Tag Archives: Brad Pitt

Bank Vaults & Bullion: Nate’s Top Ten Heist Films

Why are Heist flicks so much fun? Is it the brotherly camaraderie between a pack of thieves out to pull a job? The elaborate ruses and ditch efforts employed to deceive and elude authorities? Gunfights n’ car chases? Safe cracking? Priceless art? For me it’s all of the above and more, this is a rip roaring sub genre ripe with possibilities, packed with twist laden narratives and filled with pure escapism at every turn. Here are my top ten personal favourites!

10. Mimi Leder’s The Code aka Thick As Thieves

This is admittedly kind of a middle of the road, not so amazing film but I really dig it anyways. So basically a veteran jewel thief (Morgan Freeman) hires a skilled rookie (Antonio Banderas) to pull off an apparently impossible diamond heist in order to pay back a dangerous Russian mobster (Rade Servedzija) he owes for another job. Meanwhile an obsessed detective (Robert Forster) watches their every move and waits to pounce while a slinky mystery woman (Radha Mitchell) gets in the way and manipulates everyone. It’s low key and nothing super groundbreaking but as passable entertainment with a terrific cast and some genuinely clever twists it does the job. Oh and a young Tom Hardy shows up too, which is a nice bonus.

9. Spike Lee’s Inside Man

My favourite Spike Lee joint sees super thief Clive Owen break into a high profile NYC bank and streetwise cop Denzel Washington try to figure out what he’s after, a task that doesn’t prove so easy. This is a whip smart, caffeinated and oh so slightly self aware crime thriller that is so watchable even the actors seem to have a small smirk just getting to be a part of it. The narrative does some delicious roper dopes, pinwheels and double turns and by the end of it you’ll find yourself thinking back to the start just to see how it all ended up the way it does.

8. Scott Frank’s The Lookout

Psychological drama combines deftly with criminal intrigue in this tale of a brain damaged ex hockey player (Joseph Gordon Levitt) who gets roped into a rural bank robbery. This is a dark, idiosyncratic story with vivid performances from all including Matthew Goode as the guy who organizes the job and Jeff Daniels as Levitt’s blind roommate.

7. Jonathan Glazer’s Sexy Beast

Ben Kingsley basically grabs this film from the get go and tears it to shreds with a mad dog performance, but in and around his shenanigans is a brilliant London set narrative that sees retired expert Gal (Ray Winstone) jetting back for one last job. With a sharp, acidic script, jet black humour and eccentric performances across the board, this becomes a terrific heist film with a dash of many other things sprinkled in.

6. Jonathan Sobol’s The Art Of The Steal

This one flew right under the radar despite a fresh, funny story and a stacked cast. Ex art thief turned motorcycle daredevil Kurt Russell is lured out of semi retirement by his terminally untrustworthy brother (Matt Dillon) to steal a priceless work along with a highly dysfunctional crew of would be professionals. The story is brilliantly told and leaves plenty of room for actors to improvise and inject their own personality. This deserved way more acclaim that it got and I’ve always wondered why such a slick flick with Kurt Russell in the lead never even got a theatrical release. You also get the legendary Terence Stamp stealing scenes as the world’s grumpiest art thievery guru turned federal informant too.

5. Michael Mann’s Thief

Rain slicked streets, restless urban nocturnes and expert thieves taking down big scores. Mann first distilled his crime aesthetic here in the tale of one master thief (James Caan) looking for one last big job that will allow him to retire with his wife (Tuesday Weld) and kid. Featuring vivid performances from Willie Nelson, Jim Belushi, Dennis Farina and Robert Prosky, a gorgeous synth score by Tangerine Dream and visuals that dazzle with colour, shiny steel and iridescent nightscapes, this a crime classic that set the bar for many to come after.

4. John Frankenheimer’s Ronin

This film is a lot of things; car chase flick, Cold War spy game, battlefield allegory, Agatha Christie style whodunit and yes, a heist flick too although the job itself is kind of just a McGuffin that initiates a deliriously fun Europe trotting action film that sees a rogues gallery of mercenaries for hire make their way from London to Nice in search of a suitcase whose contents are never revealed. Robert DeNiro, Stellan Skarsgard, Jonathan Pryce, Sean Bean, Jean Reno and Natascha McElhone are all on fire as dodgy rapscallions whose moral compasses, or lack thereof, are slowly revealed with each new turn of events.

3. Danny Boyle’s Trance

This film begins with a London art heist that is straightforward and takes place in our physical world and then delves into another one that takes place decidedly within in the mind to steal hidden information. Boyle’s best film kind of blindsides you as it progresses, exploring concepts of hypnotism, morality, psychological conditions and eventually even relationships, all existing around the theft of a painting whose whereabouts remain a tantalizing mystery. This is mature, unexpected, affecting, dynamic, trippy and altogether unique storytelling and is one of my favourite films of the past decade.

2. Steven Soderbergh’s Ocean’s Eleven

The rat pack got an update in this impossibly cool ensemble piece revolving around the complex, brazen and often hilarious heist of three Vegas casinos by veteran thief Danny Ocean (George Clooney) and his motley crew. The easygoing, laidback hum of Vegas is a relaxing atmosphere for Soderbergh & Co to make this breezy, brisk caper come alive and never outstay it’s welcome nor pass too fleetingly. The character work is sublime too, from Brad Pitt shovelling junk food in to his mouth in every scene to Bernie Mac causing HR drama to Carl Reiner masquerading as a middle eastern businessman and, my personal favourite, Elliott Gould as a fussy Jewish teddy bear of a casino kingpin.

1. Michael Mann’s Heat

Score two for Mann! This masterful LA crime saga is pretty much the granddaddy of heist flicks as bird of prey super-cop Al Pacino hunts down elusive master burglar Robert DeNiro in an expansive showdown that moves all over the city and has many players and moving parts. There’s a near mythological grandiosity to this film, as well as meticulous detail employed in all the ballsy scores taken on by DeNiro and in Pacino’s ruthless efforts to bring him down. From an explosive armoured car hijacking on the tangled LA overpass to one of the most spectacular bank robbery turned firefights and a moody, mournful final showdown this thing soars of wings of pure craftsmanship and aesthetic mastery.

Thanks for reading and stay tuned for more!

-Nate Hill

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ONCE UPON A TIME IN…2019

I have always been hesitant about writing in the first person when it comes to anything analytical, one thing instantly comes to mind; Robert Prosky in BROADCAST NEWS saying “who the hell cares what you think?” after watching William Hurt, a network anchor, say “and I think we’ll all sleep better tonight.” At the risk of sounding like a flippant fanboy (which I am), I think what I have to say about this topic, and this auteur, in particular, is important. When it comes to the minority of naysayers and torchbearering wokaholics, Quentin Tarantino and his latest and most seminal film, ONCE UPON A TIME IN…HOLLYWOOD has become an easy target. Violence against women, Margot Robbie doesn’t have enough lines, it glorifies toxic masculinity – no, no, and NO – the film surely does not.

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Tarantino is fundamentally important to me as not just a cinephile, but as a person. I wore out my used VHS copy of RESERVOIR DOGS when I was in middle school. My mother forbid me to watch it, and my Dad embraced it. One of the benefits of being a child of divorce. It was cool, sexy, violent, and overly masculine. It made me feel empowered yet cautious. Would I want to be a Reservoir Dog in a black suit and carrying a big gun? Kind of, yes. But did I really want to live that life, where less than one percent of that life is glorified in encapsulated moments on screen? No. No, I did not. Tarantino has a fanbase that isn’t so much a cult as it is an organized religion, and QT will always be our cinematic lord and savior.

My pallet of film was already starting to get diverse. My father brought me up on John Wayne and John Ford, Errol Flynn, Burt Lancaster, Gary Cooper, Martin Scorsese, Francis Ford Coppola, and my namesake, Frank Sinatra. My Mother’s contribution was ROCKY, TO KILL A MOCKING BIRD, INDIANA JONES, and STAR WARS. Then, I experienced Quentin Tarantino. It was that cool fucking name that introduced me to Harvey Keitel, John Travolta, Steeler’s Wheel, Harry Nilsson, Tim Roth, Michael Madsen, Sam Jackson, Uma Thurman, Dick Dale, Kool and the Gang, Robert Forster, The Delfonics, Pam Grier, Bridget Fonda, Michael Fassbender, Christoph Waltz, David Carradine, Michael Parks, Sid Haig, Larry Bishop, Ennio Morricone, Franco Nero, DJANGO – I would love to keep going, believe me, I really would, but you get the point.

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Not only were these musicians, films, and actors all put on my radar, so were genre pictures, and sub-genres. His films are not only an encyclopedia of all that, but also a chose your own adventure. After seeing ONCE UPON A TIME IN…HOLLYWOOD, I instantly ordered C.C. & COMPANY and THE ILLUSTRATED MAN and watched both instantly upon arrival. Anyone who knows me well knows that was an incredible feat I pulled off: watching a movie as soon as I bought it. Not only does Tarantino’s films make me feel good, they send me on a quest of an actor or band’s catalog and I immerse myself into everything I can in microbursts that send me to buy bootleg DVDs of Michael Parks’ movies on eBay, or scouring record stores for cassettes of The Delfonics.

Quentin Tarantino and everything he’s created, curated, and recommended – everything that is Quentin Tarantino is important to me. I hold him and everything that comes with him sacred. Which is why I was so deeply moved by the haunting beauty of ONCE UPON A TIME IN…HOLLYWOOD. Sure, it is a jovial bromance between a fading star and his stuntman, as well as portraying Sharon Tate as this beautiful showboat of purity and everything that was once good in the world, and revising the wrongs that history should have gotten right. There is a multitude of takeaways from this film, and that’s one of the reasons it so rewatchable and so fucking alluring. The film is an experience. You get immersed by it; you become lost in a place where there is no space and time.

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For me, the film plays like a Sam Peckinpah picture. Leonardo DiCaprio and Brad Pitt are two men who are coming to the realization that the world, their world, has progressed past them. There really isn’t a place for a fading TV star who fucked up his movie stardom, and his faithful, wife killing, war hero stuntman who is the epitome of loyal, who will stand by him when everyone else has abandoned him. And then there’s Margot Robbie as Sharon Tate, who is portrayed as a goddess of fertility and good, whose performance is ever more powerful because everyone knows her fate. The three of them have no place in the world anymore.

Are you the fading movie star who comes to the realization that his previous transgressions coupled with cultural advancements have left him as the bad guy on prime time tv? The one who doesn’t even know who he is? His phonies and insecurities have boiled to the surface, and he’s become a fragile and emotional being? Or are you the stuntman? The anthesis of stoicism; the rocksteady one who deals with problems on their own terms; right or wrong, it gets handled and the problem is over. Are you the one that carries the load? Does the heavy lifting?

This is not singular to men. These are two people that have broad strokes that encompass any individual and are as relatable as Bill and The Bride, and Jackie Brown and Max Cherry. Yet, the ending of the film, the saving of Sharon Tate elevates not just these two characters and the film, but Tarantino himself to a rung of uncertainty. Tarantino is surely an amalgam of both Rick Dalton and Cliff Booth, and one thing is for sure, he knows his days as a final cut artist are numbered. He’s become an artist without a means to an end. With the downfall of Harvey Weinstein, he became a filmmaker without a studio. The #MeToo movement had nearly dragged him down to the point of no return until he signed Leonardo DiCaprio, Brad Pitt, and Margot Robbie to his next picture after Sony beat all the other studios into submission over a bidding war for QT’s ninth film.

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Tarantino had always been a problematic filmmaker. His excessive use of the word “nigger”, he “glorified” violence and drug use; and then when THE HATEFUL EIGHT came out, to a hostile environment of the beginnings of Donald Trump’s America. Tarantino was caught in the crosshairs of the alt-left and their faux outrage over violence towards Jennifer Jason Leigh’s character (who was the villain, mind you) and cartoonish racism aimed at Sam Jackson’s character. If you stayed until the end of the movie, you’d find that the racist and the black guy come together to hang the evil bitch, coming together to serve not just justice, but retribution.

AND THEN Tarantino decided to march in a Black Lives Matter protest in New York City, that quickly eroded any support and counter support that he had from the “silent majority”. He was in a lose/lose situation. There was no way out of this. So what does he do? He crafts a fucking masterpiece that is ONCE UPON A TIME IN…HOLLYWOOD as not just an ode to the era, and himself, but to who he is as a filmmaker.

The Atlantic and The New Yorker and even Time Magazine, fucking TIME MAGAZINE, released half baked and lazy think pieces on Tarantino and how he’s “problematic” with the way he treats women. What those three analysis had in common is they had a lazy argument for a shit opinion. Tarantino loves women. LOVES women. Sure, some of his characters have hilarious demeaning deaths, but so do male characters. He has created bold and empowering female characters that are worshiped by both the world inside the film and the audience themselves. The Bride, O-Ren, Jackie Brown, Mia Wallace, Sharon Tate, Jungle Julia, Broomhilda, and Santanico Pandemonium are just a few.

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And while I can understand perspectives, and am empathetically in tune with how violence against women can be a breaking point for audience members, who the fuck are you, me, or anyone else to tell an artist what they can and cannot do with their own work? The world can be evil, ugly, and bad – and at times, art and artists are a direct reflection of that. At the time this “editorial” was written, Donald Trump is trying to buy Greenland, children are being taken from their families and locked in cages, and people are walking around carrying weapons designed for maximum carnage killing school kids, and mothers, and fathers, and friends, and neighbors, and lovers – and you want to use your corner of the internet and complain about Manson Family hippies getting torched and graphically killed? You’re not helping. At all. All your nuance is temporarily going to stick to the landing. Once we make it through and the pendulum swings back to a President who gives a fuck, then absolutely no one is going to give one single fuck that Brad Pitt broke the face of a hippie girl with a thirty-two ounce can of dog food.

Quentin Tarantino doesn’t make films for me, even though it feels that way for me, he doesn’t make them for you, and he sure as shit doesn’t make them to offend people’s delicate sensibilities; he does what any great artist does. He makes art for himself because he has to.

Eternity’s Music, Faint and Far: Nate’s Top Ten Time Travel Films

I love a good time travel film. There’s something so purely exciting about opening up your story’s narrative to the possibility, and once you do the potential is almost endless. From the mind stretching nature of paradoxically puzzling storylines to the sheer delight of seeing someone stranded in an era not their own and adjusting to the radical development, it’s a sub-genre that always has me first in line to buy tickets. Here are my personal top ten favourites:

10. Nicholas Meyer’s Time After Time

How’s this for a concept: H.G. Wells (Malcolm McDowell) chases Jack The Ripper (David Warner) around 1800’s London, through a time machine and all over 1970’s San Francisco. This is a brilliant little picture because as sensational as this high concept is, the filmmakers approach the story from a place of character and emotion rather than big style SciFi spectacle or action. McDowell plays Wells as a compassionate, non violent fellow while Warner’s Jack relishes in the ultra-violent nature of the time period. This is also the film where McDowell met Mary Steenburgen and shortly after they were married.

9. Rian Johnson’s Looper

Time travel gets monopolized by the mafia in this stunning futuristic tale that is so specifically high concept it requires a near constant expository voiceover from Joseph Gordon Levitt so we can keep up. Playing an assassin hunting his future self (Bruce Willis), this has a vaguely steam punk feel to it, an uncommonly intelligent and surprisingly emotional script as well as scene stealing work from Emily Blunt, Pierce Gagnon, Paul Dano and a scruffy Jeff Daniels.

8. Terry Gilliam’s Time Bandits

A young boy tags along on one hell of a epic adventure with a band of time travelling dwarves on the run from both the Devil (David Warner for the second time on this list, how nice) and God himself (Ralph Richardson). This is an exhilarating, lush example of what can be done with practical effects, from a giant walking out of the ocean to a Lego castle somewhere beyond time and space to a recreation of the Titanic. Not to mention the cast, which includes cameos from Gilliam’s Monty Python troupe regulars as well as Ian Holm, Shelley Duvall, Jim Broadbent and Sean Connery in several sly roles.

7. Robert Zemeckis’s Back To The Future

“Great Scott!!!!” Man, who doesn’t just love this film. It’s practically it’s own visual aesthetic these days, and spawned two fun sequels that couldn’t quite capture the enchantment found here. From scrappy antihero Marty McFly (Michael J. Fox) to demented genius Doc Brown (Christopher Lloyd) this just hits all the right notes and gets a little taboo in the process as we see what would happen if someone ended up in the past and got hit on by their own mom. Yikes!

6. The Spierig Brothers’s Predestination

The less you know about this tantalizing, twisty flick going in the better, except to know that it will fuck your mind into submission with its narrative. Ethan Hawke plays a rogue temporal agent who’s been pursuing a relentless terrorist through time since he can remember, and finally has a plan he think will work to end the chase. Featuring Noah ‘exposition in every other SciFi film’ Taylor and the sensational new talent Sarah Snook, this is not one to miss and you’ll need a few viewings to appreciate it fully .

5. Tony Scott’s Déjà Vu

Scott’s trademark visual aesthetic blesses this kinetic, elliptical story of secret FBI technology used by keen ATF agent Denzel Washington to find and stop a mad bomber (Jim Caviesel) who has already slaughtered hundreds in a riverboat explosion. Adam Goldberg and Val Kilmer are welcome as agency tech experts but the real heart of this film lies in Washington’s relationship to a survivor of the incidents (Paula Patton) and how that plays into the fascinating central premise that doesn’t start *out* as actual time travel but gradually becomes apparent.

4. Gregory Hoblit’s Frequency

A father son relationship is the beating heart of this tale of cop Jim Caviesel (again!) and his firefighter dad Dennis Quaid. They are able to communicate across a thirty year gulf of time and the barriers of death itself via a miraculous HAM radio and some pseudo science involving the aurora borealis. This provides an exciting, involving and heartbreaking dual experience as the son races to find ways to save his dad from several different grim fates and take down a nasty serial killer while he’s at it. This film has aged so well mostly due to the genuine emotion felt between the family including mom Elizabeth Mitchell. The yearning to escape perimeters of linear time and reconnect with passed loved ones is especially prescient for me nowadays days based on my own recent experiences and as such the film holds extra weight now. A classic.

3. James Cameron’s The Terminator

Artificial intelligence works out time travel for itself in Cameron’s ballistic gong show of an action classic that sees freedom fighter Michael Biehn, civilian turned survivor Linda Hamilton, homicidal cyborg Arnold Schwarzenegger and a few hundred short lived cops engaged in a bloody, brutal fight for the future. I picked this over the sequel because the notion of time travel in the saga overall feels freshest and most well worked out here, despite my love for T2 being just a smidge higher on the gauge. Perhaps it’s also because the excellent Biehn makes damn believable work of convincing us that he’s a weary, distraught soldier from a different era, and sells the concept with his beautiful performance.

2. John Maybury’s The Jacket

Hazy, experimental, haunting and atmospheric, this was not a critical hit and it’s chilly vibe is evidence of that, but beneath that there’s a heartfelt story of confused gulf war vet Jack Starks (Adrien Brody) trying to make sense of his shattered psyche while surviving a gnarly mental institution run by a madman with a god complex (Kris Kristofferson). Somewhere along the way he discovers he can jump through time and uses the phenomena to investigate his own death and prevent others from happening. Featuring a low key, emotional turn from Keira Knightley and fantastic supporting work from Daniel Craig, Kelly Lynch and Jennifer Jason Leigh, this is a harrowing psychological thriller that gradually reveals itself as a meditation on life, death and the realms in between.

1. Terry Gilliam’s Twelve Monkeys

Gilliam gets two on this list, lucky him! He deserves it though, this is a curious film with unbelievable production design, a deeply felt performance from Bruce Willis and one from Brad Pitt that kind of defies description and erases doubts of his immense talent from anyone’s mind. Willis is a convict sent back in time from a bleak future to discover how and why a deadly virus wiped out most of earth’s population and sent the rest into subterranean caves. It’s not the film you’d expect and the sad, eerie resolution at the end is something that will stick with you for a long time.

Once again thanks for reading! There’s many that didn’t make the list as it’s tough to just pick ten, but I’d love to hear some of your favourite time travel films!

-Nate Hill

Quentin Tarantino’s Once Upon A Time… In Hollywood

One time Robert Rodriguez asked pal Quentin Tarantino for advice on his Mariachi films and Quentin told him that if he was going to go for a third one it should be big, loud and be called Once Upon A Time In Mexico. This to me represents a certain decision in the career of any filmmaker to make a ‘Once Upon A Time’ in the sense that it is to be big, loud, lengthy, personal and something of a milestone, and I always wondered what Quentin’s ‘Once Upon A Time’ might, if ever, manifest as. Well it’s here, and let me tell you that Once Upon A Time… In Hollywood is the real fucking deal. It’s Tarantino’s best film since Kill Bill (in my humble but stubborn opinion) and a magnum opus of poetic justice, cartoonish buffoonery, horrific suspense, painstakingly beautiful production design, dirty fuckin’ hippies, pitchers full of margarita mix, a pit bull you’ll fall in love with instantly and enough meta moviemaking fanfare to send one into a coma of cinematic bliss.

It’s a western, a period piece, a borderline documentary at times, a buddy comedy, a horror film and more but at the centre of it Tarantino stashes a deep love and reverence for an era long past. I didn’t grow up in the 60’s, I wasn’t born yet but watching these old cars careen through the Hollywood hills at dusk, hearing the the gorgeous soundtrack, various meticulously chosen commercials and radio plays gently warble out from stereos and televisions and seeing neon billboards flare up all over town somehow just put me right there as if I’d lived through those decades. There’s a sense of idyllic innocence in Margot Robbie’s Sharon Tate, a hopeful force of good as we see a woman in the first lap of both life and her career, the world open in front of her like a red carpet. There’s also menace in the land as the evil, twisted Manson cult hovers over the fringes of town like a flock of banshees. Tarantino clearly has no love for these people, portraying them as trashy dumpster diving lunatics who live in putrefied squalor and come across as inbred jackals waiting to pounce. There’s a clear cut hatred for the acts perpetrated in our timeline by Manson’s followers, and a deliciously cathartic sense of righteous retribution in how the filmmaker acts out his own version of an event that for him changed the face of the city.

Brad Pitt and Leonardo Dicaprio are two mega movie stars who share the screen for the first time here, and they also get to share a bromance thats poignant and perfectly pitched in terms of comedy and tragedy. Dicaprio is Rick Dalton, a once dapper TV star whose jump into film has faltered, or at least it has in his own perception of himself. Pitt is Cliff Booth, his trusty stuntman, confidante and drinking buddy, an ice cool cowboy with a dangerous edge and uncanny way of getting in more sensational real life shenanigans than Rick does behind a camera. Their relationship is the core of the film and while we get to spend quite a bit of time with both together, much of the film we see them off doing their own thing. Rick has landed the bad guy of the week guest spot in a western called Lancer, struggling to keep his cool, remember his lines and stay on top. Cliff picks up a spooky hitchhiking chick (Margaret Qualley makes a stark impression) and makes a visit to the sinister Spahn movie ranch where the Manson brood have taken up roost like vultures. They make a trip to Rome so Rick can do a few spaghetti westerns that his agent (Al Pacino) keeps talking up. It’s a hangout film for much of the languid two hour and forty five minute runtime, and despite the lulls and chill time not a moment feels wasted. Pitt may well have whipped Tarantino’s best character, a kooky badass who is clearly dysfunctional on film sets but has his own hard edged set of morals that cause him to dish out western style justice at the drop of a hat, when he isn’t eating kraft dinner, hamming beers or feeding his adorable dog Brandy. Leo is insecure, melodramatic and neurotic no end, there’s a frustration and hilariously relatable self loathing that’s tamed in a touching encounter with a child actress (Julia Butters- a breakout star here) who befriends him and puts things into perspective.

Tarantino amasses a monumental cast here from cameos to clever impersonations and more, watch for Bruce Dern, Timothy Olyphant, Luke Perry, Michael Madsen, James Remar, Lena Dunham, Damon Herriman, Emile Hirsch, Damien Lewis, Austin Butler, Mike Moh, Maya Hawke, Victoria Pedretti, Danielle Harris, Scoot Mcnairy, Clifton Collins Jr, Marco Rodriguez, Dreama Walker, Rumer Willis, Spencer Garrett, Clu Galagar, Rebecca Gayheart, Martin Kove, Perla Haney Jardine (The Bride’s daughter in Kill Bill, no less), Zoe Bell and Kurt Russell. One standout is Dakota Fanning as a terrifyingly dead eyed Manson chick who tries admirably but unsuccessfully to intimidate Cliff. This could well be Tarantino’s best film, but really it’s hard to pick and why argue. It’s certainly his most eclectic, most personal and most human. Rick and Cliff seem born out of LA, out of Hollywood and out of the dreams of a man who grew up in cinema and went on to craft some of the most treasured films of the last thirty years. I feel like it’s my new favourite, and it’s tough for me to say why. I suppose it hauntingly captures a portrait of a different era almost in a fashion akin to time travel. He uses the ‘if we could only go back on time’ sentiment on the infamous Sharon Tate event and refashions it to something that although is no less violent, is not the tragedy everyone remembers. It’s a brilliant narrative, anchored and spurred by the chemistry that Rick and Cliff have together, the humour and humanity that each bring and sense of time and place like no other. Once Upon A Time in Hollywood… Quentin Tarantino made a film about an actor, his stunt double and the girl who lived next door, and it was something a masterpiece.

-Nate Hill

Chasing Tarantino: An Interview with Con Christopoulos by Kent Hill

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What price do you put on a dream? How much do you give, day after lonely day, on the steady climb toward that magical vision that no one else can see . . . but you? The truth is we all started that way. Then you learn that if you dream in one hand and crap in the other – one fills much quicker. The chances you are given dictate some of your rise, while luck, that iconic variable which many still refuse to acknowledge as an important player in their ensemble equaling in triumph, can also see you cross the finish line just as effectively. Being in the right place, at the right time.

Yet, the main forces that drive those with an obsession to see their dreams realized on film are hunger . . . and heart. So, I give to you the story of Con Christopoulos – a man whose relentless courage, determination and passion was at once inspiring, gravitating and above all, infectious. Con’s drive – the sheer pleasure that emotes from his lips while talking about the victories and defeats he has known along the path to unleashing his cinematic voice upon the world is simply staggering. I have seldom met others like myself – those faced with impossible odds and uncertain conditions in the seas before us as our voyage continues – that has exhibited so completely all of the pure exuberance and discipline required to see the journey through to that glorious moment, when the house lights dip, and the screen fills with all you have. The grand total of a life spent loving movies.

I first encountered Con when I saw a Facebook post and a video entitled Chasing Tarantino. I sat and watched in amazement as the man on the clip boldly declared, most convincingly I might add, that he had a truly captivating story and was desperately seeking passage into the halls of power, where the mighty QT might be sitting, idly waiting, for the next big thing. As intrigued as I was curious, I contacted Con and asked to read his opus. It was then he told me that he had pitched the idea to Australian genre-film legend Roger Ward. Ward had apparently warmed to the concept and said if the film ever materialized, he would be on board. After hearing this and reading the material I automatically thought of the great Ozploitation director, Brian Trenchard-Smith. I told Con I would attempt to reach out to Brian with the hopes he might at least have a glance at the treatment and offer some feedback.

To my delight he did just that. He was critical but constructive, as Brian always is, and it does one good to have notes from the masters. You move forward with a new sense of purpose and a rejuvenating feeling coursing through your body, fortified a little more before again breaking camp, trying once more to reach the summit.

It’s hard not be romantic about dreamers. They, after all, are responsible for some for the scintillating, sublime and stupendous visions and stories, music and magic – the stuff that keeps the cycle perpetuating. An inspired individual realizes his dream and shows it to the world. One or more members of the audience are so moved to action, ignited from within, that they then, in turn, devote their lives to such a pursuit.

This is the story of one such dreamer…

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Wolfgang Petersen’s Troy

What’s the first R rated film you ever saw in theatres? For me it was Wolfgang Petersen’s Troy, a gorgeous piece that has since stuck with me not just for the fact that it left a vivid, bloody impression on my young psyche but also because it’s quality filmmaking, no matter what anyone might tell you. Never mind the fact that Brad Pitt doesn’t quite fit the old world aesthetic or is out-acted by almost everyone in the film including the host of classically trained professionals he’s surrounded by. There is a lot to love here, starting with a narrative that is kind of not so common in big budget Hollywood; there are no real good guys or bad guys here, just people making decisions that lead to war. We witness compassion on both sides of the army, and cruelty too, but there are no clear cut heroes or tyrants, it’s all politics or emotion. This makes it pesky choosing who to root for but so much more fascinating once the swords start swinging and you have stock on either side.

Pitt may not have the accent down as mythical warrior Achilles but he sure gets a striking look going, streamlined physicality, epic spear throws and concise, satisfying sword fight choreography that he obviously put a lot of work into. Eric Bana is just as impressive as Trojan prince Hector, a rational, anti-war guy who resents his younger brother Paris (Orlando Bloom, wooden as ever) for basically screwing things up as badly as you possibly could. The romance between him and Helen (Diane Kruger, radiant) never feels authentic and definitely is not developed enough to start a war of this magnitude, but their relationships aren’t where we place out investment here anyways. It’s Hector, his princess (Saffron Burrows will break your heart) and their infant son as well as Achilles’s protectiveness over his cousin Patrocles (Garett Hedlund) that win over our emotions and make us care.

The siege on the beach of Troy is a nervous spectacle set up with anticipation in the air as a single bell rings out, signalling ships on the horizon. As spectacular as the war is cinematically I found myself wishing it wasn’t happening just because of the suffering inflicted on either side. It’s not a pleasant or glorious set of battles and no one really wins but rather comes to a collective bitter end, which is another unique factor here. Look at this cast they’ve assembled too, with bold turns from Sean Bean as Odysseus, Peter O’Toole as King Priam of Troy, Brendan Gleeson as the petulant king of Sparta and a loathsome, fantastic Brian Cox as the greedy warlord Agamemnon. Rose Byrne is soulful as the young Trojan priestess who serves as concubine to Achilles until he actually catches feels, and watch for James Cosmo, Tyler Mane, Julian Glover, Nigel Terry, Vincent Reagan and a quick cameo from the great Julie Christie, still beautiful as ever.

Petersen mounts an impressive production here, full of horses, ships, elaborate sets and gorgeous costumes, brought alive by James Horner’s restless, melancholy score. The set pieces are fantastic too, the best of which involves Pitt and Bana in a ruthless one on one fight to the death, each angry and lunging with sword and spear while their people look on, its well staged and genuinely suspenseful thanks to the hour plus of character building before. I couldn’t give a shit whether this is either historically accurate or follows the literature closely at all, that’s not the point for me in going into something like this. I want to see immersive, brutal battle scenes that thrill and I want an overarching story that makes me care about said battle, so every spear throw and image of carnage holds some weight beyond itself. Actors like Pitt, Bana, O’Toole, Reagan and especially Burrows sold me on it and had me legit worrying what will happen to them so that when the dust settles and the very tragic, depressing outcome is apparent, you are haunted by it after. It sure had that effect on me at age eleven or whenever. Great film.

-Nate Hill

Terry Gilliam’s Twelve Monkeys

There are films that sink in almost immediately after the credits roll, others that take some days or months to absorb, and then there are ones like Terry Gilliam’s Twelve Monkeys, which in my case has taken the years since I was a kid and first saw it to digest the whole experience. Not to say it’s an especially complex or dense story, I mean it’s twisty enough but can more or less be understood with one viewing if you’re keen. There’s just a certain emotional quality to everything, coupled with the hazy unreliability that Gilliam lays over his lead character’s state of mind, an atmosphere like that of a dream you had last night and are trying to remember right as it slips away, an idea which also literally figures into the plot.

Bruce Willis plays against his tough guy image as James Cole, a shellshocked time traveller sent from a dystopian future back to the 90’s to do some cosmic R&D and figure out how a mysterious super virus wiped out almost all of humanity, forcing the rest into subterranean catacombs. Time travel doesn’t seem to be an exact science for these folks though, as they repeatedly send him to the wrong era after which he’s dumped in a mental hospital where, naturally, no one believes who he really is. Or is he even who he thinks he is? Madeleine Stowe is Kathryn Reilly, the psychiatric anthropologist assigned to his case, and Brad Pitt in one demon of a performance plays terminal odd duck Jeffrey Goines, a man whose lunatic ramblings start to sound eerily on point. The mystery of the virus sort of takes a backseat to Willis’s journey through the past, present, future and all times in between, Gilliam loves taking pause to see how he interacts with the world around him and hold scenes for a while until we get a real sense of world building. The moment James hears music for the first time is a showstopper, and the way Willis handles it is not only one of his finest moments as an actor but also a showcase of the craft in itself. Stowe always radiates fierce beauty and compassion in her work, she’s a grounding force of reason and empathy here, while Pitt takes a hyped up Joker approach to his role that takes you off guard while constantly keeping you in the dark about who he really is, the guy says nothing while blurting out everything. Others dart in and out of their story, with appearances from Christopher Plummer, Frank Gorshin, Joseph McKenna, Jon Seda, Harry O’ Toole, LisaGay Hamilton, Christopher Meloni, Bart the Bear and a super creepy David Morse.

I love this film to bits, I think it’s Gilliam’s best work and is definitely my favourite, there is just so much going on both front n’ centre and in the background. It’s a thrilling adventure story, narratives about time travel are always my bag, but it also looks at Willis’s character from a careful psychological perspective. What would time travel do to someone’s state of mind, and how would they react in the long run. Themes of reality versus dreams and imagination are present, and a gnawing sense that it could all be made up. “Maybe you are just a carpet cleaning company and this is all in my head”, James laments through a payphone that transcends space time barriers. Gilliam certainly likes to play with notions of uncertainty and self doubt when it comes to the Sci-Fi aspects, and he isn’t afraid to boldly place in a hauntingly elliptical ending that doesn’t satisfy or resolve, and if anything lingers in our thoughts for a long while, like that elusive dream I mentioned above. Gilliam almost couldn’t get this film made, there were issues with everything from script to special effects to reported studio interference, but I thank the stars that it all worked out in the end, for it is his masterpiece.

-Nate Hill