Tag Archives: connie Nielsen

William Friedkin’s The Hunted

William Friedkin’s The Hunted is the kind of blunt, ruggedly visceral, artery slicing action picture we should be seeing more of in modern times. Where in other films there’s car chases, shootouts and the man to man violence is impossibly elaborate, Friedkin goes primal here, with knife fights that cut to the basics of the human body and its movements, fight scenes that make us wince because we can feel each jab and tear, as the camera dives in close to give us a dose of intimate adrenaline. While the story is simple enough, there’s a haunted complexity to Benicio Del Toro as a highly trained ex marine who has lost his mind. Someone with that skill set is a dangerous person when they go off the rails, and soon this traumatized warrior is hunting people for sport in the Washington rainforest. The only one who can track and possibly stop him is his former Lieutenant and trainer, played with earnest frankness by Tommy Lee Jones. The flashback scenes of Del Toro’s training are very matter of fact, as Jones shows him, without emotion or bias, how to wound or kill another human being in the most efficient way possible. This has made him into a deadly weapon, but they never took his psyche into account, which has run amok. I love action films set in the gorgeous Pacific Northwest region (see Shoot To Kill with Tom Berenger, another great one) where I live, the scenery takes on a lush, mossy personality of it’s own here. The latter half of the film is purely just Jones hunting Del Toro through the Northern wilderness, each using their skills, setting booby traps, reading the terrain until the eventual bloody confrontation. When I say bloody, I mean just that ; Their knife fight is some of the best close quarters action I’ve ever seen, and will have you shielding your major organs as you watch them slice and slash. Friedkin here acts the same way Michael Mann operates with his gunfight sequences: they both understand that less is more with these types of set pieces, to not go overboard and throw all the cards in (John Woo does this, but with grace and style), but to let the action be realistic, impactful in it’s pacing and land with the real threat and consequences of violence instead of screaming overkill. If this film has come out in the 70’s or 80’s like the vibe it exudes, it would have had one of those beautifully hand drawn vintage posters. There should be a criterion edition or some sort of boutique release that revamps the artwork and provides the ultimate DVD package for this film, because it’s one of the finest action movies ever made.

-Nate Hill

Advertisements

David Mackenzie’s Perfect Sense

David Mackenzie’s Perfect Sense is one of those films that is indeed almost near perfection, a totally unique viewing experience from frame to frame. It also happens to be one of the most depressing things you’ll ever sit through, so fair warning. The story unfolds in Glasgow, where some strange pandemic is causing people, all over the world, to slowly lose there sensory perception, one at a time and preceded by cursory symptoms like rage, hunger, grief or the like. Sounds like a neat setup for a streamlined post apocalyptic thriller right?

Not so much. Mackenzie is fascinated more by things like intimacy, pacing, thoughtful musical accents, haunting narration and how these underplayed qualities are influenced by the extreme nature of the theme. It’s also a fiercely passionate love story, but one that gets gradually bleaker, as each instrument in our bodies we use to show love for one another slowly dims and darkens, a harrowing thing to witness once we’re invested. A research scientist (Eva Green) and a chef (Ewan McGregor) meet, fall in love and are then faced with the dire adversity of the world’s situation. First everyone’s sense of smell disappears. Then taste. Hearing soon after. And so it goes. Their romance is already a tangled bramble bush thanks to both their collective issues, and once the epidemic enters the picture, things aren’t easy to deal with and don’t go well. McGregor’s sunny disposition contrasts the overcast,

dismal palette of the film, whilst Green and her seemingly never depleted stores of intensity are in full forecast, the two making an electric pair onscreen. I love how a story that’s so rooted in sci-fi and thriller elsewhere gets the quiet, contemplative romantic focus here, it’s a welcome change. This isn’t Hollywood territory though, and the epidemic is treated in the gravest way, without salvation via deus ex machina in sight, and I’ll warn you that the final scene will land with an anvil blow to your ol’ soul, it’s that bleak and disheartening. Couldn’t recommend it enough though, it’s a dose of pure brilliance on every perceivable level.

-Nate Hill

Patty Jenkins’ WONDER WOMAN

WONDER WOMAN is a rather terrific film. Yes, it follows the template of an origin story, and it is somewhat uninspired at times following that formula (first reel death, sacrificial death at the end of the film, “surprise” villain), but regardless of the generic template used, the film and its star propel forward creating a very engaging, entertaining, and invigorating film.

The constant comparisons to CAPTAIN AMERICA: FIRST AVENGER does have some slight merit, but it is a rather lazy comparison. Sure, both films revolve around a set piece pertaining to each World War, and sure it’s a ragtag crew of soldiers that support the hero in their take-down to essentially end the war; yet there is so much that separates the two.

Image may contain: 1 person, smiling, hat and outdoor

The craftsmanship of WONDER WOMAN stands superior.

The cast of this film may be one of the best ensembles constructed for a comic book movie. Supporting Gal Gadot is Chris Pine (in probably his best performance to date), Connie Nielsen, Danny Huston, Ewan Bremner, Said Taghmaoui, David Thewlis, and a scene-stealing Robin Wright. All of these characters, regardless of screen time and/or limited development are giving a substantial amount to do and say, and casting each specific actor to their respective role immediately creates authenticity for that character.

Hans Zimmer’s theme for Wonder Woman, which made its debut in BvS, is perhaps the best piece of music that he has ever composed. When it cues itself up to Gadot kicking German ass in the film, it creates even more excitement for the viewer. The action pieces in this film are incredible.

Image may contain: one or more people and people standing

Everyone deserves full credit for this picture. Gal Gadot completely owns the role while simultaneously propelling herself to a bonafide movie star. Director Patty Jenkins has become a rising star within Warner Brothers, and Zack Snyder deserves his due credit for discovering Gadot and creating the aesthetic that WW cultivates.

WONDER WOMAN didn’t save the DCEU, it was doing just fine before this film, but it certainly stopped a lot of the negative press. Though those who constantly fill their social media feeds with unapologetic bias and echo chamber nonsense will remain undisturbed. This film may not completely warrant the abundance of overwhelming and over the top accolades, it is a very fine picture, and don’t be surprised if this film has legs going into awards season.

One Hour Photo: A Review by Nate Hill 

One Hour Photo is as stark and unnerving as the clinical, creepy photo negatives being developed in the darkroom of your local London Drugs, or whatever the equivalent is stateside. Back in the days before the social media boom, every single photographic memento passed through those hallowed halls, and through the hands of the hard working folks at the photo counter. One such person is Seymour Parrish (Robin Williams), a sweet, good natured guy with a subtle and growing offset in his personality. He loves his job, and finds solace and ritual in handling the precious memoirs of the masses, even getting to know many of them in a friendly manner. He takes a particular shine to the Yorkin family (Connie Nielsen and Michael Vartan), gradually becoming obsessed with the life they have that he observes through the constant stream of photos he develops. Friendly soon turns to freaky as he becomes a bit too fascinated in them, and he finally takes up the mantle of disturbed stalker, digging up dirty secrets they have that he has no right to know about, and even less to interfere with. It’s a nightmare for any unsuspecting family to got through, but the real horror story is Seymour’s damaged psyche, set off by this idyllic lifestyle he watches from haunted eyes. Williams has the hard task of making him sympathetic, which he does, but we are only willing to give pity at arms reach; this is a scary, twisted man we see, with demons bottled up so tight he isn’t even aware they exist anymore, until they come crawling forth for a psychologically naked and raw final sequence that will leave you reeling. An unpleasent film in almost every way, bathed in an eerie sickness that matches the sheet white fluorescent glow of the store that is Seymour’s world, externally and in his tragic, broken mind. Bring a steady set of nerves and a strong stomach. 

Paul W.S. Anderson’s Soldier: A Review by Nate Hill 

Before poor Paul W.S. Anderson made a fatal misstep with Alien Vs. Predator and was maligned, he made a few really excellent genre flicks back in the mid to late 90’s, one of them being the mostly forgotten and excessively fun Soldier, starring a mostly mute and wholly badass Kurt Russell as a genetically bred super soldier who has fallen on hard times. His name is Todd 3465, and he’s from the last line of soldiers who are in fact real humans, albeit altered. There’s a new program moving in, wherein actual replicants are produced, rendering Todd obsolete. The head of the new outfit is sadistic Colonel Mekum (Jason Isaacs in full evil prick mode), who wants to do away with anything that isn’t state of the art. Todd is thrashed in a one on one smackdown with Mekum’s lead soldier (Jason Scott Lee), and then left to die on a remote planet used only for trash disposal and inhabited by wayward crash survivors who scavenge what they can. Todd is immediately the outsider, an unfeeling asset bred only for combat and alien to human qualities. A few among the group, including their leader Mace (Anderson regular Sean Pertwee) and Jimmy Pig (Michael Chicklis) attempt to connect, but it’s gorgeous Connie Nielsen who finally breaks the ice. He may be conditioned to kill, but he’s still a human man after all, and there’s some base instincts you just can’t ignore. Trouble brews when Mekum shows up again, that bastard. Now he wants to vaporize their planet on the grounds that the refugees are essentially squatting. Undermining him is Todd’s former boss Church (an unusually restrained Gary Busey), an honorable military veteran who’d love to put Mekum six feet under and restore order. Todd must help his newfound friends, fight tooth and nail against replicants and win his superiority back. Russell is a tank in the role, letting both silence and action speak volumes, a one man old school ass kicking hero of the highest order. The world building and outer space effects are incredibly fun, the villains are broadly characterized with the force of a western, and the whole film knows what people want for a good time at the cinema. Oohh and fun fact: this takes place in the same cinematic universe as Blade Runner, and you can listen for the brief tie in reference that only die hards will pick up on. Great stuff.