Tag Archives: barbara hershey

Tab Murphy’s Last Of The Dogmen


Tab Murphy’s Last Of The Dogmen is a beautiful story, providing assurance that on a rapidly shrinking modern world there can still be some undiscovered wonder to be found, sometimes in the last place anyone would look. Tom Berenger, gruff as ever, stars as Lewis Gates, a rural bounty hunter charged with pursuing a gaggle of escaped felons who’ve hightailed it into Montana wilderness so dense that the usual branches of law can’t track them. Joined by his anthropologist friend (Barbara Hershey), he searches day and night for these convicts, and in the process finds something far more incredible. Buried far in the heart of this mostly untouched frontier is a tribe of Native Americans, thought to be wiped out by settlers generations earlier, living since then with no contact to the outside world. Gates is wary but fascinated, while Hershey recognizes this for the miracle it is and tries her best to communicate with the people, who in turn are fiercely protective of their land, especially towards the escaped prisoners who have wandered onto it as well. Hot on Berenger’s tail as well is his ex father in law (Kurtwood Smith) who is also the county Sheriff, bitter towards him for a past tragedy, volatile and unpredictable, another risky faction to flare up conflict between all sides. The action is kept to a necessary minimum, and the real meat of the piece lies in the pure spectacle of their situation, a reverence for both parties involved and a keen eye for interaction between human beings who couldn’t be more different yet have shared the same region for eons. The Native actors, including Sidel Standing Elk, Dawn Lavand, Eugene Blackbear and Steve Reevis, are all superb, as are Berenger and Smith. The real magic comes cascading through the lens of cinematographer Karl Walter Lindenlaub, who beautifully captures Banff National Park in it’s full glory, as well as other such locations not far from my Canadian home. The film hangs onto the notion that there is still undiscovered splendour out there, from rushing rivers to ancient mountains, and the mysterious tribes who once, and perhaps still do, call it home. 

-Nate Hill

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Joel Schumacher’s Falling Down


Everyone’s had the moment where they’re at the absolute end of their rope and feel like taking drastic or violent action against whatever is grinding your gears. Whether it’s a hot day in horrendous rush hour traffic, a particularly irritating lineup at Starbucks or an especially dense customer service worker, you just feel like saying ‘fuck it’, and decimating the place with anything you can lay your hands on. In Joel Schumacher’s Falling Down, Michael Douglas does just that on a sweltering LA summer day. His character, who remains nameless save for the moniker ‘D-Fens’, is a business man on his way home who just… snaps. Throwing a tantrum on the LA overpass, he quickly loses it, arms himself with a high velocity shotgun and proceeds to vet out every mundane annoyance, pet peeve and irksome scenario he can find. Whether it’s brutal catharsis he’s looking for, a cure for the doldrums of daily life or simply raging against that emptiness we all feel deep down, he keeps his reasons to himself, and let’s every other aspect of his character run wild. Holding up a fast food joint because they stopped serving breakfast five minutes too early, massacring homeless punks who foolishly harass him, his crusade sprawls across the valley and beyond, a righteous purge of monotonous, infuriating trivial concerns that soon has the attention of LA’s finest in the form of veteran Detective Robert Duvall and his crass, obnoxious lieutenant (Raymond J. Barry). It’s also revealed that Douglas’s personal life leading up to his break was rocky at best, with a job going downhill and hints of violence towards his wife and daughter. Quite drastic is the meltdown though, but it’s not quite a character study, he’s almost used more to pick away at the decays in society, a tool for exposing tears in the cloth we take for granted every day. His story is kind of like when you load up Grand Theft Auto on your console and completely ignore the missions in favour of a personalized war on anything that moves. His war happens to be against those little nagging inconveniences that seem like no biggie until they add up and you just go postal. It’s darkly funny stuff, but quite harrowing when you look at the big picture and the actual damage he’s doing to the city. Douglas is courageous here, it takes reckless abandon to go for a role like this, and he owns it in crew cut, well dressed fashion, a costume choice that absurdly clashes with the big metal cannon he totes. The film never takes sides either, recognizing both the bizarre consumerist nightmare we wade through everyday and it’s ability to dampen your spirit as well as the sickening extremes he goes to, challenging you to walk a line and look at both sides. Hard hitting stuff. 

-Nate Hill

B Movie Glory: Frogs For Snakes


They say actors will literally ‘kill for a role’, and in the long forgotten, bizarre NYC set indie flick Frogs For Snakes, that’s the very concept. A handful of Bronx lowlifes all directly involved with criminal kingpin Al Santana (Robbie Coltrane, before he went all Hagrid on us), discover he is putting on a play, and promptly begin to literally murder each other for parts. Now, such a premise should provide a downright brilliant film, but sadly that’s not the case with this dreary gutterball. The possibilities are just endless, and all these miscreants do is just languish in alleyways, decrepit apartments and dive bars, monologuing about.. nothing much at all. It hurts when you have a cast this good in such fuckery as well. Al’s ex wife (Barbara Hershey) works as a debt collector for him, while she pines for her thespian boyfriend (John Leguizamo) who spends the majority of his scenes reciting overblown monologues that have nothing to do with the story, or lack thereof. There’s all manner of creeps and hoodlums running about like New York sewer rats, played by an impressive lineup including Harry Hamlin, Lisa Marie, Ian Hart, Clarence Williams III, Nick Chinlund and briefly Ron Perlman, but none of them have much to do and seem to aimlessly shamble through their scenes as if they were never given much of a script. Being the weirdo that I am though, I did get a sick thrill out of hearing potty mouthed Debi Mazar explicitly describe giving a blowjob to Coltrane’s character, a mental image I won’t soon erase from my head. It’s a whole lot of nothing for the most part though, and kinda makes you wonder how the thing ever got green-lit, let alone attracted such talent. If the film itself were a play, it would be run out of town on opening night. 

-Nate Hill