Tag: comic book

The King has risen: A Joyous Appraisal of AQUAMAN

by Kent Hill, posted in Film Review

Now the dude in the video above isn’t singing about the movie I caught today (and I’m not denying the fact that that is a damn tasty burger he has there) but his song along in the words of the film’s charismatic lead: “That was awesome,” is kinda how I feel right now.  Yes folks, despite any negative press you’ve heard, read, whatever – Aquaman is a feast – a thrilling adventure that really transported me. Not merely into the sumptuous and glorious undersea kingdoms created by the filmmakers involved – but back to the fun, exuberant times I ‘used’ to have at the movies – before the dark clouds engulfed us, trapping us in the forgotten seas where the dark creatures of the trench started forcing us to feed on one franchise after the next. Dark, moody, brooding, shit. That is not the joy I remember in that magnificent dark place we call the cinema – where worlds merge and the magnitude of the movie-maker’s vision takes me into it’s care, placing me, willingly, under it’s spell.

What a spell indeed, let me tell you. James Wan had me when I read his response to a question regarding the tone of Aquaman: “I’m a film fan, I’m a product of the 1980s and 1990s, and a lot of people have said that  Aquaman has a very 1980s quality to it. Especially the high-fantasy of the 1980s, like Flash Gordon and Krull.”

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Flash Gordon meets Krull! Vibrant, fantastical, magical world building on a big canvas. I don’t chiefly give to much of a fiddler’s fart about the MCU or the DCEU and their never ending cavalcade of chicanery, but, when I read Wan’s response to that question I was, hands down, not missing this picture. And it’s become a common phrase of late – “see it on the biggest screen possible” – but, meh, they’re right. Aquaman is a big picture, so that’s the best advice I can give.

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The cast are wonderful in their parts, and I get the feeling they understand the kind of ride they’re crafting. The exposition is fluid like the oceans that dominate the movie. You feel carried along on a current if excitement and wonder as the story advances. But, one the best parts truly, in terms of constructing this film which Wan did so masterfully, is that he simply shunned the Marvel formula of tying it together with all that has come before – a line of dialogue sorted that out. It’s a freeing maneuver that allows this exciting director to do what he does best, which is to flex is visual muscles and take us into a world that makes anything James Cameron has done thus far seem a little flaccid. The production design, the gliding camera, the effortless action. Oh my God – I love it.

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Momoa brings a grand juxtaposition of the boy unwilling to take up his trident, mixed with a guy just playin’ it cool. His nonchalant approach is great, and I caught myself smiling at his delivery more than once. He is supported by strong players all. Patrick Wilson’s power-mad dictator, Dolph Lundgren on his seahorse (sorry, sea dragon). Willem Dafoe, always dependable, Nicole Kidman, getting better with age (love that fish suit), Amber Heard, feisty-sexy, badass Black Manta and hell, his dad is Jake ‘the Muss’ for Christ’s sake – and he can drink Fishman under the table.

It’s a whale of a tale I tell you lads, a whale of a tale that’s true. ‘Bout the flappin’ fish and a mother’s love – stoppin’ a deep sea war with the shores above. I’d swear by my tattoo if I had one but put simply – scintillating, sensational, spectacular. Home might be calling, but they’ll need to leave a message ’cause I’ll be out . . . watching Aquaman . . . again. GO SEE IT NOW!

As always, dig your movies . . .

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That Dude in the Audience.

The Return of The Return of Swamp Thing: An Interview with Jim Wynorski by Kent Hill

by Kent Hill, posted in Interviews

 

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Jim Wynorski is the man I want to be when I grow up. He is a sharp, prolific, terrific guy that doesn’t suffer fools and makes movies ’cause that’s what he loves – and that’s what he does best.

He has made over one hundred films, directed my beloved Deathstalker 2, and even written a foreword for my tribute/homage DS2 book Sword Dude 2 . He is a top bloke, as we say Down Under, and it had been a while since we last spoke ( for our chat on Deathstalker 2 click here: https://podcastingthemsoftly.com/2016/11/15/is-that-your-first-name-or-your-last-name-remembering-deathstalker-2-with-jim-wynorski-by-kent-hill/ ), so when I heard about the glorious reissue of Jim’s The Return of Swamp Thing I took a chance and phoned up this perpetually active filmmaker to see if he could spare the time to talk about the release.

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Thanks to my much improved recording setup, this time there is no transcription. This time you get to hear the man himself, and listen in as I touch base and hopefully convince a couple of you to check out the fantastic re-release of the awesomeness that is Wynorski’s  take on the comic that he loves.

THE RETURN OF SWAMP THING, Dick Durock, 1989, (c)Millimeter Films
THE RETURN OF SWAMP THING, Heather Locklear (second from right), 1989, (c)Millimeter Films
Actors Daniel Emery Taylor and RonReaco Lee on set for the movie “The Return of Swamp Thing” in 1989. (Photo by Michael Ochs Archives/Getty Images)

The ever candid Jim always has surprises for me when we talk. Sadly some of the cool news he tells me I can’t share – it’s a for-my-ears-only kinda deal – but fear not, he does deliver many a splendid anecdote.

(GET THE DVD https://www.amazon.com/Return-Swamp-2-Disc-Special-Blu-ray/dp/B0791TR1S5 AND THE SOUNDTRACK https://www.amazon.com/Return-Original-Motion-Picture-Soundtrack/dp/B07FHLZZFQ/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1533815456&sr=8-2&keywords=RETURN+OF+SWAMP+THING+SOUNDTRACK&dpID=61ZcXsCkJ1L&preST=_SX342_QL70_&dpSrc=srch)

Long before Marvel and DC dominated the popular consciousness, Jim Wynorski was directing a DC movie. Before we see the proposed, rehashed series spearheaded by Aquaman’s Jamie Wan, take a trip back to the sweaty swamp and see Dick Durock – the original and still the best – rise from the murky depths and fight evil mutants, seduce Heather Locklear and give the thumbs up. The return of The Return of Swamp Thing…

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SWORDDUDECOV

https://www.amazon.com/Sword-Dude-2/dp/B07G4L9J3P

Deadpool 2

by natewatchescoolmovies, posted in Film Review

Deadpool 2 does what any great sequel should do: blasts the first one out of the water. Well, kind of. In terms of quality and fun, it’s *as* brilliant as the first and manages to capture that scrappy, irreverent charisma once again. Where it excels over the first is what’s built onto that blueprint and improved upon, namely a way better villain than that Jason Statham knockoff they had the first time around. Although not as developed as he could be, Josh Brolin’s Cable is a formidable, aesthetically slick presence that calls to mind Arnie’s T-101 subtly, while giving the actor room to bounce and banter with Wade Wilson. As for the Merc? He’s funnier, sadder and more larger than life in this one, his rampantly raunchy sense of humour made even more so by intense personal tragedy. One of the key assets of this story is an ironic romantic heart amidst the glib antics, and that wisely gets played up here; Wade is a badly hurt guy in more ways than just physical, and as Cable dryly points out, he uses humour to mask inner pain (reminds me of me). That’s the core of what makes him so relatable and engaging, and by now Reynolds is so good at playing this role he should get a fifty picture deal. The plot here is admittedly thin, but in such a ramshackle narrative packed with supporting characters and gags both visual and otherwise, that’s understandable. The best running joke involves Wade & Co. recruiting a short lived mutant team that includes Bill ‘Pennywise’ Skarsgard, Terry Crews and a cameo so quick and hilarious I won’t spoil the fun, but keep your eyes peeled for The Vanisher’s split second closeup. They don’t last long though and not since MacGruber have I witnessed wanton, hysterical negligence and ineptitude in friendly fire casualties. Deadpool stands out because it broke the mold of nearly all superhero films to come before; its R rating allows it t have the kind of unbridled fun that the genre should have sparked from day one. The first film pioneered a very specific brand of mischief and debauchery.. this one takes the concept and runs with it and the results are pure summer movie bliss.

-Nate Hill

The Day of Reckoning: An Interview with Andrew David Barker by Kent Hill

by Kent Hill, posted in Interviews

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Andrew David Barker was born in Derby, England in 1975. He grew up with a love of films and writing. I suppose this is a common thread among those of us who seek to express ourselves through these mediums. Hoping against hope that it will be either one or the other that strikes first – one or the other that shall propel us out of obscurity and into the stratosphere in which we are allowed to create for a living.

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It was horror films (the Video Nasties), but also the bombastic, high concept and blockbuster works of the 80’s that further fueled the young Barker to carry on his quest. Spielberg, Lucas and Scorsese, but also Romero and Raimi fed him with images and blasted on the big screen the seemingly endless possibilities which lay in wait, destined to be unearthed by the daring dreamer.

Like all those that had come before, young Barker cut his teeth making short films and writing books and short stories – at times with friends. Then the time came – the time which calls to the fledgling auteurs and beckons them into the fray – time to put all accumulated knowledge to the test, and make that first film.

Thus A Reckoning was born. But through no fault of his own, young Barker was forced to sit by and see his film languish in obscurity. So, he took up the pen, and began to tell his stories on the printed page. Soon, he produced two fine works (see pictured above) and interest from the film industry power brokers soon came knocking.

Andrew is an eclectic storyteller whose visions are at once personal and profound. To talk to him about his journey, his influences and aspirations was a thrill. He is definitely a talent to watch, and, I for one, will be watching with great anticipation as to where his journey will take him next.

HE IS NED: An Interview with Max Myint by Kent Hill

by Kent Hill, posted in Interviews

2015 was the year. I was in Brisbane, Queensland, Australia at our version of San Diego’s Comic Con: SuperNova. I was there peddling my books but, in the booth next to mine, something amazing was afoot.

Max Myint & Yuu Matsuyama
Zachary Smith-Cameron

A giant banner held the image of the famous, or perhaps infamous Australian bush-ranger Ned Kelly; transformed and repackaged as vigilante, looking battle-damaged and bad-ass holding the severed head of a zombie in one hand and a loaded pistol in the other.

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That image invoked more than history and cultural iconography. It spoke to me as a concept so simple, yet compellingly cinematic. He is one of our country’s most treasured pieces from the past in a fresh guise and pitted against a dark, futuristic dystopia where the undead have evolved and formed a society in which humanity is not only a minority, but is being systematically wiped out.

Max Myint leads the creative team, spearheading, if you will, the rise of this epic saga of the man called Ned. A talented writer, sculptor and world-builder, the gutsy, gritty dark realm that he has helped usher in is about to explode on November 10. In the midst of the stench of rotting flesh and the searing of metal is something that commands attention. I for one can’t wait to see Ned’s rise and rise continue, and Max and his talented team blast this thing out into the masses . . . and watch it catch fire.

The living have surrendered…

Except for one man…

They call him Ned!

https://www.facebook.com/Iamnedcomic/

https://podcastingthemsoftly.com/2016/08/04/not-yet-a-major-motion-picture-but-hopefully-one-day-an-interview-wit-the-creators-of-the-man-they-call-ned-by-kent-hill/

Out of the Shallows: An Interview with Sandy Collora by Kent Hill

by Kent Hill, posted in Interviews
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“Why weren’t you in the pros making stacks of cash and getting your toes licked by beautiful women?”

This line of dialogue from Shyamalan’s Signs always springs to mind when I think of the man and the career of Sandy Collora – and I told him as much. I have watched as filmmakers of lesser skill, passion and moxie rise and rise again with relative ease through the ranks of the Hollywood system.

But, while it boggles the mind as to why a man of Sandy’s talent has thus far been denied a shot to bring his truly awesome visions to fruition – his career has not been without triumphs. He has worked on some truly cool pictures like The Abyss, The Crow and Men in Black; along the way enjoying the benefits and encouraging tutelage of such luminaries like Stan Winston and Henri Alvarez.

Then came that little fan film you may have heard of, Batman: Dead End. Not only was it a game-changer, but it was also a life-changer, propelling Sandy into a league of his own and catapulting him toward the attention of the Hollywood players.

I referred to this period as Sandy being romanced by the industry. He refers to it differently. But he concedes that mistakes where made, and what might have been is anyone’s guess had he played the game by their rules.

Still the testament of all great artists that we applaud still, no matter the length of time it has been since they delivered unto the world their masterworks, is a resolve born of (in some ways) uncompromising vision and unshakable self-confidence. And, while Sandy freely admits the art of compromise will be necessary, if he hopes to realize his works on a larger scale, he (I hope) shall not lower his standards below that which work of his quality richly deserves.

Hunter Prey gave us a taste of feature-length Collora, and now he is at it again with his dynamic and compelling short, Shallow Water.

A new beast emerges, and with it comes the prospect of the reawakening of a genre made famous by its creatures like Alien and the Predator. It also marks the opening of another door for Sandy to, at last, the big time – a place in which he has fought hard to attain and worked tirelessly to offer some exuberance and, no doubt, something extraordinary.

There are so many great stories of great stories that have been a part of the life and cinema of Sandy Collora. I encourage you to check out the link below; find yourself a copy of, not only his incredible art books, movies and merchandise, but also the inspiring documentary: Behind the Mask.

Grand adventures, heartbreaking turmoil; this is the agony and the ecstasy, but also the the wisdom and the wonderment of the Collora cinematic universe. Dear listeners, it is my pleasure to present . . . Sandy Collora.

VISIT SANDY’S OFFICIAL SITE:

http://montaukstudios.com/

AND DON’T FORGET:

https://www.youtube.com/watch?v=TBSm6ZDY7n0

James Gunn’s Guardians Of The Galaxy Volume 2

by natewatchescoolmovies, posted in Film Review


James Gunn’s Guardians Of The Galaxy Volume 2, I’m happy to report, blows the first film right out of the water. There’s a subversive, wonderfully sarcastic sense of humour running through both films, as well as a boundlessly creative and colourful canvas of ideas both big and small, coalescing into something just this side of chaos. Picture a stick of dynamite; Volume one is the fuse, fizzling terrifically as it gets off to a great start. In many franchises, by the time the first film uses up the wick and reaches the stick, it’s sequel, the energy is lost and we end up with a dud of a follow-up. Not this baby. Volume two is the stick of dynamite, exploding gloriously across our screens in fits of dazzling imagination, humour that doesn’t quit for a nanosecond and the heart to back it up. Volume one dipped its toe in the water and showed us the roots of what a great space opera might look like, and volume two plunges in to give us just that. We rejoin with the merry band of misfits who now know each other a little better, are more comfortable working as a unit, and blast off into a tale of space battles, living planets and perpetual banter. Chris Pratt’s Star Lord, equipped with a brand new eight track collection of vintage pop songs, is still searching for his real dad when he kind of finds him by accident in the form of Ego, a powerful celestial being slyly played by Kurt Russell. Joining him are the gang we know and love, broccoli hued babe Gamora (Zoe Saldana), deadpan Drax (Dave Bautista outdoes himself in the comic relief department, a true highlight) Rocket (Bradley Cooper, excellent), scowling smurfette Nebula (Karen Gillian), adorable Baby Groot (Vin Diesel, collecting a mortgage-eclipsing paycheque for literally doing nothing) and antihero Yondu (Michael Rooker). Rooker gets far, far more to do here than he did the second time around, becoming a fleshed out character with a terrific arc and a whole pile of scenes, a strong asset to the film. The villain here is way more compelling than Lee Pace’s silly space vampire in Volume One, and I won’t spoil anything but there’s more than a few surprises. Kurt Russell’s living planet is pure delicious eye candy, a vista to rival anything in Star Wars, Mass Effect or similar worlds, detailed and lovingly rendered. As per usual there are cameos, but surprisingly it’s more than the obligatory laundry list of Where’s Waldo fellow Marvel appearances. There are truly inspired name drops here and a few genre titans who show up, none of whom I’ll give away except Sylvester Stallone. He’s given an unassuming supporting role that he plays solidly without tongue in cheek or any hint of a gimmick, just an enjoyable little addition to the cast. James Gunn is a cinematic punk, cracking prudence right in the jaw, throwing caution to the wind and tirelessly churning out the kind of fresh, funny and irreverent films we want to see, scrappy crowd pleasers that people will actually remember, which lord knows is what Marvel needs to shake up their sometimes complacent, too comfortable aesthetic. The soundtrack is obviously a winner, and any film that uses Fleetwood Mac’s The Chain as its main cue has pretty much already won me over. This will probably be the cornerstone of summer blockbuster season, it’s just too much fun and has everything you’d want, with the dial cranked just past what we got the first time around in the best way possible. I am Groot. 

-Nate Hill

Guillermo Del Toro’s Hellboy: A Review by Nate Hill

by natewatchescoolmovies, posted in Film Review

  

Guillermo Del Toro’s two Hellboy films are a wildly different pair, both incredible thrill rides and well worth anyone’s time, but I think I will always prefer the first. With the second he took the Pan’s Labyrinth approach, presenting a fairy tale world and showcasing makeup effects that were very similar to that film, an esoteric and elemental vibe. There’s just something about the Lovecraftian, steam punk WWII aesthetic of the first that works better for me, and seems to fit our red pigmented protagonist a little more. These films would be nothing without the essential and hard won casting of Ron Perlman, though. He brings a lively vitality, hulking physicality (he fits the part even before the prosthetics go on) and loveable sarcasm, and when you see him in action there is really no other actor you could envision bringing this character to life. It’s laughable to think that Del Toro fought the studio for years to get Ron in the role, turning down the likes of Vin Diesel and Nic Cage (what in the actual fuck were they thinking), not compromising for a second, knowing the film he wanted to make. Well, Ron got cast in the end, as we now know, and he’s not so much playing Hellboy, he just is Hellboy, he’s that perfect for the role. When he’s backed up by Del Toro’s near godlike creativity and imagination (the two partner on projects frequently and it’s genius every time), you get a piece of comic book escapism as exciting and adventurous as this. Hellboy was the result of a nazi experiment gone wrong, in which certifiable nut job Grigori Rasputin (freaky deaky Karel Roden) and his minions open a portal to a dark universe, in attempt to summon forth anything that could turn the tides of war (not the brightest idea, if you ask me), and instead out crawls infant Hellboy, a cranky crimson imp with a big stone appendage and an attitude to match. Kindly professor Trevor Broom (John Hurt) raises the creature to be a force of good and protection for our world, and soon enough he grows into eight foot tall, wise ass, cigar chomping, ass kicking Ron Perlman, now a valuable and formidable asset to the Bureau of Paranormal Research and Defense, an order who strives to keep the darkness at bay. Joined by his on and off flame Liz Sherman (pun intended, as she’s literally a firestarter), Professor Broom, rookie agent Meyers (Rupert Evans) and humanoid swamp thing Abraham Sapien (Doug Jones, dubbed out with David Hyde Pierce), he sets out to shield New York, the planet and the universe from Rasputin, who has returned with notions of finishing the cataclysmic work he started decades ago. The action is propulsive and rousing, initially in NYC streets and subway tunnels, and then in a far off arctic locale where a gateway to some dark dimension opens once more and a suspiciously Cthlhu esque deity of destruction peers out. Del Toro has stated before that he prefers to think of his work as ‘eye protein’ rather than eye candy. Well, call it what you will, his films are nothing short of dazzling on all levels, and Hellboy is no exception. There’s visual splendour in every frame, from the painstaking costumes, makeup and props (Perlman has a great big gun for that great big hand), to the production design and seamless computer wizardry, the world we see onscreen is immersive and entertaining for the entire journey. Roden makes a frothing madman out of Rasputin, always nailing the villain when he shows up, and stopping said show here with his theatrical and baroque insanity. My favourite has to be Kroenen though, a sharply dressed, mute nazi assassin with a face only a mother could love and a set of knives you’d be foolish to get in the way of. He’s an inspired and truly creepy villain that sets the apocalyptic dial on the highest setting when he shows up. Jeffrey Tambor provides additional comic relief as the long suffering suit who serves as the face of PR for the bureau, and props to Brian Steele as Sammael, a seriously pissed off demon set loose by Rasputin in the city streets, leading to one blockbuster of an action sequence. As far as comic book films go, this is a gold standard of filmmaking, world building and good old fashioned storytelling, all of which Del Toro is a master at. It wouldn’t have been the same without him, without Perlman and especially without the magic that happens when they work together. 

Dredd: A Review By Nate Hill

by natewatchescoolmovies, posted in Film Review

  

After the floundering absurdity that was 1995’s Judge Dredd left a nasty taste in the collective mouths of fans, all wen quiet on the cinematic front of Dredd for nearly two decades (I call it the Batman & Robin effect). The clouds parted though, and we finally got one streamlined masterpiece of a flick with 2013’s Dredd. Not only is it achingly faithful to the comics right down to Dredd never removing his helmet, but it stands as one of the ballsiest and well made action pictures in recent years. It’s never overstuffed or busy, takes the violence seriously, has genuine suspense, a bone deep and super tough performance from a grizzled Karl Urban, a sexy, no nonsense villain and the best original score of 2013 by a country mile. Not too mention it’s atmospherics, which are helped by said score of course, to create a sonic mood board of post apocalyptic ruin and urban rot. Dredd is part of an elite department called the Judges, who roam the smoky desolation of Mega City One and act as judge, jury and executioner wherever they see fit. Dredd is a trigger happy juggernaut with no use for scum or criminals and has not a qualm with taking them out like the trash they are, often in brutal, bloody and uncompromising ways. On day he’s partnered up with judge in training Cassandra (Olivia Thirlby, perfect), a rookie with blossoming telepathic abilities. A routine call leads them to a gargantuan Mega Block tower called Peach Trees, a sting irony once we see the rampant squalor inside. This tower happens to be controlled by the fiercest criminal overlord in town, Ma Ma, played by a purring, lethal and altogether terrifying Lena Headey. Her tactics go beyond barbaric and she’s sitting on the manufacturing of a drug called Slo Mo, which makes the users feel like time is passing at one percent it’s normal rate (a gold mine for setting up a scene visually). Ma Ma locks down the tower as the two judges arrive, and decrees that she wants them dead. Now it’s a visceral fight for survival against her armies of thugs and miscreants, and a slow ascent towards her penthouse lair, for Dredd to finish her off. The whole film takes place in Peach Trees, so it’s a self contained, one location affair, and a goddamn knockout of a movie. There are R rated films that dabble in violence a bit and barely earn their stripes, and then there are R rated films that leap at the chance to show people dying six ways to Sunday. Dredd absolutely decimates Ma Ma’s armies in high style and often in super slow motion as they face him while they’re high. The slo mo never feels tacky, but has a tactile richness and fluidity that makes the inflicted carnage so satisfying as it unfolds. The score by Paul Leonard Morgan is an uproarious rallying call that drives forward constantly, charging out of the gate in the opening minute as Dredd pursues a van down the highway on his thundering motorbike, and pummelling each scene with heart stopping force until it mellows out for an eerie passage called ‘Ma Ma’s Requiem’ which is my favourite piece in the film and can be listened to on repeat. Pure genius. Thirlby is the voice of reason and the eyes of the audience, experiencing for the first time how ugly this crime fighting business is, and holding her own wickedly. There’s a dark sense of danger to the whole thing, a frank and outright lawlessness to the villains, as it’s just another day on the job for them. No overacting, no histrionics. Just mellowed out murder and meanness all round. This is the Dredd film that we’ve been waiting for, and have long deserved after that other mess. Low box office returns means we may never see a sequel (wtf is wrong with people, like, who didn’t go see this??), but we’ll always have this little blitzkrieg of a flick to re watch time and again. I know I will.