Tag Archives: ernie hudson

Cult Rewind: Leviathan 1989

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Frank and Kyle join teams to talk about one of their favorite, and underappreciated films from the 80s, George P. Cosmatos’ LEVIATHAN starring Peter Weller, Richard Crenna, Ernie Hudson, Daniel Stern, and Meg Foster. While this film does borrow heavily from THE THING and ALIEN, it’s much more than just a rip-off hybrid that stands on its own with strong performances, excellent production design, and value, and remarkable creature effects and a brooding score.

Pick up the Shout Factory blu ray here.

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The Puppet Master: An Interview with Kevin McTurk by Kent Hill

They say in the film business, never work with children or animals. Of course you may find yourself working with dinosaurs, aliens, lions, beast-people, scrunts, kothogas, ghosts, morlocks, Batman, Spiderman, Hellboy, kaijus, wolfmen, clones, cliffhangers, vampires, giant crocodiles, homicidal maniacs, killer sheep, Predators, cowboys and mysterious brides out to Kill Bill.

Sounds ominous, doesn’t it? But that’s just some of the astounding creations and magnificent beasts that Kevin McTurk has encountered in his eclectic career in the realms of special effects.

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Working under the banners of legends like Stan Winston, Jim Henson and the new titans like Weta Workshop, Kevin has had his hand in erecting and simulating everything from the real world as he has from empires extraordinary. And, while I could have spent the entirety of our chat talking about his adventures working on the countless films, which are favourites of mine, he has in his CV, his impressive effects background is only part of the story.

For Kevin McTurk is a bold and visionary filmmaker in his own right. His puppet films, The Narrative of Victor Karloch, The Mill at Calder’s End and now The (forthcoming) Haunted Swordsman are exercises in capturing a style from a bygone era with modern filmmaking techniques. The results are beautiful, not only in their aesthetic quality, but in the level of excellence from the many different disciplines on display.

There is still time for you to join Kevin in his latest cinematic offering (https://www.kickstarter.com/projects/935772123/the-haunted-swordsman-a-ghost-story-puppet-film), and to listen in now to the man himself talk about his movies, influences and career.

I give you the talented Mr. McTurk.

Visit Kevin’s website for more: http://www.thespiritcabinet.com/

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The Watcher


A prevailing thought while viewing The Watcher was that Keanu Reeves is an odd choice to play a lone wolf serial killer, but he actually suits it pretty well. The film itself is muddy and middle of the road, pitting haggard big city cop James Spader against Reeves’s beast who takes extreme pleasure in taunting him at every turn. This gets so bad that poor Spader has a breakdown, loses all hope and moves to a different city half across the country. Reeves just can’t seem to quit the game though, and follows him right over there for more murderous shenanigans. It’s your classic 90’s cop vs. killer tale, and for the most part it’s not bad. The bleak, nocturnal nightscapes help Reeves creep around and nab his victims as well as provide an oppressive urban atmosphere. It’s nice to see casting like this as far as the villain is concerned; so often these killers are played by eccentric, freaky looking character actors or go-to antagonist players, but by casting a golden boy leading man like Keanu they’ve upturned the trend and made the character more striking. Also, a chiselled babe like him is far more likely to believably lure off girls than some wild eyed, Gary Busey type you’d usually find here. Points for that too. The additional players add class, including Chris Ellis, Ernie Hudson and Marisa Tomei. This one won’t go down in history simply because it’s in dime-a-dozen territory. There’s just too too many cop/killer films from back then, and if one of them doesn’t have a key quality to make it stick and endure, it’ll fade into obscurity, like Reeves receding back into the inky night after a fresh kill. It’s not bad in itself though, if mostly just for him and the urban ambience he stalks through. 

-Nate Hill

No Escape: A Review by Nate Hill 

  

No Escape is the type of flick that Stallone or Schwarzenegger would have headlined, had it been given a higher budget and major studios presence. It’s almost better that it didn’t, because instead we got a scrappy little post apocalyptic actioner starring a cheeky, roughneck Ray Liotta, who you just can never say no to when he shows up. He plays J.T. Robbins here, an army official who’s been disgraced and stripped of his title following an incident involving a superior officer. He’s being shipped off to Absolon, a remote island that’s been fashioned into a massive prison for convicts who are never to be released. Two groups of prisoners inhabit Absolon: a piratical group of violent miscreants led by flamboyant Walter Marek (Stuart Wilson commands attention with his uproariously weird performance), and a peaceful tribe of hut dwellers, presided over by father (Lance Henriksen). Robbins wants only to escape, a prospect that has been fervently shot down in his face by Absolon’s overbearing Warden (Michael Lerner). Using his military cunning and inherent brute force, he tries to start a war between the two factions and raise enough of a commotion to make a break for it. What he doesn’t count on is his fondness for the people within Father’s group, and his eventual need to get some of the, out as well. It’s pure aged mid 90’s dystopian action cheese, and a delight for any lovers of the gourmet dish. Liotta is strong, silent and nasty when provoked, a great antihero. Henriksen is unusually compassionate and reserved, and Wilson struts around without any inhibitions, wearing his best grade school play face chomping scenery like a wildebeest. Watch for work from Kevin Dillon, Ian McNeice and Ernie Hudson as well. A lighthearted romp with its heart in the right place and the competence to back it up. 

B Movie Glory with Nate: For Which He Stands

  
For Which He Stands is a lean, mean, nasty crime drama and cautionary fable about the dangers of pride and ego, and the spiralling disaster ones life can turn into when these qualities within the human nature go unchecked. It’s also a shamelessly slimy B movie treat featuring a tough as nails lead performance from William Forsythe as Johnny Rochetti, a small time Vegas casino mogul who runs afoul of some extremely dangerous South American criminals. He plays the role like Liotta from Goodfellas crossed with Bronson from Death Wish, an initial belligerent cockiness wiped promptly out of his personality by the very real danger stalking him, replaced by a reckless calm and willingness to get his hands dirty to defend his loved ones. One night, a Latin scumbag causes a raucous in his casino by violently threatening a girl. Johnny has a reflex reaction to defend her, and inadvertently kills the prick. This makes him a local hero, but also paints a huge target on his back for the Colombian cartel, who his deceased quarry had connections with. He’s forced to leave his wife (Maria Conchita Alonso) and contend with the dangerous criminal forces aiming to eliminate him. There’s some truly freaky cartel baddies here, including Andrew Divoff in a cameo as a gravel voiced psycho, and Robert Davi in a fire so,e turn as Carlito Escalara, a ruthless assassin hell bent on destroying Johnny. He’s got some legendary villain roles in over the years, and this one is among the nastiest, and best. Johnny’s only help comes from an intrepid federal agent (Ernie Hudson) and a D.A. (John Ashton’s). It’s Forsythe’s show though, and his transformation from untouchable big shot to caged animal on the run to eventual pistol packing hero is fun to watch. The atmosphere is pure crime cinema, told almost like a dark fairy tale that just happens to be set in Vegas. This one is positively buried in obscurity though, I had to seek out a screener VHS copy of a dusty corner of Amazon to get my hands on it. Good luck.