Tag Archives: Alan Silvestri

Film Review

Richard Pearce’s No Mercy

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Richard Pearce’s No Mercy is essentially a formula cop/revenge flick with all the recognizable elements visible, but it’s done so damn well that any generic beats don’t even really matter when you’re treated to atmosphere, action and chemistry this good. Richard Gere is an actor who gets cast as the affluent business guy or clean cut hero often, but he’s most effective when they let him fly his freak flag a bit and show some edge, he’s scary here as an unhinged Chicago detective out to avenge the savage murder of his partner following a botched sting operation that wasn’t even sanctioned to begin with. He’s led from the grey urban sprawl of the Windy City to sweaty, jazz soaked backroads of New Orleans in pursuit of a really nasty local kingpin (Jeroen Krabbe) responsible for the bloodshed. There’s naturally a blonde bombshell (Kim Basinger) who belongs to this monster since she was sold to him at age thirteen, and naturally sparks fly between the two as they fall in love amidst a rain of bullets, standoffs, chases and shootouts. You might be rolling your eyes and I’ll admit that the plot is well trodden soil but honestly this thing is so well made and engaging I didn’t care that I knew how it would all turn out because after all, the fun is in the journey there. Gere and Basinger have a natural rapport that isn’t rushed or forced and for a good two thirds of the film they hate each other in realistic fashion so that when passion eventually ignites it feels warranted. Plus the romance is so secondary to them simply meeting as two people that it never feels silly nor soppy and there’s somehow something sexier about her teaching him how to eat crawfish than the two of them actually getting it on. Gere is a live wire here, out of his element in the Bayou but determined to avenge his partner’s at any cost, including his own life. “If I die it’ll be on Chicago concrete!” He barks stubbornly, and we believe it. Basinger always brings a wounded nature to her work, she’s fantastic here as someone he believes to be a planted seductress until he learns that she’s just another victim. There’s a painful scene where she has to sign a lawyers form and when the attorney (perennial 80’s asshole William Atherton) announces that she can’t read, you can see the sympathy unclouded on Gere’s face. Sparks fly between these two and I’d love to see their other collaboration Final Analysis at some point. George Dzunda makes a fiery appearance as Gere’s wrecking ball of a precinct captain, a dude with a thousand yard glare who’s standing less than a foot from you. Alan Silvestri outdoes himself with a smokehouse of a score that accents Louisiana nicely and cues Krabbe’s bad guy in creepy fashion. This dude is one nasty piece of work, and the character can be forgiven for being one-note simply for how scary he is, a greasy haired, sadistic French bastard who enjoys gutting people with a knife and lords over the Bayou with a reign of ice terror. I’m not sure why this has amassed such a lukewarm overall reaction. It’s nothing innovative but everything it tries to do it does excellently. Stylish, immersive romantic crime thriller with a hot blooded central romance, well staged action scenes and atmosphere to spare.

-Nate Hill

Film Review

Wolfgang Petersen’s Shattered

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Wolfgang Petersen is known for directing some of the biggest Hollywood blockbusters over the years including Air Force One, The Neverending Story, The Perfect Storm and Troy. One thing he hasn’t done much of is writing, other than the melodramatic, Hitchockian 1991 thriller Shattered, which is kind of a mess. Whether it’s the source novel by Richard Neely that’s dodgy or Petersen’s screenplay that dropped the ball, this film doesn’t quite clearly delineate it’s plot points, many of which are so far beyond plausible it’s hard to really get a grip on the story or keep a straight face. Tom Berenger plays a powerful businessman who accidentally launches his car off a highway outcrop into a spectacular swan dive that leaves his face looking like a dirt bike track and his memory more absent than of Jason Bourne’s. After some facial reconstruction he’s back on his feet and in the arms of his wife (Greta Scacchi), but something just doesn’t quite seem right. The memories she tells him of before the accident don’t seem real to him, he starts gathering clues relating to some kind of infidelity or cover up and his intuition just tells him he’s being thrown for a loop. This is where the film’s narrative sort of imitates that car and drives right over the edge of comprehension; The serpentine twists and turns employed are sort of fun but have absolutely no place in the real world, let alone even a hard boiled thriller like this. Bob Hoskins is fun as a snarky veterinarian who moonlights as a PI, trying to help Berenger fit the pieces together. Corbin Bernsen listlessly plays yet another smarmy role as his ex business partner, I sometimes wonder if they’ve ever given that guy a role worth his salt or if his career is cursed with playing the annoyingly extroverted debonair who has zero depth. Joanne Whalley Kilmer shows up as some psychic who throws around vague threats and acts like she knows something but isn’t even sure herself what it is, which is the feeling the script gives you. By the time the final revelations make themselves known and we see what really happened after the accident it’s kind of fun but also just riddled with inconsistencies and eye roll moments. It isn’t a bad film though, and has a few moments. There’s great cinematography of Oregon and San Francisco as well as a foggy shipwreck that holds a few secrets and gives off spooky ambience. The score by Alan Silvestri is steamy in places, rousing in others and gets the job done. It’s just the story that sort of treats us like we’re idiots, and as if we not only haven’t seen this story done before, but seen it done better.

-Nate Hill

Film Review

Stephen Hopkins’s Blown Away

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As far as mad bomber movies go, Stephen Hopkins’s Blown Away has to be one of the finest, a personal favourite of mine and a scorching, atmospheric thriller that has aged like fine wine. It had the unfortunate luck of being released the same year as fellow bomber flick and mega-hit Speed which kind of eclipsed it, but for my money this is the better film. Some suspension of disbelief is naturally required to enjoy this story of a psychopathic former Irish radical (Tommy Lee Jones) on a wanton path of destruction as he employs a personal vendetta against an old alliance (Jeff Bridges), who is now a hotshot in the Boston bomb squad division. After a disagreement years ago that led to hellish destruction and Jones’s incarceration for nearly two decades, the two face off in an incendiary game of cat and mouse set against the Boston backdrop, with everyone Bridges has in his life serving as collateral damage in his ruthless adversary’s sick game. Jones clearly had a dialect coach to say certain phrases and his accent slips generously here and there, but he plays his super baddie role with gleeful menace and steals every scene. Bridges always shines in any role and his caged animal intensity fires up the dire situation he finds himself, his family and colleagues in. Lloyd Bridges is fantastic as his old Irish uncle, Suzy Amis nails crucial scenes as his wife who gradually learns about his violent past, while Forest Whitaker does a fine job as the bomb squad’s rookie officer. Hopkins always does well in thriller territory (check out The Ghost & The Darkness for another brilliant outing from him) and the direction here is big, bold but never too far over the top, despite some theatrically elaborate set pieces involving the bombs. Alan Silvestri cranks up the orchestral grandeur for a thunderous, rousing score that’s nearly half the fun of the film. All involved do excellent work in not only making this a gorgeous film to look at but to create genuine suspense for more than one sequence, which isn’t easily achieved in this desensitized viewer. There’s probably a Blu Ray floating around out there and that’s fine, but there’s a smoky ambience and atmospheric 90’s feel to this film that I feel lends itself a bit better to the loving grain of DVD, the format I own it on. I remember watching bits and pieces of it on TBS Superstation back when I was younger and loving it, it’s a great film to keep revisiting.

-Nate Hill

Interviews

“I’m gonna do something far worse than kill you”: Remembering Ricochet with Russell Mulcahy by Kent Hill

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Among the flurry of big action movies that graced our screens from the late 80’s and into the 90’s, it was easy to see how some lost their way to an audience. But thanks to video, these movies that did not enjoy a successful theatrical release were quickly rediscovered on VHS, and some might say because of it, they have endured long after they could have so easily vanished.

They say all a movie cheerfully needs is a man with a vision, and the talented former music video genius turned Hollywood go-to guy for stunning visuals and artful storytelling was looking for exactly that – another story to tell. Russell Mulcahy had made a name for himself long before he directed a little movie called Highlander, but he had just come off of an unpleasant experience directing that film’s sequel when the script for an action/thriller, Ricochet, came across his desk.

The film was being produced by the legendary, machine gun-mouthed Joel Silver and was fixed by the man, Steven E. de Souza, who would eventually pen Die Hard. It would be headlined by the talented John Lithgow and future Academy Award winner Denzel Washington.

Washington plays Nick Styles, a cop on the L.A.P.D. At a carnival, criminal Earl Talbot (Lithgow) takes a hostage after a botched drug deal. Styles and Blake confront each other, during which Blake is wounded by Styles and is  imprisoned. Seven years later, Blake escapes and begins to carry out his revenge against Styles, which centers predominantly around destroying his life and career.

It’s a fast-paced, fun ride as Lithgow turns Washington’s world upside down. It is also a film of excellent performances from the whole cast. Lithgow is such a delicious villain and the ever solid Washington exudes the charisma which would see his career skyrocket over the following years.

Russell’s direction, as ever, is stunning, fluid, and he captures action like few other directors. It was really cool to sit down and have a chat with him while taking a break from working on his new film here, in the great down under; and, I’m happy to report, like most of the cool filmmakers I’ve had the pleasure of speaking to, you always get more than you hoped for. Russell told me about an upcoming re-release of his debut feature Razorback and it’s hard not to touch on the subject of his cult classic Highlander. You’ve probably heard all the stories by now – but it is a far different experience when they are recalled for you by the man himself.

I really love Ricochet and I always enjoy talking to Russell, so this one was a real pleasure to bring to you. If you’ve not seen Ricochet then go to it, you won’t be disappointed. It is out there on DVD, but if you can, check out the Blu-Ray for the film in all its true visual splendor.

Mulcahy on Ricochet. Press Play…
Interviews

Remembering Flight of the Navigator with Randal Kleiser by Kent Hill

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I was still a boy, and there was no such thing as a multiplex in sight the night I saw Flight of the Navigator.

I remember what was then the Russell Street theatre. A relatively new cinema built as its aged counterpart, The Strand, had slipped into disrepair. I remember the smell of the new carpet mixing with the popcorn, how the place always seemed packed, as two lines of movie-goers had to snake around both sides of the block to line up.

But it was a quiet Friday night when I went with my Mum to see Randal Kleiser’s new movie. From the poster, which was all you had to go on back in those days, it looked like one heck of a ride. Another boy meets an alien movie in the wake of the monumental achievement that was E.T. But let’s not descend into comparisons,  such is the way of the industry. Like Dante’s Explorers, Flight of the Navigator is an ingenious blending of many great elements. It begins as a movie about a family, about two brothers. Then we fall into a time travel story that sees our hero transported eight years into a future where he is presumed to be dead. This is further compounded by the fact that he has not aged a day. Thus the testing begins, a search for the heart of the mystery. The testing reveals the hero’s head is filled alien information and that he had been selected as a specimen to study on a far-flung planet in a distant galaxy. The boy is then taken by NASA scientists to be scrutinized further. This is where the boy meets alien story begins and our hero takes off inside a spacecraft in an adventure, not only to help the alien return home, but to once more, travel back in time and get home himself.

That’s a fairly vague overview I know. But I always take into account that there may yet be someone out there that has not seen the movie. That being the chase, I have no desire to spoil it for them.

After I saw the movie I wanted to write Randal Kleiser a letter, which I did, telling him what a marvelous movie I thought he’d made. I did not know where to send it, so my Dad looked up the address of Walt Disney Pictures and we mailed it together.

I know now Mr. Kleiser never got my letter, because thirty years later I got to call him on the phone and tell him just that – what a marvelous movie I thought and still think Flight of the Navigator is.

I hope you’ll enjoy our interview  you dumb dork! Buttface! Scuz-bucket! Ha-ha!

P.S. –

If you would like further information on the Nina Foch DVD or course please follow this link: http://www.ninafochproject.com/