Tag Archives: Eric Schweig

Ron Howard’s The Missing

I’m not sure why a gorgeous, thrilling horror/western/adventure like Ron Howard’s The Missing didn’t win over audiences as much as it should have upon release, but it’s one of my favourite in the genre, the best film overall from Howard (IMHO) who has always felt like an uneven, ‘play it safe’ Hollywood filmmaker to me and one of my go-to films to revisit. This films plays it anything but safe, blanketing a very personal, desperate set of protagonists and their struggles with a cloak of menace, mysticism and marauding danger around every corner of a threatening New Mexico brush-scape. Cate Blanchett gives one of her most raw, affecting turns as single rancher and single mother Magdalena Gillekson, a woman with a great deal of trauma in her past who is simply trying to live the isolated homesteader life and raise her two daughters (Jenna Boyd and Evan Rachel Wood) right, with the help of her friend, ranch-hand and sometimes lover Brake (Aaron Eckhart). Their lives are first upheaved with the reappearance of her ne’er do well father Samuel (Tommy Lee Jones), a halfbreed nomad who is disgraced most people in his past, and then with the arrival of a terrifying witch-doctor (Eric Schweig) who kidnaps her eldest daughter and makes off with his gang of Apache and white human traffickers towards the Mexican border to sell her and a whole bunch of other girls they’ve taken. So begins a journey of reconnaissance, rescue and reconciliation as Magdalena, Samuel and the younger daughter voyage across wintry plains of New Mexico into barren badlands to square off with this evil cabal of predatory psychopaths and return the stolen girls to their homes. These two characters that Blanchett and Jones play fascinate me; she’s cold, bitter and has clearly been robbed of some of her humanity in the past. He’s an outcast loner with a life story so dysfunctional that his Native name literally translates into English as ‘shit for luck.’ Their struggle to salvage any kind of father daughter relationship between them is almost as daunting as the brutal rescue mission they undertake, and the narrative pays just as much careful attention to character development and human interaction as it does to action and violence. Schweig is utterly despicable as the evil Apache shaman, a hateful, volatile, ugly as fuck rotten bastard monster who haunts the film like the very wind over the terrain itself with his unholy magic spells and sudden outbursts of shocking violence. The supporting cast is full of rich talent including Elizabeth Moss, Steve Reeves, Jay Tavare, Ray McKinnon, Max Perlich, Simon Baker, Clint Howard and a surprise cameo from Val Kilmer. As good as everyone is overall, my favourite performance of the film goes to Jenna Boyd as the youngest daughter.. it’s hard enough to find child actors who will be able to to the minimal amount of believable emotion in a role like this, but she is uncannily talented and her potent terror, fierce resilience and undimmed love for her mother and sister woven into her work simply knocked me flat. The late James Horner composes a score that tops the list of prolific work from him for me, an ambient collection of classic yet somehow eerie western motifs that play along the sideline for the first two acts and then swell with orchestral release later when the finale rolls around. Cinematographer Salvatore Totino makes spooky use of the wide open vistas, craggy, labyrinthine geological structures and captures the rugged natural beauty of the region splendidly. I wish Howard would do more edgy, off the beaten path and thoroughly dark pieces of work like this because for my money he’s never been better. Perhaps that’s why this wasn’t received so well though, it’s a harrowing far cry from what we’re used to seeing in Hollywood westerns, full of black magic, dark deeds, horrifying imagery and bloody, unforgiving violence. It has a soul too though, present in the bittersweet relationship between its main characters and the ruthless resolve they fuel in each other to seek retribution against the forces of darkness at their door. This is a great film and don’t let anyone tell you otherwise, I think it was just either misunderstood, ahead of its time or people simply couldn’t reconcile the heavier aspects. I’ve recently acquired the only existing Blu Ray put out by Shout Factory which is an absolutely gorgeous release that includes an extended version with twenty minutes more footage that enriches and deepens this story wonderfully. One of the best films of the last two decades.

-Nate Hill

Gaming with Nate: Gun for PlayStation 2

This one is an all timer for me and not just as a video game but as a gorgeous, cinematic piece of western storytelling. Gun is a terrific game, well ahead of its time for the PS2 era, but it’s also a brutal frontier exploitation tale, a larger than life, hugely badass yarn that benefits from one of the coolest voice casts ever assembled, fluid graphics, vast arenas to roam through and music that sets the tumbleweeds rolling, accompanies paddle wheeler boats down rivers and sweeps across the terrain like any great western score should. You play as Colton White (Thomas Jane in the kind of rough hewn gunslinger role he was born to play), who wanders the American frontier of late 1800’s with his mentor/father figure Ned (Kris Kristofferson, perfectly rugged) learning the ways of the gun and living off the land until lawlessness and trouble inevitably interrupt their peace. After a riverboat gunfight and a nasty killing spree perpetrated by psychotic preacher Reverend Reed (Brad Dourif, oozing his trademark brand of evil), Colton sets out beyond the horizon after him and finds intrigue, murder, conspiracy, a whole gallery of villains and even the secrets of his own birthright in a jaw dropping series of action set pieces, tense standoffs, train raids and firefights everywhere from Dodge City to the lands beyond. He goes up against vile, corrupt Mayor Hoodoo Brown (a scenery chewing Ron Perlman), joins forces with notorious outlaw Clay Allison (Tom Skeritt), does battle with fearsome native warrior Many Wounds (Eric Schweig) and eventually comes to the big bad wolf at the end of the chain of antagonists, a civil war general turned maniac named Thomas MacGruder, voiced by a booming Lance Henriksen in one incredibly thunderous portrait of bad to the bone. Other memorable work is provided by Wade Williams, Frank Collison, Kathy Soucie, John Getz, Nolan North, Robin Downes, Phil Proctor and more. The mechanics of the game are phenomenal, and like I said feel quite ahead of their time, or at least they did to me and always immersed me in that world. The gunfights are hectic and ruthless but ever too chaotic and there’s a few super satisfying slow motion features like ‘QuickDraw mode’ that allow you to pick off enemies with otherworldly precision. The horse riding is tactile, smooth and the animals feel real right down to how they jump, get fatigued when you ride them too hard and the way your controller vibrates specifically for hoof beats on whatever path you’re charging down. This is a broad, brutal game that doesn’t glance over the uglier aspects of the west and feels dangerous, lived-in and grandiose both in terms of the natural environment and humanity’s encroaching industries like the railroad, wagon trains and dusty townships. Gotta give a special shoutout to the score composed by Christopher Lennertz, it’s a magisterial, often quite mournfully emotional piece of orchestral work that rivals and even tops many Hollywood compositions. There’s also quite a few references to Hollywood westerns including The Outlaw Josey Wales and many characters are named after real life old west figures to cement the feel. Quite simply one of my favourite games ever made.

-Nate Hill

Michael Mann’s The Last Of The Mohicans

Before Terrence Malick lyrically explored the relationship between settlers, natives and nature in The New World, Michael Mann crafted the emotionally gripping, beautifully feral The Last Of The Mohicans. Take Mann out of his comfort groove of big city crime epics and whatever new avenue he explores is going to be incredibly fascinating (his much forgotten, sadly panned The Keep is further evidence). Trading in looming urban skyscrapers for equally imposing trees of the frontier, high powered weaponry for one badass long-shot rifle and the onslaught of rapid fire combat for incendiary cannon fire, the colonial times suit him splendidly and he rocks this period piece for all its worth. Daniel Day Lewis is a force of nature as Nathaniel Hawkeye, the white man raised by his adoptive father (Russell Means) and brother (Eric Schweig) in the wild. Madeleine Stowe is a dark haired candle of radiance and fiercely spirited as the lovely Cora Munro, brought from the prim, lacy traditions of Olde England out to the wild, uncompromising new land, with her impressionable young sister (Jodi May is low key brilliant). Wes Studi gives the bitter hearted warrior Magua a steady grace and brutal resolve. The film is lovingly made, sweeping from thundering battles to cascading waterfalls to meticulously constructed war forts to uneasy treaties to verbose politics to romance that stirs the heart and unlocks the tear ducts. But it’s all about those last twenty minutes, man. Holyyy fuck does this movie have an ending. When the final, white knuckle climax happens atop the scenic yet unforgiving Promentory Ridge, hearts, bones and dreams are broken as all the characters collide in a tragic, inevitable confrontation that leaves fire in your heart and tears in your eyes. James Newton Howard and Trevor Jones provide a legendary, soul stirring musical score that swells for the final act and carries it to transcendent heights. Mann directs with a compassionate, objective eye, never designating anyone as the good or bad guy, but simply showing us human beings fighting for survival, love and revenge in a land only just finding its cultural identity. A real classic and one of the best of the 90’s. Oh, and avoid the director’s cut at all costs. That’s not usually advice I’d give for any film but Mann somehow thought it necessary cut an incredibly important final scene of dialogue between Lewis, Means and Stowe that gives thematic weight to the story and caps off the characters arcs gorgeously. Rookie move, Michael, that’s a key scene and bookends the film beautifully.

-Nate Hill

Ron Howard’s The Missing: A Review by Nate Hill 

Ron Howard usually plays it both straight and safe, never taking too many risks, never siding too much with abstraction or grey areas, and over the years this has made me somewhat of a non fan. Not a hater, simply seldom blown away or challenged by his work. With The Missing, however, he strayed from the path and brought us a dark, threatening picture of life on the frontier in all its brutal, treacherous glory. With the success of last year’s brilliant Bone Tomahawk, I couldn’t help but be reminded of this beauty, as there are elements of horror and evil dancing on a thread with origin points in both films. Different altogether, but from the same elemental stew and highly reminiscent of each other. Cate Blanchett is hard bitten single mother Magdalena, trying her best to raise two daughters (Evan Rachel Wood and the excellent Jenna Boyd) with only the help of her sturdy farmhand (Aaron Eckhart). One misty night, someone or something snatches Wood right out of her bed and disappears into the wilderness with her. Magdalena is raw and determined, launching a desperate search across woods and plains to find her kin. Joining her is her half breed injun father Samuel, played by an eerily convincing Tommy Lee Jones. Samuel left her years before and only re-emerges in her life for fear of being punished for forsaking his family in the beyond. Gradually he turns around and a bond is formed through the crisis, an arc which Jones nails like the pro he is. It turns out they are tracking a group of despicable human traffickers who take girls and sell them across the border into sex slavery. They are led by a mysterious witchdoctor (Eric Schweig) whose tactics border on voodoo prowess. It’s scary stuff, never outright horror, but sure aims for that with its hazy nocturnal atmosphere in which any denizen of the night could be poised behind the next thicket or cluster of trees, ready to pounce. Blanchett is tough as nails, a terrific female protagonist blessed with a mother’s love and a winchester to back it up. Jones is gruff and badass, believable as a native american and treated as a well rounded character seeking redemption in his twilight years. There’s also fine work from Steve Reevis, Clint Howard, Elizabeth Moss and a cool cameo from Val Kilmer as a sergeant who helps them out. My favourite Ron Howard film by far. Just a mean, dark genre piece that aims to thrill and chill in equal measures and comes up aces.