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Film Review

Joe Dirt

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My expectations weren’t super high for Joe Dirt and they were not only met but surpassed. This is one charming, hilarious, comfortingly juvenile exercise in spoofing the Mountain Dew monster truck crowd and I loved it to bits. Usually when I see David Spade onscreen I ball up my fists and get ready to swing but here he makes sly work of a good natured simpleton with the world’s most epic mullet. Joe was left at the Grand Canyon when he was eight years old by his dummy parents, and has been wondering the States ever since, looking for them. He explains all this in flashbacks and regales an incredibly cynical radio DJ (Dennis Miller) with his adventures with all the strange people he meets, and let me tell you that strange is a fucking understatement. He befriends a mega hottie (Brittany Daniels) who is head over heels for him while he’s too oblivious to notice. He joins forces with a Native American entrepreneur (Adam Beach) who sells fireworks but not the kind that anyone wants to buy. He shacks up with a bubblegum blonde babe (Jaime Pressley) who may or may not be his long lost sister, which is an extra turn-on for him. Christopher Walken steals the goddamn show (as he always does) as Clem, a janitorial kingpin with serious dance moves and the absolute funniest line in the film, you’ll know the one I’m talking about. Other memorable and very hyperactive work is put forth by Erik Per Sullivan, Caroline Aaron, Fred Ward, Tyler Mane, Richard Rhiele, Eddie Money, Carson Daly, Kevin Nealon, Joe Don Baker, Rosanna Arquette and, uh, Kid Rock just for the hell of it. This is about as silly as comedies get and I laughed like a loon almost the whole way through. Spade makes a great underdog hero in a story that puts him through a ringer of alienation, loneliness and embarrassment but ultimately gives him the happy ending he deserves and the overall narrative is quite sweet. Great film.

-Nate Hill

Film Review

B Movie Glory: Into The Grizzly Maze

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I’ve never seen potential, cast and atmosphere so wasted like I did in Into The Grizzly Maze, there’s just no excuse for dicking up such a great premise like they did here. Originally titled Red Machine, which is way better anyways, it concerns various characters chasing down a monstrous rogue grizzly bear somewhere in the Pacific Northwest (actually Vancouver, naturally). These folks include ex con James Marsden, his park ranger brother Thomas Jane, Sheriff Scott Glenn, poacher Adam Beach and miscast Billy Bob Thornton as some sort of guru bear hunter. The character and writing are almost all flat, which amazes me because I’d be hard pressed not to write at least some engaging dialogue for a cast this badass, but nope. Marsden is as bland as sandpaper, Jane seems bored to tears, Thornton is so misplaced even his coat looks uncomfortable, Glenn is more grizzly than the bear but is underwritten, while Piper Perabo has a classic thankless chick role that’s beneath her talents. Seemingly immortal actor Bart The Bear is used effectively here but he can’t carry a film on his own and as a result the only truly memorable things are the beautiful locations and a particularly gruesome bit of makeup where half of Thornton’s face is literally slashed to ribbons, nice touch that. This seems to be a vague rehash of a 70’s bear flick that, from the looks of it, is probably eons better than this TV movie level garbage. Shame, as we’ll probably never see this cast together again. Avoid.

-Nate Hill

Film Review

Scott Cooper’s Hostiles

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Scott Cooper’s Hostiles is beautifully shot, competently staged, well produced, acted and scored, but there’s a certain depth, development and complexity lacking, and I lay the blame on script, which seems a little south of the polished stage, with one foot still rooted in the blueprint phase. It’s a shame because the actors are game to give the film all they’ve got, but the script handed to them just isn’t on par with their efforts. Christian Bale is implosive as ever in one of his best performances as Blocker, a decorated civil war vet who has spent a great portion of his career heavily involved in the war and genocide against Native American tribes, and as such has become a hard, mean and brittle tempered creature. It’s fascinating to observe how someone like him, who does have a decent soul deep down, can be turned so backwards and hateful in circumstances like that, another theme the film doesn’t quite follow through with. Blocker is tasked with one last mission before semi-early retirement: Escort legendary Cheyenne Chief Yellow Hawk (Wes Studi, excellent as ever) and his kin from Arizona back to his home in Montana to live out his remaining years. Blocker bristles at the thought, but when his salty superior officer (Stephen Lang) threatens his pension, he begrudgingly saddles up. The film then showcases their journey, several hardships and skirmishes they find themselves in, all to fertilize the eventual bond and understanding formed between the two groups and their decision to work as a unit, and even respect each other. Here’s the problem: the script isn’t deep or thoughtful enough to make any of these arcs believable. The Native characters are painfully underdeveloped, particularly Yellow Hawk’s son and his wife, played by Adam Beach and Qorianka Kilcher, two actors more than capable of handing in great work when the material comes their way. The one thing that does work and is probably the best quality that film has is a character played by Rosamund Pike, a frontier farmer whose entire family is slaughtered by vicious Comanches in the film’s arresting opening scene. She joins Bale’s company, and Pike plays her with harrowing sadness, terrifying vengeful poise and gives one of the most realistic, un-cinematic portraits of grief I’ve ever seen. Come awards season next year, she should be a front runner. The film almost doesn’t deserve her sterling subplot, but it does it’s best, and reaches some heights here and there. Bale’s company is played by a reliable troupe including upright Jesse Plemons, melancholic Rory Cochrane and grizzled Peter Mullan. Also appearing is western veteran Scott Wilson in a brutal last minute cameo, always nice to see him still in the game. There’s an unbalanced focus between the soldiers and the natives, who I wanted to learn more about but were left as mainly tagalong bystanders with scant dialogue. When Bale’s arc reaches it’s final stages, I felt slightly cheated by everything that came before: I didn’t quite believe that what he’d been through was enough to sway over two decades of hate and prejudice, and once again the fault lies with script. A little more care, preparation and editing could have turned this from a good film into one for the ages.

-Nate Hill

Film Review

John Woo’s Windtalkers

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John Woo’s Windtalkers is a brutal, somber, joyless affair, a muddy and hopeless war picture that contains little of the ethereal poise of stuff like The Thin Red Line or heroic muscle such as Saving Private Ryan. As long as you can adjust and tune into it’s frequency it’s a well made, sorrowful look at the American effort against Japan, particularly a mission involving a regiment whose task is to protect Native Navajo code breakers that can detect messages fired off by the enemy. A mopey Nicolas Cage is their shell shocked leader, pressing his men onward into territory that no doubt contains the same horrors he witnessed before the film begins. We find him in a trauma ward initially, cared for by a kindly nurse (Frances O’Connor), until Jason Isaacs cameos as the recruitment officer who spurs him back into action. His troupe is composed solely of excellent, distinct acting talent and they help the film considerably. The Navajo are played by Adam Beach and Roger Willie, giving grace and nobility to two men who are out of their depth and terrified. Peter Stormare, Christian Slater, Noah Emmerich, Mark Ruffalo, Brian Van Holt and a standout Martin Henderson are the rest of the troops, each getting their moment to shine within the unit’s cohesive arc. Woo is an odd choice for a war picture, and his stylized flair for bullet ridden action is nowhere to be found in these bleak, bloodied trenches, trading in suits and duel wielded glocks for faded camo and muted rifle fire. The action is neither cathartic nor poetic, simply a concussive cacophony of combat that offers little aesthetic pleasure, forcing you to find the value in empathy towards these men, and as long as you can do that, you’ll get something out of it. 

-Nate Hill

Film Review

Suicide Squad: A Review by Nate Hill 

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Suicide Squad has left me so torn. On the one hand I just want to belligerantly profess my love for certain key aspects which I have salivated for for a long time now, to blindly just say ‘nope. Fuck it, it’s great’, like that one stupid kid in class who just won’t back down from an argument he is clearly losing. On the other hand I do have to come to terms with the very real, very problematic aspects to the whole thing, weigh it out rationally (not something I’m great at) and make heavy mention of what didn’t work (not something I enjoy doing). I also have a massive bias towards DC as well, particularly all things Batman and foes, so that needed to be taken into account too. 
  Let’s get what didn’t work out of the way: everyone is hearing that the film is a mess, and I can indeed say that yes, it’s one huge jumbled mess, like twenty unmade beds tossed into a washing machine together. It’s heavily edited in places that could have used fluidity, and flatlines in other spots where a bit of frenzy would have worked better. It’s scant on character, frankly because there are too many, packed with a soundtrack that has it bursting at the hastily sewn seams, drastically and obviously cut in specific places that are noticeable holes in which you could drive the Batmobile through, and burdened with a lazily assembled antagonist who doesn’t deserve the heroes they rumble with. That’s just off the top of my head. 
  Now, what worked: There’s a silver lining to the inane madness of the film, because in it’s confusing symphony of random candy coated antics it almost finds a trace of a beat, a rhythm that’s almost decimated by the chorus. I’m not excusing the hackjob of editing or cuts, merely saying that with all taken into account, it kind of takes on a life of it’s own that while completely tone deaf, is never boring. Let’s talk about Harley Quinn and The Joker. When the Blu Ray comes out with all them deleted scenes, I’m going to make a personal fan edit that sheds the spotlight on all the nastier stuff we missed in the theatrical version. The stuff we do get to see with Harley is pure magic, and Robbie owns the film. Maddeningly sexy, sketchy, dangerous, cute, and gloriously insane, she nails it to the wall in terms of what makes the character so special. Jared Leto as The Joker is…. different. While I didn’t like the laugh (he sounded like a geriatric hyena), I really took a shine to the direction they went with the clown this time around. A pasty ghoul who is sick with weirdo ‘love’ for Harley, this is a Joker who is way more in tune with the comics version than Ledger was. There were a few off key mannerisms and questionable little things, but for the most part I’d say he rocked it, and I’m stoked to see him square off with Batman in a standalone flick. 
  So, the rest of the squad. They’re a random bunch of nut bars who are hastily and over enthusiastically hurrah-ed onto stage by stone cold suit Amanda Waller (a terrifying Viola Davis), who is far more villainous than any of them. Davis is the consummate amoral politician, fuelled by gnawing xenophobia and given the power to push her unholy agenda to scary heights. Will Smith is a hoot as Deadshot, he just needed a little less mirth and a tad more menace in the mix. A joke or three sits well with me, but I don’t like wading through quip stew with thoughts of serious threat on the other side, only to find a backbone replaced by pining for his young daughter. Nothing wrong with pathos, but remember guys, Deadshot is a villain, and too much mush takes away from the street cred. Killer Croc is great when he’s around, which isn’t much until the climax where he gets a nice action bit, but still overall underused. I’ve been an avid non fan of Jai Courtney thus far, he’s just reeked of blandness. Well crikey, the guy does a nice job here of being the rambunctious bad boy of the pack, even if the reason for his inclusion in the squad doesn’t extend much farther than ‘he robbed every bank in australia’. Like… what? Joel Kinnaman holds his own as special ops asset Rick Flagg, and Cara Delevingne much less so as the gyrating, Grudge inspired Enchantress. She’s just not a powerful villain in any way, but damn if she didn’t turn heads in that little outfit. Cara actually fared way better as Dr. June Moon in what little time we spent with her, of which I would have loved to see more. Jay Hernandez is on fire (sorry) as Diablo, a flammable ex gang banger who grew a conscience to go with his pyrotechnic prowess. As far as Slipknot  (Adam Beach) goes, there was literally no reason, no reason at all for him to be in the film. Introduced as ‘the man who can climb anything’, he climbs like… one wall that anyone with his tools could scale….and then dies. Poor Adam. Karen Fukuhara is cool as Katana, but we’ve seen the hot Asian samurai shtick done to death, so it’s nothing altogether new. 
  No, the film rests on Joker, Harley and to a lesser extant, Batman. Old Bats is in it for two crucial scenes, one of which had me give out a roaring cheer, as it’s the type of thing I signed up for when I shelled out 22 goddamn dollars to see this in VIP mode. I kept wishing the whole time that I could make my own edit with all of David Ayer’s footage, because there’s so much gold found onscreen, and I know there’s more to be mined on the floors of his editing room, left there by the prudish anxieties of studio heads that just don’t. Ever. Learn. I want to see Batman and his villains thunder out in this blooming DC franchise, and while the rest of the more obscure faces in the squad are fun, I was in it for the core villains. All the stuff with Joker and Harley is inspired, and the car chase where the Batmobile tears after Joker’s purple Hotwheels Lamborghini is pretty much the best part of the whole film. I want more Batman and Co., for shit sake. In any case, there’s a lot of fun to be had, an endless grab bag of stylistic tricks, fonts, gimmicks, colors, sounds and chaotic hullabaloo running around. Some of it works. Some of it doesn’t. Tough shit. It’s certainly not a terrible movie, and I feel many critics resorted to the oft employed ‘knee jerk’ reaction instead of internalizing it all before brandishing pen and keyboard. Critics are a spastic lot of baboons who have have a tendancy, especially these days, to jump the gun and hurl verbal feces at stuff before it’s had a chance to sink in. I’ll concede that there are huge issues, but huge amounts of fun can be found too. Or not. It’s up to you. I certainly had some fraction of a blast watching it, and the only way I can describe the thing as an whole is the Looney Toons having a food fight with a bunch of fluorescent Lucky Charms. If that abstract picture chimes with you, chances are you’ll at least get some kind of kick from the this baby, and probably be just as perplexed by certain areas as I was. Good luck.

Film Review

B Movie Glory With Nate: The Last Stop

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Agatha Christie takes a trip to the Pacific Northwest in The Last Stop, a chilly little indie B movie in which we have the pleasure of watching Adam Beach and Rose McGowan try to smoke out a killer amidst a group of people stranded in a remote motel during a blinding snowstorm. A welcome setup for intrigue indeed, if you’re into cozying up to these actors for a tense little 90 minute guessing game packed with just the right amounts of cheesiness and tension. Beach plays a local Sheriff who is stuck at the establishment while its Proprietor (the great Jurgen Prochnow, refreshingly cast against type) struggles with a guest overload as the storm gathers steam. Beach’s old flame (the ever alluring McGowan) has resurfaced in his life with little explanation. There’s also an obnoxious hustler (Callum Keith Rennie) a sleazy would be cowboy (Winston Reckert) and other disconcerting weirdos lurking about. Some are red herrings, some simply filler for the narrative, and all are entertaining, whether intentionally or not. The plot meanders in snowy, typically nonsensical b-movie form until it pulls itself together for a very grounded finale that seems misplaced given what came before, but welcome all the same. McGowan could dub a Korean pop song and still be riveting, and it kills me she isn’t in more stuff, but she’s made it clear that acting was never her first love. Nevertheless she’s great as both the most mysterious and fascinating character. Shades of The Hateful Eight, Eye See You with Stallone, and many a snowbound mystery. Fun stuff. 

Film Review

The Big Empty: A Review by Nate Hill

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The Big Empty is a quirky, off kilter little flick that packs a backpack full of borrowed elements from the Coen brothers and David Lynch, before embarking on a perplexing outing into the Twilight Zone. That’s not to say it rips any of these artists off, and indeed it’s got a style and cadence all its own. It just loves other oddballs before it and wants to wear it’s influences proudly. Everyone’s favourite lovable schlub Jon Favreau plays John Person, a flailing, out of work actor. He’s presented with a dodgy proposition by his whacko neighbour Neely (eternally bug eyed Bud Cort). Transport a mysterious blue briefcase to a remote town in the Mojave Desert called Baker. There he will meet a much talked about, little seen individual called The Cowboy (Sean Bean), who will take the case off his hands. He agrees, as he must in order for us to have a film to watch, and heads out to the back end of nowhere. In any respectable piece like this, the town our hero visits must be populated by weirdos, eccentrics, dead ends, missed encounters and an abiding, ever present atmosphere of anomalous peculiarity. Right on time, he meets a host of charming characters, including Grace (Joey Lauren Adams), her sensual daughter Ruthie (Rachel Leigh Cook), Indian Bob (Gary Farmer), grouchy FBI Agent Banks (Kelsey Grammar), and a bunch of others including Daryl Hannah, Melora Walters, Jon Gries, Brent Briscoe, Adam Beach and Danny Trejo. He’s led from one head scratching interaction to the other, each step of the way proving to be a step behind the elusive Cowboy, with no form of coherence appearing to ease poor John’s bafflement. I was reminded of Jim Jarmusch, particularly his masterpiece Dead Man, perhaps because Gary Farmer appears in both, but most likely mainly due to the fact that both films follow a hapless Joe on a journey that doesn’t seem to be going much of anyplace, but holds interest simply by being bizarre enough. Favreau is the only one that doesn’t fit, the outsider whose laid back suburban affability creates friction with almost every individual he meets, all who seem to have wandered in from the outer limits of some other dimension. Sean Bean is relaxed, mercurial with just a dash of danger as The Cowboy, quite possibly the strangest person John meets. The film has unexpected jabs of humour too, which occasionally breach the surface of its tongue in cheek veneer of inaccessibility. Upon meeting Indian Bob, John inquires: “Are you Bob The Indian?”. Bob jovially retorts “No, I’m Lawrence the fuckin Arabian.” Gary Farmer brings the same cloudy, sardonic cheek he brought to the role of Nobody the Indian in Jarmusch’s Dead Man, which had much the same type humour as this one: little moments of hilarity buried like treasures amongst the abnormal. Sometimes I muse that films like these which seem to really go nowhere in high style are there simply to give your brain a workout in odd areas that it wouldn’t normally play in. Set up a voyage like this, lead the audience down a yellow brick road and arrive at.. well basically nowhere in particular, just to chuckle at your efforts to figure it all out, jab you in the ribs and say “Don’t take this shit too seriously, man!”. Or maybe not. Maybe there’s deeper meaning behind the meandering, that will reveal some holy significance. This one, though, I doubt it. It’s pure playtime.