Tag Archives: Diane Lane

Steven Knight’s Serenity

I’m not sure why an imaginative, original concept film like Steven Knight’s Serenity got the unanimous critical beatdown it did, but I didn’t find it anywhere close to as bad as I’d heard it was. It’s uneven as all hell, bizarrely staged and written like a soap opera gone postal, but in a sea of sequels and remakes it goes a long way that they even tried something this ‘out there.’ Like a warped bastard child of Black Mirror and the sultriest stuff that Brian DePalma has to offer, this one plays out on a specifically fictitious Florida destination known as Plymouth Island, a place where reality might not quite be as it seems.

Matthew McConaughey gives another intense, haggard turn as Baker Dill, a commercial fisherman reduced to ferrying tourists around to catch tuna with his even more intense second mate Duke (Djimon Hounsou in Cajun mode). Baker spends his days banging local beauty Constance (Diane Lane in yet another role that’s beneath her) and trying to catch a giant rogue tuna he’s nicknamed Justice. Anne Hathaway shows up in a blond dye job, squarely in femme fatale mode as his ex wife who has married one tyrannical, abusive monster played by Jason Clarke in a performance that I genuinely was confused whether to find hilarious or be terrified by. Hathaway wants Baker to take hubbie out fishing and feed him to the sharks, Baker wants nothing to do with either of them and Clarke wants to get hammered, insult everyone and do some other things I dare not repeat here. It’s a lurid, noirish snake-pit of sweaty sex, deception and indecent human behaviour, but there’s something more high concept going on beneath the film of scum on the upper layer of the script. A mysterious suit (Jeremy Strong) pursues Baker around and there’s just this gnawing feeling that what’s happening isn’t quite… real, at least in the traditional sense. That’s all I’ll say in that arena.

McConaughey isn’t doing anything revolutionary here and the hangdog, lady’s man drunk is nothing new for him, but he puts on a good show and is clearly having fun. Hathaway and Lane curl around the dialogue like the pros they are and do fine as well. Clarke is something else though, and has to be seen to be believed. He’s a misogynistic, blustery, abusive, hard drinking lunatic who seems to be channeling Lee Majors, Lee Marvin and The Devil all in the same note. I can’t tell if it’s great character work or more a bull in a china shop scenario, but he certainly makes an impression.

This isn’t a great film and certainly seems at odds with itself, I’ll concede that. The reality bending, the sleazy noir and some surprising sentimental notes later on all seem to be culled from various other sources and sort of clash onscreen in the same film. But there’s something so alluring about the ambition of this thing, the sheer ludicrous dedication to a concept that seems more at home in the Twilight Zone than a big budget theatre release. Nevertheless, I wasn’t bored once during it and it’s well made, scored (unusual, invigorating composition from Benjamin Wallfisch) and acted into oblivion by the ensemble cast, all clearly self aware and having a blast. This thing got royally shredded by everyone and their mother upon release, prompting me to put off watching it for quite a while. Safe to say it was unfairly assessed, I found it to be a good time.

-Nate Hill

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Francis Ford Coppola’s Rumble Fish

Francis Ford Coppola’s Rumble Fish is a gorgeous, star studded look at street hoodlums of the 1950’s through a strange, dreamlike prism of off kilter dialogue and mesmerizing characterization. It’s based on a book by S.E. Hinton, who also wrote The Outsiders, which Coppola adapted as well, this one is a bit of a different animal. Where one might expect a grounded, topical, straightforward script and narrative, we’re instead treated to a lyrical, dense and almost experimental tone. Characters exude archetypal charisma that is stunningly thrown off balance by the poetic, otherworldly dialogue that’s at times almost inaccessible, but always feels intuitively… right somehow. It’s as if The Outsiders went to sleep and had a dream, functioning on a similar yet highly unconscious plane. Once you get accustomed to such an aesthetic, it’s a film to draw you in and give you poetic dreams of your own. Young Matt Dillon is Rusty Ryan, a naive upstart with dreams of notoriety in the worn doldrums of his urban sprawl neighbourhood. He lives under the intense reputation of his older brother, known only as The Motorcycle Boy (Mickey Rourke). Rourke is at the peak of his moody blues James Dean phase here, and commands the screen with a laid back abandon and smirking charm. He gets romantically involved with angelic local beauty Patty (young Diane Lane, stunning), and deals with his loveable deadbeat father (Dennis Hopper). The scenes between Hopper, Dillon and Rourke have an easy swing to them, and the three inhabit a lived in dynamic that strengthens their characters, individually and as a group. Rourke is under the suspicious eye of robotic, violent local cop Patterson (William Smith), who is just waiting for him to step out of line. Dillon and his thug pals, including Nicolas Cage, Chris Penn and Vincent Spano, daydream their days away pining for the oft talked about days when gang warfare was commonplace. There’s a splendid supporting cast including Laurence Fishburne, Sofia Coppola, Diana Scarwid and Tom Waits, mumbling sweet existential nothing’s to themselves in the local diner, the silent streets and other beautifully shot locations. The film is shot in wistful black and whites with the vivid exception of the titular rumble fish, who appear in vibrant hues to accent their metaphorical presence. The film exists in a realm of heightened emotions where the characters all seem to be a little larger than life, but nevertheless human. There’s a gorgeous, entrancing surreality to it too, a free flowing, dreamy vibe of chrome on asphalt, lazy afternoons and long glances at pretty girls in windows. An unconventional masterpiece.

-Nate Hill

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

 

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

B Movie Glory with Nate: Gunshy

  

Looking for a moody Atlantic City crime drama that isn’t Boardwalk Empire? Well you’re gonna get a review of one, anyway. Gunshy may not have all the bells and whistles of a studio produced film, and admittedly is a little tattered around the edges as a result, but it’s still a solid, quaint little fish out of water story about a man out of his depth and in deep water with some dangerous people. Jake (William L. Peterson) is a failing journalist who yearns to live on the edge, mired in the doldrums of a creative sinkhole. After his boss (R. Lee Ermey cameo) fires him, he heads to the one place that offers unconditional solace to us writers all over: the bar. After an altercation with a violent scumbag (Meat Loaf offering up ham to go with his edible moniker), he meets an event more violent individual in the form of Frankie (Michael Wincott) a volatile mob enforcer. Frankie takes a shine to Jake, and in particular is fascinated by his literacy and knowledge of the written word. Frankie offers a bargain: show him the world of books and intellectual fare, and he will navigate Jake through the seedy world of organized crime, teaching each other a thing or two along the way. The plot thickens when Frankie’s girlfriend Melissa (Diane Lane, stunning as ever) drives a wedge between them, effectively creating a romantic triangle. These three leads take subpar material and make it shine, especially Wincott who rarely gets a lead role, but steals every scene with his childlike curiosity contrasted with violent tendancy. The boardwalks do make an appearance here, and they just beg to be filmed, really. In a genre centralized mainly in L.A. or New York, I’d love to see more pieces set in the baleful, windswept oceanfront locales of Atlantic City. There’s numerous supporting turns including Musetta Vander, Kevin Gage as a cop who harassed Frankie on the daily, and intense Michael Byrne as his gruesome gangster boss. It’s silly in places and clunky in others, but when it works, it works, mainly thanks to the great turns from Wincott and Lane, who seem very naturalistic and unforced as a couple. Give it a go.

UNDER THE TUSCAN SUN – A REVIEW BY J.D. LAFRANCE

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From her screenplay for The Truth About Cats and Dogs (1996) to her directorial debut with Guinevere (1999), Audrey Wells has created films with strong female protagonists. She continues this thematic preoccupation with Under the Tuscan Sun (2003) featuring a main character that goes on a journey of self-discovery in Italy. Based on the bestselling 1996 memoir of the same name by Frances Mayes, the film is a warm and inviting romantic comedy that attempts to deviate from some of the conventions of the genre.

Frances Mayes (Diane Lane) is a professor of literature living in San Francisco with her husband. Her bad reviews of other people’s books comes back to haunt her when a writer harboring a grudge hints that her husband has been having an affair. During the messy divorce, and understandably upset over his betrayal, she sells her half of their house rather than pay up via alimony. Frances moves into a noisy apartment building and tries to figure out what to do with her life. She suffers from writer’s block — not just with her book, but with her life. Patty (Sandra Oh), her best friend and support group, is unable to go on a ten-day trip to Tuscany because of her upcoming pregnancy. So, she gets Frances to go in the hopes that a change of pace and scenery will provide her with a fresh start.

Before she knows it, Frances is on a bus full of gay people in Italy with the tour guide telling everyone her life story. She spots a charming little villa on the tour and decides to get off the bus. She becomes enchanted with the place, meets the owner and decides to buy it. To say that the house is fix-it-upper opportunity is a mild understatement but Frances plugs away, renovating the house and, in the process, her life.

Under the Tuscan Sun was a nice change of pace for Diane Lane, fresh from her role in the dark, erotic thriller, Unfaithful (2002). She is quite good as a newly independent woman trying to start her life over. The gorgeous Lane looks absolutely radiant and brings a lot of charm to the role. She shows a real knack for light comedy as well and is not afraid to look silly or vulnerable.

It also doesn’t hurt that director Audrey Wells surrounds the stunning Lane with a picturesque, postcard perfect Italian countryside. Every frame is filled with resplendent scenery and everyone eats delicious looking food. It is a shameless love letter to Italy. A more cynical person might say that this film is just one long ad for the tourism board of the country. It works. Under the Tuscan Sun really makes you want to go there, discover your very own villa and escape from it all.

Under the Tuscan Sun is reminiscent of Enchanted April (1992) in that it also features women getting away from dreary past lives and moving to Italy to gain their independence and start their lives anew. In terms of plotting and dialogue, Tuscan Sun is pretty standard fare but it is quite entertaining, features a winning performance by Diane Lane and is handsomely photographed.

Elmore Leonard’s Killshot: A Review by Nate Hill 

John Madden’s Killshot went through the ninth ring of production hell before it was finally released in 07 or so, after like three years of gathering dust on the shelf. The resulting film didn’t win anyone over who waited all that time with baited breath, because you can see the cuts, chops and gaps in story where it’s been muddled around with, no doubt by the fuckwit studio. I still love it, flaws and all. Based on an Elmore Leonard tale (you can never go wrong with his work, it’s a sombre tale of psychopaths, assassins and one hapless estranged couple (Thomas Jane & Diane Lane) caught in between. When legendary native american hitman Arman ‘The Blackbird’ Degas (Mickey Rourke) botches a job for the Toronto mafia, he’s forced on the run, and hides out with aimless young lunatic

criminal Ritchie Nix (Joseph Gordon Levitt), who somewhat reminds him of a litte brother he lost years before. Rourke pulls off the native angle quite well, and shows vague glimpses of a humanity that was once there and has long since been buried in violence. When Jane and Lane accidentally witness him murder someone, he won’t let it go, pursuing them beyond rationality or reason, even to his own end. Levitt never gets to play the wild card, and he rocks his redneck sociopath brat role with scary aplomb. Rosario Dawson has an odd appearance as Ritchie’s girlfriend, an elvis fan who is seemingly a little bit challenged upstairs. Watch for a cameo from Hal Holbrook as a crusty old mobster too. You’ll just have to imagine the federal agent character played by Johnny Knoxville though, because he never made it into the film and can now only be seen in ages old trailers that were a false start. Despite it’s issues, I find it to be an atmospheric little pulp outing that does have the classic Leonard feel, a hard bitten, cold-hearted turn from Rourke that’s one of his best characters in recent years, and a mean, unforgiving narrative set in picturesque northern Canada. Give it a shot, it deserves way more love than its received so far. 

Walter Hill’s Streets Of Fire: A Review by Nate Hill

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Walter Hill’s Streets Of Fire is just too good to be true, and yet it exists. It’s like the type of dream concept for a movie that you and your coolest friend think up after a bunch of beers and wish you had the time, money and resources to make yourself. It’s just cool right down to the bone, a beautiful little opus of 1950’s style gang trouble set to a so-good-it-hurts rock n’ roll soundtrack devised by the legendary Ry Cooper, Hill’s go to music maestro. It’s so 80’s it’s bursting at the seams with the stylistic notes of that decade, and both Hill and the actors stitch up those seams with all the soda jerk, greaser yowls and musical mania of the 50’s. Anyone reading up to this point who isn’t salivating right now and logging onto amazon to order a copy, well there’s just no hope for you. I only say that because for sooommeee reason upon release this one was a financial and critical dud, floundering at the box office and erasing any hope for the sequels which Hill had planned to do. I guess some people just aren’t cool enough to get it (can you tell I’m bitter? Lol). Anywho, there’s nothing quite like it and it deserves a dig up, Blu Ray transfer and many a revisit. In a nocturnal, neon flared part of a nameless town that looks a little like New York, the streets are humming with excitement as everyone prepares for the nightly musical extravaganza. Darling songstress Ellen Aim (young Diane Lane♡♡) is about to belt out an epic rock ballad in a warehouse dance hall for droves of screaming fans. There’s one fan who has plans to do more than just watch, though. Evil biker gang leader Raven Shaddock (Willem Dafoe, looking like Satan crossed with Richard Ramirez) kidnaps her as the last notes of her song drift away, his gang terrorizes the streets and disappears off into the night with poor Ellen as their prisoner. The locals need a hero to go up against Raven and rescue Ellen, and so estranged badass Tom Cody (Michael Paré) is called back to town after leaving years before. He’s a strong and silent hotshot who takes no shit from no one, and is soon on the rampage to Raven’s part of town. He’s got two buddies as well: two fisted, beer guzzling brawler chick McCoy (Amy Madigan), and sniveling event planner Billy Fish (Rick Moranis). That’s as much plot as you get and it’s all you need, a delightful dime store yarn with shades of The Outsiders and a soundtrack that will have your jaw drop two floors down. The two songs which Ellen sings are heart thumping legends. ‘Nowhere Fast’ gives us a huge glam-rock welcome into the story, and ‘Tonight Is What It Means To Be Young’ ushers us out with a monumental bang before the credits roll, and damn if Hill doesn’t know how to stage the two songs with rousing and much welcomed auditory excess that’ll have you humming for days. Paré is great as the brooding hero, and you won’t find too many solid roles like this in his career. He’s a guy who somewhat strayed off the path into questionable waters (he’s in like every Uwe Boll movie) but he pops up now and again I’m some cool stuff, like his scene stealing cameo in The Lincoln Lawyer. Dafoe clocks in right on time for his shift at the creepshow factory, giving Raven a glowering, makeup frosted grimace that’s purely vampiric and altogether unnerving. Him and Paré are great in their street side sledgehammer smackdown in the last act. Bottom line, this is one for the books and it still saddens me how unfavorably it was received… like what were they thinking? A gem in Hill’s career, and a solid pulse punding rock opera fable. Oh, and watch for both an obnoxious turn from Bill Paxton and a bizarre cameo from a homeless looking Ed Begley Jr.