Tag Archives: Brian Cox

Renny Harlin’s The Long Kiss Goodnight

If you’re suffering from a deficiency of satisfying action in your action movies (a common ailment these days) then Renny Harlin’s The Long Kiss Goodnight is just the pill. Harlin loves his practical combat scenes, death defying stunt work and blunt, frank violence without frenetic movement or trickery, and what he pulls off here is what the genre should be. Working from a screenplay by Shane Black, the pairing is kind of a delirious match made in heaven for fans of either artistic maverick. All of Black’s favourite motifs run amok here: stingingly funny verbal beatdowns, sharp and culturally aware characters, a Christmas setting, children in extreme danger, you name it. Geena Davis pulls a Jason Bourne as amnesiac schoolteacher and loving mother Samantha Cain, whose violent past comes back to haunt her in several ways when she discovers she’s actually a maladjusted CIA assassin named Charley Baltimore. The bad guys come fast and heavy at her, including perky Craig Bierko as a terrifying yet somehow hilarious sociopathic freak, David Morse as a vengeful former target and lovable Brian Cox as her dodgy ex handler. She’s aided by a fast talking, slightly seedy private investigator played memorably by Samuel L. Jackson, and the whole pack of them prance through this terrifically entertaining spy yarn with enthusiasm and old school Hollywood charm. The action scenes are so brazen and willfully cinematic they’re almost comical, but that’s Harlin and I love the guy to bits, the genre just wouldn’t be the same without him. The very first encounter Sam has with massive thug One Eyed Jack (Joseph McKenna) is showcase material, I’ve never seen a shotgun do to a wall what Renny stages here, but it works in fully charged, high comic book fashion. It’s popcorn bliss, a buddy flick, a mystery, a rollicking black comedy, a great spy flick and a treatise on what action films should be all about. Fucking great stuff. Chefs do that!

-Nate Hill

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The Glimmer Man

Steven Seagal, eh. The guy has had one rocky road of a career ranging from great stuff to wilful self parody to full on lazy garbage, but The Glimmer Man has to be one of my favourites, and one that doesn’t get mentioned too often. A spooky urban buddy cop flick, it sees Seagal as an esoteric NYC detective and Keenan Ivory Wayans as his more traditionalist partner, the two of them hunting down a ruthless serial killer nicknamed The Family Man. After they arrest and gun down a disturbed suspect (Stephen Tobolowsky is creepy as fuck) who seems like a surefire culprit, the case goes deeper and they uncover a net of corruption, cover ups and further villains including Johnny Strong, Bob Gunton and a smarmy Brian Cox, naturally named Mr. Smith. The dynamic between Seagal and Wayans works well enough, but what I really like is that this is less centred on constant action as with many Seagal flicks, and rather has a slower, sort of horror/thriller pace instead, with a neat ‘big city thriller meets big time killer’ vibe like Seven. The atmosphere is dark, hellish and free of any heavy camp too, just focused on producing a twisted, gory tale. Love Seagal’s jacket by the way, looks like he stole drapes from an old age home and stitched them up for new threads.

-Nate Hill

Gore Verbinski’s The Ring

I remember the first time I saw Gore Verbinski’s The Ring back when I was eleven; broad daylight, started it at like ten in the morning, and got so scared I almost refused leave the house to go to the beach later with my family. Some films just stay with you if you see them at an impressionable age, and no matter how desensitized and thick skinned you get as your life goes on, you never lose at least a modicum of the raw terror you felt back then (don’t even get me started on The Grudge). Couple that with how beautifully dark the mood and aura of this film is thanks to nocturnally themed cinematography by Bojan Bazelli that turns Seattle and the surrounding rural areas into an eerie ghost playground, and you get something wholly memorable. By now the story is iconic; Naomi Watts plays a forlorn investigative journalist scoping out an urban legend in which people die seven days after they view a videotape apparently showing an experimental student film, which is tied to the backstory of the mysterious Samara (Daveigh Chase) a young girl with unholy supernatural tendencies. Edited together with a grainy VHS aesthetic contrasted by clearly lit, distinct nature and skyline shots, Verbinski gives the film an unmistakable visual element. co-starring talent is also provided by Martin Henderson, David Dorfman, Rachael Bella, Amber Tamblyn, Jane Alexander, Adam Brody and a haunting Brian Cox as Samara’s disconcerted father. I’m not sure how the plot mechanics of the original Japanese film play out, but here they make a wise choice by never divulging exactly *what* is wrong with Samara, just that there is something severely off about her, and it’s that ambiguity combined with Chase’s eerie waif performance that make the character so memorable. Everyone shits their pants at the infamous television scene, but for me the ultimate scare resides in the almost unbearably suspenseful opening prologue, and the quick, blood freezing scene of the aftermath, I’ll never quite be the same after seeing a certain expression on a certain girl’s face. A dime-piece of a fright flick, a fine piece of filmmaking and a horror classic.

-Nate Hill

Broken Lizard’s Super Troopers 2

Broken Lizard’s Super Troopers 2 has the monumental task of being one of those sequels that comes around so far after the fact that it has to do something different than it did the first time around. It does that. It also has to live up to fan expectations without just retreading all the same paths and taking the easy, self derivative route. It also does that, and quite successfully too. I’ll just clear the air: I loved it, I thought it was a fucking blast, and hit all the right notes you’d expect and wish for. It’s different than the first, amping up the rowdy, maniacal tone even further and going for broke, but never exhausting itself or getting too shrill. It’s been a good long while since the first, and the gang has naturally managed to get themselves fired from their Vermont city cop gigs following an incident involving Fred Savage, who I only know as the mole guy from Goldmember. The main event here is the discovery that a small Canadian town is actually on American soil, so the Vermont governor (Wonder Woman) hires crusty Captain O’Hagen (Brian Cox, having as much of not more fun than he did the first round) to rally his troops and oversee the transfer of power, which includes a trio of buffoonish Mounties (Will Sasso, Hayes Mcarthur and Vancouver’s own Tyler Labine), a manic Rob Lowe, sexy Emanuelle Chriqui, a rogue grizzly bear, copious amounts of narcotics, throwbacks to jokes from the first that actually work, endless jabs at the metric system and all manner of… shenanigans. I think us Canadians can get an extra kick out of it seeing ourselves represented in the most hilarious, over the top fashion you can imagine, exaggerated accents and all. The three Mounties have a demented running joke regarding Danny DeVito that had me choking on my beer. Rob Lowe has an inspired gift for comedy and sending up his own image, his casting here was a brilliant move. As for Rabbit, Ramathorn, Foster, O’Hagen, Mac and ever ridiculous Farva, I got both misty eyed and nostalgic seeing them raising hell, causing shit and being the beloved idiots we remember so fondly, back to give us second helpings of their consistently funny, always surprising brand of eclectic humour. There’s a couple priceless cameos in the prologue that I won’t spoil but I’ll say that it was awesome to see ma boy Clifton “Whup ass fajitas” Collins Jr. show up in the Broken Lizard multiverse. It amazes me that they’d even need to crowdfund something by this troupe, because from the first Troopers flick to Beerfest to The Slammin Salmon, these guys are just riotous and some of my favourite comedic filmmakers in action these days, I really hope this skyrockets them to the big leagues once again.

-Nate Hill

Encore’s The Take 


If you’re like me and were a fan of Tom Hardy before he blew up on the front page of Hollywood (I’ll willingly don the hipster mantle for certain areas of film), you’ll know about The Take, a brutal British produced miniseries chronicling the fall from grace of a severely dysfunctional London crime family. Hardy is Freddie, a sociopathic freak fresh out of the joint and ready to wreck havoc whilst the clan’s nasty patriarch (Brian Cox, never not a scene stealer) remains locked up. Freddie’s younger, more timid brother Jimmy (Shaun Evans) gears up to seize the reins of the ol’ family business, but the biggest obstacle in his path is Freddie, who seems intent on soaring down a violent path of self destructive, damaging behaviour, lashing out at friends, enemies and even family until the whole deal resembles some Macbeth-esque family showdown. Their two respective wives (Charlotte Riley and Kiersten Wareing are pure dynamite) get caught up on this unholy mess and it soon becomes clear that no one will make it out on top. It’s a nihilistic piece that exists seemingly as a dark, misanthropic soap opera or an instruction manual on how to fuck up everything in one’s life, and in that luridness it succeeds brilliantly. Hardy showed continuous sparks of budding talent early in his career, and his work here rivals even that of his heralded turns these days, his Freddie is truly a rotten bastard and a sadistic no good monster who brings death to all around him. A beatdown and a half of a watch, but worth it for lovers of tough, thoroughly downbeat crime television. 

-Nate Hill

Mindscape: Anna 


Mindscape, given the less tantalizing title ‘Anna’ upon release, is a thinking person’s thriller, and perhaps a little bit too much so. In the near future, or perhaps some alternate reality, some humans have evolved into pseudo clairvoyants who can enter the memories of other people and interact with their subjects within them. This talent has been trademarked by law enforcement, who employ ‘memory detectives’ to psychologically resolve conflict or retrieve otherwise out of reach information. Mark Strong is one such man, but his talents have dimmed a bit following the deaths of his family and a crippling stroke. Hauled out of retirement by his former boss (Brian Cox, sly as ever), he finds himself tasked with navigating the labyrinthine mind of Anna (Taissa Farmiga) a girl accused of murder and deemed a potential sociopath pending diagnosis. The film is deliberately dense and elliptical, not standard Hollywood fare at all, which is nice to see, but it also trips just a little bit on its own cognitive aspirations, especially in the third act. It’s one of those pieces that’s less like The Cell, and more like Vanilla Sky or Danny Boyle’s Trance (two absolute favourites of mine) where so much of the story wades through muddy mindgames that at a certain point we think to ourselves ‘well who’s to say if any of this is actually real if it’s gotten so complex’, and indeed it’s very difficult to piece together what has transpired here, especially with a conclusion that would require multiple viewings to even get an inkling. It’s stylish as all hell though, given a clinical, steely grey palette punctuated by flourishes of startling red to show the capacity for violence lurking just out of sight within the opaque and enigmatic human psyche. The acting is top tier as well; Strong is reliably committed and intense, Farmiga is deeply disconcerting as the most fascinating and ambiguous character, showing blossoming talent that I look forward to seeing more of, while Cox steals his scenes as per usual. The film trips over itself a few times and like I said, overly convoluted, but it’s one mesmerizing effort for the most part, albeit after a second or third viewing. 

-Nate Hill

The Autopsy Of Jane Doe


The Autopsy Of Jane Doe almost gets the formula right, which is good enough in an industry just packed with lacklustre horror, but it still doesn’t have the juice to be considered a classic. Near the end it kind of derails a bit and throws some cheap scares and a touch of illogical plotting our way, but the effort put in is better than that as a whole, so it wast tough to forgive. One thing it nails is an atmosphere of dread. Picture this: two coroners, a father (Brian Cox) and son (Emile Hirsch, who’s been MIA for awhile) are working late, in the calm before a very large storm set to batter their town. The local sheriff (Roose Bolton from Game Of Thrones, who’s real name escapes me), has brought in a stiff, an unidentifiable dead girl who perished under, shall we say, odd conditions. As the pair of them work into the night, strange things begin to happen, and a sense of unease, directly related to the corpse, begins to grow. It’s apparent that the body has some freaky secrets which are now wreaking havoc all over the morgue, causing quite the hellish night for Cox and Hirsch. What a scenario, eh? They milk it for all it’s worth, and come up with something pretty effective. Cox can pretty much play anything perfectly, and his slide from stalwart mortuary expert to frenzied self preservation mode is quite impressive. There’s some genuinely blood freezing moments of terror as well, the isolation, creepy morgue drawers, bumps in the night and overall malevolence hanging in the air to provide that wicked atmosphere. It’s just when things get a bit hectic near the end it loses some of the magic, feeling like something a little cheaper and run of the mill. For the most part though, this one is a prime spine tingler and one of the best horror efforts so far this year.

-Nate Hill