There was a long period of time where I didn’t even know there was a Punisher flick from the late 80’s starring Dolph Lundgren, and I blissfully lived under the assumption that the character never entered cinema until 2004 when Thomas Jane tried it on for size, and although that’s still my favourite take on Frank Castle to date, in terms of both performance and film overall, the Dolph one is a pretty badass slice of retro action pulp that I greatly enjoyed. It’s not an origin story and doesn’t have much use for exposition, time spent on tragic backstory (beyond a few haunting flashbacks) or dark rumination, it’s strictly a blast of violence, chases and genre thrills built around the visual aesthetic of the Punisher. He’s already been doing this for quite a while here, and Lundgren, strikingly brunette here, imbues Frank Castle with a sort of tired and unimpressed yet still viciously violent edge as he teams up with an equally sardonic cop (Louis Gossett Jr) to take on pretty much every criminal faction in the city including a tribe of psychotic matriarchal Yakuzas and one pissed off drug Baron (Jeroen Krabbe) who initially hired Frank to find his kidnapped son and then inevitably can’t be trusted not to be a backstabbing lunatic. There’s an absolute ton of exciting, well staged action set pieces here including an extended bus chase all over the city, endless thundering shootouts and Frank roaring around on a huge black motorbike that he uses to descend into the subterranean tunnels below the city in a decidedly Batman-esque flair. This version is stripped of much of the mythology behind The Punisher and is more just a straightforward, bloody, pulpy action extravaganza, and had the film not been called Punisher and Dolph not been credited as Frank Castle it would just be another day at the Lundgren races. However, they chose to make it a Punisher film and it’s better for that, Dolph fits the role like a glove, and although my only complaint is that he didn’t get to wear that classic skull logo on his chest that we know so well, he inhabits the gritty, browbeaten, heavy artillery sporting viciousness of Frank very well, whether he’s beating hordes of goons mercilessly or literally mowing down more of them with a fucking Gatling gun he found somewhere. It’s brutal, urban, feels just ‘comic book’ enough to fit the aesthetic and has a ballsy, very dark final stroke to the script in the last act that is a borderline taboo shocker but let’s you know this Punisher isn’t fucking around. Good stuff.
In always game to give a B movie a day in court but it’s gotta at least put in a game effort and ‘4GOT10’ (whatever the fuck that means) is just the film equivalent of an hopelessly flaccid penis. It’s also called “The Good, The Bad & The Dead” on some posters which is marginally more coherent and is a good indicator of how dumb and dead on arrival this thing is. It’s sad because it has a great cast, who for the most part are stuck moping, drawling, clawing their way through terminally bloated scenes with nary an editor in sight and spewing scant, anemic dialogue. Johnny Messner is a terrific actor who seems to be permanently stranded in this kind of fare of late, which isn’t always the worst thing (paycheque is a paycheque) but not even his engaging presence can do anything for this hastily cut turd. He plays some sort of ex convict who awakens in the desert with amnesia, surrounded by dead guys, guns and cash. Some kind of deal clearly went south and it gets worse with the arrival of a corrupt scumbag sheriff (Michael Paré) who tries to finish Messner off and steal all the leftover cash. Also eventually on scene is a bored looking Dolph Lundgren as a rogue DEA enforcer, Vivica A. Fox as his blathering station chief, Danny Trejo as the angry cartel boss who I guess was trying to facilitate the deal and all kinds of other forgettable cutouts. This film makes the grave and silly mistake of introducing each character with a freeze frame title card like ‘the outlaw’, ‘the enforcer’, ‘the sheriff’, ‘the braud’ (I’m not even kidding on that one) etc and I don’t know about you but I fucking hate that obnoxious stylistic contrivance, it was never cool and certainly still isn’t now. I realize that these actors have families to feed, mortgages to pay off and whatnot but like… could they have at least aimed a *bit* higher than something as wantonly awful and as this? Like… I’ve participated in entry level student film productions that were literally better than this, this crew should all just quit their profession and work at McDonald’s if that’s the way they’re going to behave. It’s tragic and embarrassing, and this is from someone who loves watching an endless string of B grade trash just to see actors I like. It doesn’t even make that cut, and you should avoid it lest risk slipping into a diabetic fugue state at the sheer cinematic malnourishment this fucker exudes.
In 1986 Matthias Hues came to Hollywood without a shirt . . . or, little more than the shirt on his back. And it is without a shirt that he has built a career that continues to not only grow, but evolve. Like his predecessors, peers and the now emerging class of action stars, the mantra has really become adapt, or fade away. But really…it has always been that way.
Shirtless in Hollywood charts its course through the movie world that is at once bright and shining, as well as being dark and loathsome. Matthias has seen the incredible heights and the deep, lonely valleys which await everyone looking to get their hands on a slice of the pie of stardom. Through it all he has remained grounded. Warmed by those whom he trusts, sharpened by those with whom he has shared the screen, and tested by fame and fate at each and every turn.
Matthias’s book is compelling because it is not merely a tale of the glamorous life of a movie star. Instead it is a very human story for which his memoir’s title carries a double meaning. He came with little but the shirt on his back and then set about forging a career out of his physical gifts, to the point where esteemed action director Craig R. Baxley said, “If anyone is going to take their shirt off, it’s going to be Matthias.”
He has thrived alongside resident action men like Dolph Lundgren, Ralf Moeller, and Alex Nevsky. He has been mistaken for Fabio and a star of a film he wasn’t even in (Die Hard). He is a real salt-of-the-earth kinda guy, that hasn’t let it all go to his head and hasn’t let it all come crashing down as the cinematic landscape changes.
Matthias is still an imposing figure, and it was a thrill to chat once again with a Hollywood idol who I think is going to have a great resurgence – if indeed the project that he discussed with me gets off the ground. Still, as much as he has overcome, Hues is man of quiet satisfaction who has found that real paradise does not exist between ‘action’ and ‘cut’. This huge Liam Neeson fan has gifted us all with his incredible tale and take on a business that can chew you up and spit you out . . . but only if you let it.
Shirt on, or shirt off, I think Matthias Hues is a legend . . . so kick back and join us as we take it all off and dive into the memoir of a grand gentleman of the old school who’ll still tell you, “I come in peace.”
Keanu Reeves can somehow make almost any story, no matter how ridiculous, seem sober and coherent, but Johnny Mnemonic kind of takes the cake. A weird, messy, hyperactive fusion of classical cyber punk elements and 90’s B movie sensibilities (Ice T cements that vibe early on) it’s not a good film but certainly an interesting one that makes a loony impression. Reeves is Johnny, a data courier in a world of trafficked information stored in people’s brains, wanted by all sorts of undesirables including the Yakuza, surrounded by a a throbbing underground rock soundtrack and more cacophonous screensaver special effects than The Lawnmower Man. Reeves looks slick as ever and treats the material with due diligence, but the best and most effective performance comes from Dolph Lundgren as an aggressive freak dubbed the Street Preacher, a platitude spouting baddie who is endlessly fun to watch and stands as one of the actor’s best and most idiosyncratic creations. Henry ‘scream my lines’ Rollins cements the rock vibe as a weirdo doctor who tinkers with Johnny’s brain some, Dina Meyer plays his sidekick and pseudo love interest, and watch for Udo Kier as a corrupt diva of a nightclub owner. This film is fun enough from some angles, but for a SciFi film revolving around intel stored in one’s brain, the whole thing is pretty fucking brainless. There’s cool exposition detailing how Johnny needs to wipe certain chunks of memory like his childhood to make room for more bytes of black market info, but it’s never really shown how this affects his character. The whole thing is a blast of arbitrary, technicolour sound and fury that doesn’t really sit still long enough to think much on what it’s about, which is fine I suppose if all you want is fireworks. I will give it props for some inventive production design and gorgeous costumes though, but too little too late. One scene in particular kind of sums it all up, with Johnny having a full on emotional meltdown temper tantrum in some back alley over the fact that he doesn’t get to spend nights in a five star hotel with top class hookers. One could almost see his exasperation mirroring Reeves at having to play part in something so silly as this. Chill out Keanu, only four more years to go until you headline one of the best, most influential science fiction films ever made.
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.”
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.
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.
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!
I love the cinema of Uwe Boll. How you ask? Haven’t you read the reviews – don’t you know the stories? My answer: Yes.
I have read the press, I know all the stories. I watched as mindless degenerates hiding in their mother’s basements hurled shit across the web, and into the face of one of cinema’s most prolific, most passionate, fiercely independent figures. A man who needed, not a studio, but his own incredible knowledge and production savvy to make movies . . .
. . . all Uwe Boll ever wanted to do.
But I’m getting ahead of myself. Let’s set the ‘way-back machine’ for the late 90’s, and I’m tending the counter at the local video store – back when it was really its namesake – and they bring in a new coin-op to keep the punters in the store and spending money. That video game was called House of the Dead.
Supposedly so graphic and horrifying – as well as being literally rated R – HOTD was a shoot ’em up in the best, most fun sense of the genre. Behind the black curtain that was there to frivolously attempt to shield the eyes of the innocent from the mayhem, the masochistic, bullet-shredding magnificence, was a really cool world where the aim of the game was to blast your way through hordes of the undead with merciless glee.
So being a fan, and sneaking off to play while I should have been at the desk – when a friend of mine said, “I hear they’re going to make a movie based of this” – I was like, “take all my money man – this is gonna rock!” (And that was prior to The Rock giving video game adaptations a shot)
I remember going to the cinema to see it, and soon being one of only a handful of people still watching after a good number of folks had walked out. So – why did I stay I can hear you ask? Well there are two reasons. One is simple – I enjoyed the movie on many levels. Yes it wasn’t the game, nor could it have been. I think people operate under the fallacy that just because a video game has a backstory or mythology on which it is based, then it must be simple to adapt into a movie. I believe precisely the opposite to be true. I think truly solid adaptations rely more on the wit and invention of the filmmaker. To combine a good narrative with recognizable elements from the game to appease the faithful.
And, love him or despise him, that is exactly what Uwe Boll could do – and do well. For if he couldn’t dear reader, then those multitudes of investors that he went back to time after time, movie after movie would not have entertained him. If he were not commercially successful, the career of Uwe Boll would not exist, nor could it be captured in the brilliant, candid and touching portrait of a film about a filmmaker, a man, who refused to remain silent whether he was being applauded or damned.
Unlike Dan Lee West’s RAGING BOLL, which deals more with the sensationalist side of Boll’s career, S.P. Shaul’s picture meanders down the quite roads and sheds light on the personal figure behind the media circus, the private man, the family man, the man who in spite of those basement dweller’s vitriol – followed his dreams and fought many a battle to bring them into the cold light of reality.
FUCK YOU ALL, is not a gratuitous middle finger in the face from the man dubbed the worst filmmaker of all time. No dear PTS listener – it is about the pursuit of what inspires, the burden of making visions come alive as well as the reminiscences of a man who worked with and alongside the cream of the Hollywood crop while smiling at the absurdity of it all.
When and wherever you can see this, The Uwe Boll Story, I urge and hasten you. It is filled with insults and hatred but that is always counterbalanced by the friends and collaborators of Dr. Boll, speaking words of praise, constructive criticism, and overall of a man with whom it was always fun to go to work with – and as it is said best, by Brendan Fletcher (a long-time Boll collaborator), and I’m paraphrasing here: but he speaks to the haters of Boll and says . . . “when have they ever risked anything?”
It is a great film about a fascinating artist and I am most excited to present my chats now, not only with the filmmaker responsible for the documentary, but with the filmmaker who inspired him to make the journey . . .
As a child, Uwe produced a number of short films on Super 8 and video before beginning his studies as a film director in Munich and Vienna. He also studied literature and economics in Cologne and Siegen. Uwe graduated from university in 1995 with a doctorate in literature. Uwe has since directed, written and produced over 30 movies with such stars as Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman. Uwe also runs and owns the BAUHAUS Restaurant in Vancouver alongside Michelin Star chef Stefan Hartmann.
Sean is a Canadian Documentary Filmmaker who became aware of Uwe Boll whilst working on the production, Assault on Wall Street. His first encounter the wild, unchecked hullabaloo of an Uwe Boll movie. Sean would then go back and watch a number of the master’s films before lightning struck – Uwe would be the subject of his next documentary. Boll never one to have a problem with being candid – Shaul received and all access pass to the life behind the great director – enough to construct this, his definite portrait of the man, the myth, the mouth . . . the man named, BOLL!
This film might not seem like a big deal to you. It could merely appear as another throwaway action flick on your regular streaming service – one that you glance at out of curiosity, and then move on. But I really loved SHOWDOWN IN MANILA, and here’s the reason why . . .
Once, a long time ago, in the age of wonder, they were these glorious palaces that we called, Video Stores. They were a veritable treasure trove for cineastes of all ages to come and get their movie-fix. They housed the cinema of the ages and best of all, there would be movies you could find there, that hadn’t played at a cinema near you.
These were the titles that were made specifically for this new medium of VHS. Like the drive-in before it, these stores needed product. Thus a new genre was born, and it was called Straight-to-Video. What arose were glorious movies, some of which, sadly, died along with their era. Awesome were the sci-fi, the horror, and specifically speaking now, the action movies that would appear on the shelves. And such action. Real, intense, dynamic and always in frequent supply. It was good versus evil in all its glory – the villains wore dark shades and the heroes carried big guns. So, it was while watching SHOWDOWN that I was hit by this wave of nostalgia, engulfed by memories of the golden age of home entertainment.
The plot of the film is simple. But isn’t that true of the best action flicks? The package is a beautiful cocktail of old and new, peppered with filmmakers wishing to deliver a splendid throwback, mixed with the stars that climbed to the dizzying heights of VHS stardom.
For those who know what I’m talking about, and even those that don’t, I say, go check out this little gem that is cut from the past, and at the same time, is polishing by the future. So, here now, I present a trio of interviews with the film’s stars Alexander Nevsky(The man on the rise), Matthias Hues(The action legend), and the man responsible for that important seed from which all great cinema grows, the script, Craig Hamman(the veteran screenwriter).
Alexander Nevsky is a Russian bodybuilder, actor, writer, producer. His life changed when he saw Arnold Schwarzenegger in Pumping Iron and that spark would light the fire which continues to burn bright. In 1994 Nevsky graduated from State Academy of Management (Moscow). In 1999 he moved to California. He studied English at UCLA and acting at the Lee Strasberg Theatre Institute. He has risen from a bit-part-player to an international action star the cannot be ignored. With his imposing intensity, versatility and personal drive, Alex, I believe, is poised to enter the arena of formidable action superstars – its only a matter of when.
Matthias Hues is a German-born actor and martial artist as well as being an action movie icon. He came to L.A. not knowing how to act or even speak English. The fateful moment would come when he joined Gold’s Gym and the establishment’s manager received a call from a producer who had just lost Jean-Claude Van Damme for his movie and needed a replacement. Matthias tested for the role, and he managed to convince the producers to give him the part despite having no prior acting experience. The movie, No Retreat, No Surrender 2, was a moderate success, but it opened the door. He is, of course, most recognized for Dark Angel, but has also played everything from a gladiator turned private investigator in Age of Treason to an aging hit-man in Finding Interest to a bumbling idiot trying to kidnap a rich kid in Alone in the Woods to a dancing lion tamer in Big Top Pee-wee. He’s even played a Klingon general in Star Trek VI: The Undiscovered Country.
Craig Hamann came up alongside another young aspiring filmmaker whose work would go on to define a generation. When he and Quentin Tarantino embarked upon the journey to make their own movie, My Best Friend’s Birthday, there was no telling then, where the road would lead. Well we all know where Quentin ended up, but Craig too has enjoyed a long and prosperous career that has been anything but ordinary. He’s a writer, former actor, that has watched the industry ebb and flow. He’s directed Boogie Boys, had encounters with Demonic Toys and of course, of late, he’s been a part of an action-thriller in Manila. Craig has other projects in the works, and with the company he keeps, these efforts are, I’m sure, set to explode and entertain. Yet he remains a humble gentleman with a passion for his work and a dedication that has seen him endure as a great veteran of the movie business.
Scott Windhauser might seem to have simply fallen out of the clear blue sky recently. Truth is, he has been in the game for quite some time. He worked his way up through the ranks, paying his dues, making connections – but all the while, working quietly on his own scripts.
The turning point came when he wrote a screenplay. You know the one, the kind of script that gets you noticed, that gets them to return your phone calls, that’s peaks the interest of the movie gods. Now I’m not going to spoil it here, you’ll have to have a listen, but the premise was really cool stuff.
But, as things often happen in Hollywood, another picture, that took place in a similar setting, came out around the same time and the backers started backing away. It’s times like these that separate the men from boys. It’s like Michael Douglas’s line in The Ghost and The Darkness, “Everyone has a plan until they’ve been hit. Well my friend, you’ve just been hit. The getting up is up to you.”
Scott did a little better than just getting back on his feet. He went back to the forge and starting producing a veritable war chest of material, most of which is on its way to release as we speak. There’s some that Scott has also directed like Dead Trigger starring Dolph Lundgren as well as Cops and Robbers with Tom Berenger and Michael Jai White. Then there’s the Rob Cohen(The Fast and The Furious, XXX) directed Hurricane Heist (or Category 5 as some of the advertising is calling it) and Tsunami L.A., along with numerous other projects big and small in the works as well as on the way either this or next year.
Scott Windhauser folks. His is a name you may not have heard, but the times they are a changin’. He fought his way through the minefields of La La Land, he’s given a script a ‘Nic-polish’ (have a listen, all shall be revealed), he has even bumped into John Williams, the man who wrote the cinematic themes of our youth.
This all adds up to a great interview folks, so please, press play and learn about the man who is quickly becoming a name to take notice of.
Ladies and Gentlemen . . . Scott Windhauser.
(The Password to watch ‘DEAD TRIGGER’ trailer below is: zombie)
It would be easy for me to simply sit here and wax lyrical about my love of SHARKNADO okay – real easy. But to do that does a disservice to one of the major components of its success, and that comes in the form of the director at the helm of the franchise; (now moving into its 5th installment) the dynamic Mr. Anthony C. Ferrante.
Frank Darabont and Anthony C. Ferrante at the 37th Annual Saturn Awards at The Castaway, Burbank, California June 23, 2011. Photo Credit Sue Schneider_MGP Agency
It was 2014. I was at work on the sequel volume to an anthology whose content was the collected author’s visions of their ultimate B movie. Anthony was prepping SHARKNADO 3 at the time for release. Still, I managed to get a hold of him to write the foreword for that book, and subsequently, the release of the book and SHARKNADO 3 fell in pretty close succession.
The desire to make movies and equally the passion for them, strikes one out of the blue. Anthony was not yet in his teens when that voice inside us all called out to him, and from that point forward, he knew making movies was exactly what he was going to do.
Now like I said earlier, to simply classify him as the SHARKNADO GUY, is to be completely unjust. Anthony is a renaissance man of the highest order. This writer, director, producer, sometimes actor, make-up effects artist, songwriter, comic book author – the list is longer than the list of cameos in the SHARKNADO franchise thus far.
But as you will hear, some of the best training Anthony received during his journey, was while writing for the likes Fangoria and Cinescape Magazine. For it was during this time that he was tasked to cover films being made in the local area. So he found himself hanging out on the sets of movies and getting to witness first-hand, all the stuff they don’t teach you in film school.
It was this and the do-with-what-you-got attitude he cultivated while making his early films in his hometown that has enabled him, or perhaps, weaponized him for the career he has enjoyed and one that continues to flourish. It is this shooting-from-hip type filmmaking that lends his work a frenetic energy. Fittingly you might say, he is the right man for the job at hand when it comes to the wild, bombastic and beloved lunacy that is the SHARKNADO franchise.
But beneath that, I think we are witnessing a great filmmaker on the rise. A man whose talent and skill will I hope be utilized to its full potential. Anthony C. Ferrante may indeed be the antidote these tired, Hollywood tent-pole movies are sorely lacking.
But enough to this. GO, GO, GO, GO, GO, GO, GO – listen to this interview, and don’t forget to tune into the upcoming SHARKNADO!
Sylvain Despretz really is the personification of honnête homme. And he has been a man of the world since an early age. Travel was a part of his life; the other constant being his love of the cinema.
He is an artist of great style and skill and after his schooling he worked as an art director for a top Madison Avenue agency then moved on to illustrating Graphic Novels in California under the mentoring of the internationally famed artist Moebius. From there he would set out upon what would become and astonishing career as a story board artist and conceptual designer.
His work you’ll have seen, gracing the screen in a myriad of films in a variety of genres. Movies like Gladiator, Alien Resurrection, Panic Room, The Fountain, (Tim Burton’s) Planet of the Apes and The Fifth Element. These including work on Don’t tell Mom the Babysitter’s Dead and the coming Luc Besson sci-fi extravaganza: Valerian. He has worked with and on films directed by the true masters of the screen including Ridley Scott, Stanley Kubrick, David Fincher and Jean-Pierre Jeunet.
But, as you will hear, Sylvain has become disenchanted by the current repetitive nature of Hollywood’s cookie-cutter output. He is now driven by the notion that the only way to usher in change, is to be part of a creative revolution that places an emphasis on original voices instead of corporate responsibility.
To this end he is now embarking on a journey that will see him stepping away from the drawing board and moving behind the camera; bringing his own visions to life using that mysterious blending of industrial light and storytelling magic.
He is a learned Hollywood veteran who has seen the Dream Factory from the inside, and his stories and wealth of knowledge and experience was and is fascinating to experience.
The designer behind the scenes and the future man in the director’s chair, proud am I ladies and gentlemen to present this interview with the one and only, Sylvain Despretz.