit once again and help them find Pym’s missing wife (Michelle Pfeiffer) who got herself stuck in the Quantum Realm decades before. Pretty much everyone is back for the ride again, including Scott’s merry band of thieves (TI, Michael Pena and David Dastmalchian), his ex wife (Judy Greer) and her husband (Bobby Cannavale) as well as others. I loved this film because nowhere in it is there a sense of menace or an edge, usually something I embrace in superhero movies, but I was looking for something light, feel-good and benign. Even the antagonists are on the easygoing side; Laurence Fishburne is a salty old colleague of Pym’s, Walton Goggins plays his black market tech dealer with that frivolous southern charm and even Hannah John-Kamen’s Ghost, who’s in a perpetual state of (wait for it) ‘molecular disequilibrium’, is just a damaged girl trying to make things right. We won’t speak of the jarring mid credits sequence that now has me demanding an Ant Man 3, which better happen soon. These first two and particularly this one are pleasant, gung-ho SciFi comedies that make the most of terrific visual effects, Rudd’s natural charisma and a retro feel. Something about Douglas and Pfeiffer flying around in Ant suits together and blasting through the quantum realm just has me missing the same sort of films they used to star in in their heyday. This is a throwback to that sort of thing, and I love it to bits.
Raise your hand if you think that Resident Evil: The Final Chapter is going to indeed be the last film in the franchise. I have this sneaky feeling they’ll pull a Friday The 13th and just cheerfully keep on trucking after this one as if they never said the buck would stop here. Or not, maybe they’ve gotten their sillies out for real, I mean this is the sixth film. Either way works for me, I kind of love these things. Say what you want about them (I’ve literally heard it all), they do wonders when you get a craving for action/horror with wall to wall carnage and not a minute spent on plot beyond the obligatory five minute hyper stylized recap at the beginning of each one, narrated by Milla Jovovich’s endlessly endearing, sultry voiced super warrior Alice. The first three films are the closest this series has been to what you might call ‘down to earth.’ There was the claustrophobic zombie siege thriller, the urban outbreak sci-fi horror and then the post apocalyptic Mad Max esque third entry. After that… they truly went balls out and kind of just had a free for all of decimated cities, giant monsters and more excessive bloody special effects than the franchise had seen before, until they arrived here. The good news is that this has more of a story than the last two did by far, and although doesn’t concretely wrap up this insane runaway train of a franchise, it does serve to cap off what we’ve seen so far and even includes a few narrative surprises that sort of don’t have to play by the rules of logic considering they threw them out the window like four films ago, but it’s nice to see the wheels turning anyways. After being betrayed by evil Albert Wesker (Shawn Roberts) in DC, Alice pursues deranged megalomaniac Dr. Isaacs (Iain Glen, even more fun here than in Game Of Thrones) back to the Hive in Raccoon City where it all started in hopes of taking down the impossibly powerful Umbrella Corporation and finding a cure for the T Virus. Cue a deafening roar of tank chases, grisly zombie hordes, medieval style sieges in a derelict city, furious hand to hand combat, flying bat dragon things, other giant monsters and Jovovich in hysterical old age makeup at one point, which is part of the film’s big surprise. Milla is a trooper with these films and seems to never run out of steam, as countless other actors come and go, she’s the constant and the series wouldn’t be the same without her. I enjoyed the stuff about Umbrella’s backstory and events dating back before the first film, but they really just serve to bring on more frenzied R rated action set to Tool-esque hard rock music, which is fine by me. These films are either your thing or they’re not, but they’re definitely their own thing, that’s for sure. Nothing like the games anymore, or even the borderline restraint of the first film, they have carved out their of very bizarre niche in the realm of action/horror. Fun times.
Both Tom Cruise and Cameron Diaz can carry a film nicely on their own, but both of them front and centre in the same project makes for a great time, even if it is a piece of inconsequential fluff like James Mangold’s Knight & Day, a riff on the romantic action spy comedy that sees the two of them shooting their way across the globe before inevitably ending up in each other’s arms. This film looks, feels and sounds like a million others out there, it’s brightly lit, generically shot and doesn’t have much in the way of its own brand of style or atmosphere. What sets it apart are Tom and Cameron, who breathe life into the two roles and provide their own lighting with those famous smiles. He’s Roy Miller, a slightly aloof super spy on the run from both his former bosses (Viola Davis and Peter Sarsgaard, both meaning business) and a nasty Latin arms dealer (Jordi Molla). She’s June Havens, a bubbly rare auto restorer who bumps into him in the airport and gets swept up in a frenzied world of intrigue, murder, car chases, dodgy feds, international escapism and all the Miller Lite PG-13 gunplay the MPAA can shake a stick at. There’s a freeway pileup in Boston, a rowdy hand to hand beatdown aboard a plane that Cruise is forced to land in a cornfield, a motorbike chase in Madrid, and (my favourite) a close quarters knife fight on a train through the Austrian Alps. It’s all fun and games without much of a brain in its head, but the idea is to have a good time anyways. Cruise plays it slightly loopy here, as if decades of stressful spy work has left him… not quite all there. Best line of the film? “Nobody move or I’ll kill myself and then her!” He barks to a diner full of people as he drags her off to another action sequence. Diaz is game for it and keeps up with him, especially once she starts to get a feel for the fast and loose lifestyle. The film doesn’t make too much of an impression and I wish it had more of an organic vibe all its own to match what the two stars bring to the table, because as is the overall visual aesthetic is a bit bland, and over-lit. Cruise and Diaz make it worthwhile though, and are clearly having a blast. It just occurred to me, but where did that title even come from?
A menacing black helicopter relentlessly pursued two mysterious escapees through the harsh landscape of an unnamed foreign land. Such is the slightly surreal setup for Joseph Losey’s Figures In A Landscape, a strange, forgotten allegorical adventure film starring Robert Shaw and Malcolm McDowell. Less is more storytelling takes charge with a screenplay by Shaw himself, as very little is told to us about who these men are, what the setting and political climate is or why that big black bird won’t stop gunning for them, at one point staging a maneuver so hair raising the propellers almost take someone’s head clean off. The unspecified region here is actually Spain, and the photography is flat out gorgeous, stunning wide shots and sweeping vistas seemingly shot from the chopper itself, sprawling vineyards, dry acrid valleys and snowy mountain peaks are all captured in a film that would work as a travelogue ad for Spain if the story wasn’t so grim. Shaw is the salty, old fashioned badass who can’t keep his mouth shut and gets his hands dirty when needed, McDowell the sensitive youngster in over his head and struggling with both the chase and the elements. As the film progresses their dynamics shift though, which is fascinating to see through their two excellent performances. The climax set high atop a mountain somewhere is bloody poetic bliss and serves as both a fitting end to a well mounted thriller and an ambiguous enough wrap up for a story that’s just ‘out there’ enough to defy genre expectations. This one really has been lost to the sands of time, but luckily Kino Lorber recently remastered it for Blu Ray and it’s really something to see if you’re a fan of Shaw, McDowell, oddball films that slipped through the cracks or high adventure. Definitely recommended.
Michael Bay’s Bad Boys is his Bad Boys II before college or like a drug problem, still a raging good time and a great action film but not quite the certifiably deranged mega production that he whipped out of his pants with that sequel. Nevertheless, it’s the warm up round, the pre-drink session and I love it to bits as well. I’ve read reviews comparing it to or accusing it of directly aping Beverly Hills Cop, and while it’s easy to see the thematic connection, I disagree and feel like it’s a separate aesthetic entirely. 90’s Miami, the simultaneous fast talking tornados that are Will Smith and Martin Lawrence, large scale action mayhem, constant improvised bickering, Joe Pantoliano perpetually on the verge of several strokes, it’s a vibe all its own and although this one is considerably more dialled back than II, it’s no less of a blast. Smith’s hotshot rich boy Mike LOWRY and Lawrence’s persnickety family man Marcus Burnett are live wire vice cops investigating a violent, elaborate drug smuggling ring lead by Tchecky Karyo’s Fouchet, a psychopath written as one note but the Turkish badass breathes life into him anyways. Tea Leoni is Julie, material witness to one of his murders and therefore tagging along with Marcus and Mike throughout the films chases, shootouts, verbal confrontations and what have you. Bottom line: In these roles, Smith and Lawrence are either your thing or they’re not, no middle ground. They’re loud, crass, politically incorrect goofballs who can’t sit still to save their lives and I love spending every minute with them. Also an acquired taste (and quite a cause of controversy in film discussions across the land) is Bay’s slick, noisy aesthetic, which may sometimes land with a hollow thud, but there is just no denying in one’s rational mind that the guy can’t stage absolute motherfuckers in the way of action set pieces, his films have a diamond crisp quality to the visuals, and his explosions are always shock and awe glory. The final car chase here across a giant airport tarmac is something else, feels real and dangerous, the eventual crash n’ burn a terrific payoff. The supporting ranks here are populated by the likes of Theresa Randle, Marc Macauley, Michael Imperioli, Marg Helgenberger, Kevin Corrigan, Anna Levine, Nestor Serrano, Julio Oscar Mechoso, Karen Alexander, Shaun Toub and briefly Kim Coates, hilariously credited as ‘White Carjacker.’ If you like your action movies funny, and your comedies full of action, this is the ticket. But you also have to be tuned in to Smith and Lawrence’s particular brand of lunacy, which understandably isn’t for everyone. Bring on the third film as soon as possible.
The future. The polar ice caps have melted covering the earth with water. The Universal logo spins as we watch the world change as the camera descends, through the atmosphere, and eventually we find the ‘new world’ where those who have survived have adapted. We are now in Waterworld.
Then Costner takes a whiz and, after a pass through his handy filtration system, drinks it. Regardless, it was at this point of the movie my Mother checked out. See, in Australia, the term getting on the piss is connected with getting together with mates and drinking an inordinate amounts of cold beers. But it is Waterworld that took the phrase to a whole new level.
I was just about done with my high school years – and whilst on a family vacation – when I first saw Waterworld. And I came to it, as I often did in those days, as an innocent, in a time before the ice caps melted and a media torrent covered the globe. I had no concept of the vortex of negative press that Waterworld carried with it like a cargo hold full of dirt ready for the traders. It was, at that time, the largest theatre I’d been to. This rendered Kevin Reynolds’ epic feat of film-making monolithic in scale. Of course Waterworld really doesn’t need the big screen for you to witness just how incredible the production is. It’s, aside from a few computerized flourishes, real for real. The action, the set pieces – CGI wasn’t quite there yet – so this monumentally impressive picture carries the imposing span of the ocean, which is its stage, and the blinding brilliance of sun, pouring its radiance over this bold new vision of the post-apocalyptic future.
I’m sure by this point dear reader, that there are few that are not acquainted with this out and out classic. But for those for whom the picture is a stranger like Costner’s Mariner, sailing out of the horizon, then you have picked the right time to stop and check it out – the common courtesy extended when two drifters meet. From Arrow, the home of splendid re-release packages of some of the more famous/infamous cult classics of the age, comes the definitive, limited edition Blu-ray extravaganza that is the tale of the search for Dryland. Here at Water’s End you’ll find the three restored versions of the film, a loaded treasure trove of extras; the crown jewel being Maelstrom: The Odyssey of Waterworld, an enthralling documentary feature chronicling the birth, rise, fall and ultimately redemption of one of the truly awesome adventure movies in cinema history. It may be fortuitous that this release surfaces in the wake of another sea-going fantasy – the billion dollar triumph that is Aquaman. And while the DCEU’s latest opus is no Mad Max on water, they share the same enduring quality films of this type have in common. The world building is awe-inspiring, the joy experienced while watching them infectious and they both leave the stage set for voyages of astonishing proportions to be explored.
I love this movie. Think of me how you will. But Waterworld is outstanding in my book and I am thrilled, not only that this release exists, but that its supplementary material finally sets the record straight – as well as allowing fans and first-timers alike to really marvel at what it took to cover the earth with water and allow we, the movie-loving audience, to take a ride that you’ll never see made this way again. Such a magnificent event as this calls for an equally impressive effort on my behalf.
That being the case I have a trio of insightful interviews with my guests David J. Moore (co-author of the supplementary booklet), Daniel Griffith(the filmmaker behind the documentary I’ve waited for, Maelstrom: The Odyssey of Waterworld) and, get ready for it, the man without whom the film would not exist, the film’s creator and initial screenwriter, Peter Rader. So stretch out in your deck hammock with an extra-large cup of hydro and stare at the majesty of the horizon, where the land meets the sea and watch in wonder as Waterworld engulfs you in a wave of splendor; this Everest’s peak of action/adventure cinema you can’t help but sink into.
DAVID J. MOORE
David J. Moore has written articles for Fangoria, Filmfax, Ultra Violent, VideoScope, Lunchmeat, Flickering Myth, and L’Ecran Fantastique. Interviews he’s conducted can be found on OutlawVern.com. He has worked as a freelance film journalist, visiting movie sets around the world. His next book is called The Good, the Tough, and the Deadly: Action Stars and Their Movies, and it will be published in 2015. He lives in Rancho Cucamonga, California.
Daniel Griffith has produced and directed more than 35 bonus feature productions, as well as five feature-length documentaries, including “LET THERE BE LIGHT: THE ODYSSEY OF DARK STAR” and “THE FLESH AND THE FURY: X-POSING TWINS OF EVIL”. He is also the documentarian for Shout! Factory’s “MYSTERY SCIENCE THEATER 3000” DVD boxed sets. Recently, he produced and directed the one hour documentary on the legacy of Rod Serling’s celebrated TV series, “THE TWILIGHT ZONE”, for CBS Films. Griffith won the 2012 Rondo Award for best DVD Bonus Feature for his biography on Universal B-movie actor, Rondo Hatton. He is the owner/founder of Ballyhoo Motion Pictures.
Peter Rader is a director and writer, known for Waterworld (1995), The Last Legion (2007) and Grandmother’s House (1988).
There are actors that portray a certain kind of character. They fit so perfectly within the story being told that they appear to have been designed for just such a purpose. These performers often run the risk of being typecast – only wanted to fulfill similar roles for the duration of their career. Then you have actors who bring such a spirit to their parts that we, the viewer, find it difficult to separate the character they play with the actor in person. It is a performance so electric and all-consuming that the role will be forever theirs. And, though the part may be played by other actors – should the film in question be part of an ongoing series – their turn becomes the standard-bearer and the one to top.
I personally can’t imagine Anne Lewis being played by anyone else except Nancy Allen. The depth she brings to what on the surface might appear a mere formulaic character, if you look closer, is in fact the catalyst for change. Thus RoboCop’s central character, Alex Murphy, is, following his brief initial encounter with Lewis, on a mission to rediscover his humanity. The result rendering this simple concept of a kind of futuristic revenge-Western type tale a classic in the process, with more dimensions than first meet the eye. But RoboCop, though iconic, doesn’t define the truly stellar talent that is personified by Nancy Allen.
She again plays these deep, soulful characters in two other of my favorite films: Brian De Palma’sBlow Out (opposite John Travolta) and Stewart Raffill’sThe Philadelphia Experiment (opposite Michael Paré ). With her evergreen beauty, lustrous smile and endearing tenderness, Allen carries all the hallmarks of a phenomenal actor who has graced our screens, large and small, for decades now. Still, acting is not all Nancy applies her gifts to. She is a passionate advocate for the preservation of our environment as well as a soldier in our species’ battle against Cancer. We can do so much by merely setting an example for others to follow, and it is by this method Nancy serves these causes close to her heart.
As we live in an age where everything old is new again, the film in which she played a pivotal role, RoboCop, is in line again to be reworked by a fresh creative team. Nancy herself has gone on record saying you shouldn’t or can’t remake a classic – lightning couldn’t possibly strike twice? But if it does, it is the cinematic prayer of the faithful fans that if they are going to try, go all the way, and then they need to make us remember why we loved the original in the place. They need a touchstone, a standard-bearer. I don’t believe they’ll win hearts and minds without one. So with that in mind, I say finally to the movie gods – they need my guest. They need Nancy Allen. My sincere thanks to Eva Rojano, without whom this would not be possible. Please do, all you Robo-Fans, jump on the bandwagon and sign the petition (https://www.change.org/p/mgm-studios-inc-we-want-nancy-allen-to-play-a-role-in-robocop-returns) to get Nancy back into the Robo-verse.