Tag Archives: David Warshofsky

Tony Scott’s Unstoppable: A Review by Nate Hill

  

Tony Scott’s Unstoppable was the maverick’s last directorial outing before his heartbreaking and untimely death. It’s ironic because the film’s title is a descriptive term I would have applied to the man’s career, life and approach to filmmaking. But it was not to be. This is some swan song of a film to go out on though, a pleasing juggernaut of an action drama that greases the tracks and goes full steam ahead. Any film about trains run amok will inevitably be compared to the 1984 masterpiece Runaway Train, and although this one is vastly different in both story and tone, they just seem to be sister films. The mournful, resolute nature of Jon Voight’s character in it just seems to echo the sadness surrounding this film, and the fact that it was Tony’s last. But that’s just my strange intuition talking. The film itself isn’t really melancholy or downbeat, in fact it focuses largely on human triumph in the face of gross error. There is in fact a runaway train on the loose here, but the stakes are upped when we find out that it’s packed to the brim with highly toxic and flammable chemicals, and hurtling unchecked towards a densely populated metropolitan area. Denzel Washington is the Everyman veteran railroad worker, in danger of having his job devoured by greedy corporate development and ready to have a meltdown. Chris Pine is the hothead rookie swaggering through his first month on throb, and together they have to deal with the disaster, and prevent any further outcome. Rosario Dawson is the frantic control station operator, trying to coach two other workers (Lew Temple & Ethan Suplee) and help as best she can. Kevin Dunn is the abrasive company CEO, unwilling to get his hands dirty and callously looking for the first readily available solution, even if it results in mild casualties that he doesn’t have to witness. It’s all been done before, no doubt, but not by Scott, and you can never write off a formula, trope or act n cliche as dead until the maverick has had a good crack at it. The scenes involving the train are breathless and edited with a glass shard explosiveness, never to shaky or chaotic, always in control and bursting from the frames like the speeding locomotive they encompass. Look out for Jeff Wincott as Pine’s older brother, as well as Kevin Corrigan, T.J. Miller and David Warshofsky as well. It’s not a bad little flick for a director to put the final seal on his career with, and stands as a wrecking ball of an action flick. I just wish we got to see more from the guy. RIP Tony. 

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Philip Noyce’s The Bone Collector: A Review by Nate Hill

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Philip Noyce’s The Bone Collector augments it’s atmosphere in the obvious hopes of evoking memories of David Fincher’s Sev7n (It’s even got an actor who also appeared in that film) which for the most part it nicely does. Story wise, however, it’s got entirely it’s own thing going on and follows the ever popular path of the serial killer whodunit. In this almost audience interactive sub-genre, we are routinely presented with a host of different characters, some following archetype and others not so much. The identity of the killer could literally be anyone we see onscreen at any time, even down to a tiny character who maybe shows up in one small scene. Then it’s up to the viewer to race the protagonist towards a correct conclusion, a game which I’ve never been all that good at lol. This time it’s Denzel Washington and Angelina Jolie who step up to the batters’s plate, hunting a very nasty individual who kidnaps people in locked taxi cabs and leaves them to die in various sadistic ways. Washington plays renowned criminal profiler and ex cop Lincoln Rhyme, left paralyzed from the neck down and bereft of any will to live following an accident. When his old cop buddy (Ed O Neil) shows up and pleads him to take a gander at the case files of the new killer, he reluctantly dusts off the old instincts and goes on the hunt. Problem is, he’s a turnip from the neck down and needs an avatar with whom he has a rapport with and can carry out the leg work, so to speak. He takes a shine to young patrol woman Amelia Donaghy (Jolie) who is showing early signs of the same forensic brilliance after she responds to the scene of one of the murders. She becomes an extension of him, and together they work to smoke out the killer and put a stop to his crimes, also bringing some kind of peace to Rhyme’s restless mind in the same stroke. They are hassled by the world’s most belligerent and obnoxious Police Captain (Michael Rooker in full on asshole mode) and helped by Rhyme’s kindly nurse assistant (a very good Queen Latifah). There’s also work from Bobby Cannavle, Leland Orser, Luis Guzman, Mike Mcglone and David Warshofsky too. Noyce is a solid and very slick director (he did wonderful work in the Jack Ryan franchise, as well as the very underrated The Saint), gamely shunting his aesthetic into the serial killer vs. Detective corner. It’s a decidedly grisly affair, despite the glossy sheen and big names, and almost veers into outright horror in places, but is always kept in line by the excellent chemistry and friendship between Jolie and Washington, who are both great on their own and as a team. Good stuff.

Taken: A Review by Nate Hill

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The Taken series has been done to death, memed out to glory and mined for market value a million times over since the first film came out way back in 2008, which has somewhat dimmed the charm of that original vehicle, at least for some of us. Like, how many times can Liam Neeson or his relatives be Taken before even they as characters realize that it couldn’t be happening and that they’re in a movie? Eventually the material unwittingly spoofs it’s origin in its need to repeat itself time and again. That’s not to say the first isn’t enjoyable on it’s own, in fact it’s quite the streamlined little dose of adrenaline that essentially coasts on some great pacing, neat choreography and the endlessly watchable Liam Neeson, whose career took a shot of nitrous to the heart after gamely stepping into the well worn shoes of the grizzled action hero. This was him nimbly ducking through the genre boundaries that his career was in up til that point, and the action thing fit him like a glove. The film is at its best when it follows Bryan Mills (Neeson) in action, which thankfully is most of the time. Mills is an ex CIA spook with some tactics that will seriously put a hurtin’ on you if you cross him in any way. A gaggle of moronic Bosnian human traffickers come under the receiving end of these tactics when they kidnap his vacationing daughter (Maggie Grace, looking suspiciously like she’s a decade older than her character is supposed to be) from Paris and auctioning her off to rich raghead perverts. This propels him into like an hour of non stop energetic ass kicking that is so fun to watch, as he shoots, stabs, sprains and splatters his way through hordes of eastern European cannon fodder, with not a second to spare for even the utterance of a any cheesy one liners. He’s assisted via Bluetooth by his three ex agency barbecue buddies (Jon Gries, Leland Orser and David Warshofsky) and has a few encounters with his jaded ex wife (Famke Janssen). And that’s about it, but Neeson sells the bare minimum as far as the genre goes with his effortless cool and stony, formidable stature that springs into startlingly spry motion every time he has to dispatch a new troupe of Slavic wise guys. If only they didn’t have to desecrate this little piece of lightning in a bottle with two sequels that dampen the momentum with cheap attempts at thrills, I may still feel strongly about this one as I did when it first came out. Hopefully they quit while they’re ahead, shirk the slimy dollar signs and let their first outing age in peace.

Ridley Scott’s G.I. Jane: A Review by Nate Hill

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I’ve always thought that Ridley Scott’s G.I. Jane is the movie Michael Bay made in another reality where he matured a little more. I mean that as a compliment to Sir Ridley and the film. The crisp, aesthetically lighted style has Bay written all over it, but it’s employed alongside a human story of one girl facing some truly daunting odds. Demi Moore plays Jordan O Neill, a determind, plucky individual who has her mind and heart set on going through the infamous Navy SEAL training, making her the first woman to undertake the task. She just wants to do her training like the rest of her peers, but unfortunately her situation comes with a tirade of media attention and notoriety, something which she never signed on for. Corrupt politician Theodore Hayes (the late Daniel Von Bargen smarming it up) wants to ruin her, and he’s at odds with a pushy Senator (Anne Bancroft is as stiff and sour as the glass of kentucky mash she constantly pulls from). Meanwhile, Moore begins her training, thrown in with a bunch of testosterone fuelled dudes, rabid dogs who don’t react well to a girl in their midst. Her instructors do their best, but she meets quite the adversary in Master Chief James Urgayle (Viggo Mortensen) a no nonsense guy with a razor sharp intellect and a personality to fuel it. Mortensen gets to do something really special with the role. Where other drill instructors in film are somewhat caricatures, monstrous, profane loud-mouths with all the depth of a wood plank, Urgayle has a metallic edge that encases real human qualities beneath. Mortensen latches on to that right off the bat, blessing the film with a fully three dimensional person. The cast is great as well, with work from Kevin Gage, David Warshofsky, Jason Beghe, Morris Chestnut, Jim Caviesel and the legendary Scott Wilson who is mint as the cranky base commander. His dialogue is straight out of a Mamet script and Wilson bites down hard, especially in a scene where he verbally owns Bancroft. Moore is combustible, lacing her take no prisoners attitude with the grace and power of her femininity. She’s also in wicked shape too, her physique a reflection of both Jordan’s commitment to her goal and Demi’s steadfast need to tell the best possible story. This one is far better than some critics would have you believe, with a story arc both suited to the character and theme. It’s also just plain powerhouse filmmaking that chimes in on all the right notes. Awesome stuff.