Tag: Frank Grillo

Joe Carnahan’s CopShop

by natewatchescoolmovies, posted in Film Review

It’s always cool when one of my favourite filmmakers not only puts out two films in the same year, but that they both end up being ones I absolutely love. Joe Carnahan gave us the knockout action SciFi Boss Level earlier in 2021 (highly recommended) and now we have CopShop, a tough as shit, gritty as fuck, funny as hell homage to the lower budget, one location cop thrillers of the 70’s, particularly one I need not name drop but pretty much set the bar, and whose influences are there. Hitting new collaborative notes in his ongoing working relationship with Carnahan is Frank Grillo, who also headlined Boss Level and here plays greasy, self centred mob fixer Teddy, wanted by several hitman including gruff, violent Bob Viddick (Gerard Butler) and off the chain mega-psychopath Anthony Lamb (Toby Huss). Teddy deliberately gets himself thrown into county lockup which he thinks will be safe, but both contract killers follow him there for a bloody showdown as cops are picked off one by one, a cat and mouse game ensues and we gradually learn more about these characters. Grillo uses his hair as an asset to performance here and it’s hilarious to the point where one character makes fun of it in reference to a Tom Cruise flick. Butler is mean, efficient and darkly sarcastic while Huss, never an actor to back down from a challenge, is a terrifying nightmare tornado of perverse looney toons energy, a seriously diabolical, constantly hilarious and severely scary villain for the ages. As great as these three actors are, the real star of the show and my favourite character is Alexis Louder as Valerie, the toughest cop in the county and the real protagonist amidst this stable of shady scumbags. She’s terrifically resilient and charismatic, owning the emotional grounding, dark humour and lethal physicality of her role to the point where I wanted to see a sequel with just her pitted against a whole new roster of baddies. The film has Carnahan’s typically realistic, candid dialogue that I always appreciate so much and a kinetic, propulsive forward momentum that is reminiscent of his excellent 2006 Smokin Aces, although much lower in pitch, tone and budget. I enjoyed the morally sticky, ambiguous nature of Butler and Grillo’s characters who are genuinely hard to read and predict, while Huss’s mad dog cavorts around the precinct like a bull in a CopShop. This was a ton of fun for what it was, and I love seeing mean, unapologetically brutal, off the cuff genre efforts still surface in this day and age. Great times.

-Nate Hill

Bruce Willis B Movie Glory: Cosmic Sin

by natewatchescoolmovies, posted in Film Review

Bruce Willis, for whatever reason, is determined to go the schlocky B movie route these days and has been cranking them out with stunning punctuality and frequency. Last year he did a “body snatchers in space” style one called Breach which I actually kind of enjoyed and now he has a new one called… “Cosmic Sin”, which sounds like a flavour of Axe Body Spray. Well… and I just know I’m going to catch major shit for this, but I didn’t hate this one either, as slipshod, incoherent and cheap as it is. Willis once again plays a legendary military leader who has fallen from grace. Once called “the blood general” for dropping a mega-bomb on an entire species to eradicate them before a war could break out, he’s been dragged out of his favourite bar (complete with robot bartenders, I must excitedly note) for One Last Mission: first contact with another aggressive alien species has been established and the leaders of what’s left of humanity want him to spearhead a deadly preemptive strike in order to avoid intergalactic war, an operation called ‘cosmic sin’ that should have been called ‘operation I’ll fucken do it again.’ It’s basically sanctioned genocide, and an odd idea for a story but I suppose it makes sense, if the species in question is hostile and nasty enough to warrant it. So he blasts off in a special quantum leap suit to the forest moon of Ellora with several others including his longtime sidekick (Corey Large, also responsible for writing and producing these things), a battle hardened veteran (Costas Mandylor and a surprisingly good British accent), a lab tech (Adelaide Kane) in charge of handling their ‘Q-Bomb,’ a hotheaded rookie (Brandon Thomas Lee, who is Pam Anderson & Tommy Lee’s kid), a foxy scientist (Perrey Reeves) who has vague romantic history with Willis and Frank Grillo as yet another military badass. The film consists of lots of murky pseudo-scientific and political expository dialogue, clunky gunfights in cheap looking mecha-suits, half mumbled lines from Willis, lots of running, shooting, neon lights, a pulsating video game type score and eventual aliens that look like regular people in Spirit Halloween costumes. I’m not gonna lie, the thing sucks hard, but if you’re a trash aficionado like me, it sucks in… just the right way (I realize after typing that how it sounds). It’s the kind of breezy junk food cinema you’d find playing at 2am on SyFy in the glorious early 2000’s in between reruns of Xena, and honestly sometimes I miss those days. I think the fact that it has Willis in it, and that people aren’t quite used to him in fare like this yet (you’ll come around, don’t worry. It happened to Pacino and DeNiro too lol) is why it’s being *especially* shredded and roasted in reviews. And yeah, its shitty, but it’s fun shitty, and I need those type of films on my menu just as much as all the rest. Oh and one more thing: I have to give this extra points for having maybe my favourite written line in any film of 2021. As one character tries to reassure another who has been shot and is bleeding out, he literally says “Don’t even think about dying, or I’ll fucking kill you.” *That*, my friends, is what cinema is all about.

-Nate Hill

Joe Carnahan’s Boss Level

by natewatchescoolmovies, posted in Film Review

If I was mayor of FilmTown, I’d make the day a new Joe Carnahan film came out a national holiday. The guy is such a great storyteller and to me, each of his movies over the years is a solid gold classic, from the gritty Narc to the cult status Smokin Aces to the emotional masterpiece The Grey to the criminally overlooked Stretch. His new film Boss Level just dropped on Hulu and various other platforms for rental and let me tell you, it’s my favourite thing I’ve seen in awhile and most definitely of 2021 so far. The infusion of action and SciFi has always been a great love of mine and when done with wit, intelligence, inspiration and badassery it can be a truly special sub-genre. Frank Grillo stars as ex special forces soldier Roy Pulver, who finds himself in a curious metaphysical time loop on the day of his death: he wakes up, is immediately confronted with a host of eccentric and quite lethal contract killers, some of whom he is able to kill, and others not so much. The day is often a variation on the same template, but one thing remains unchanged: at some point, in some way, he always ends up dead. Who placed him in this purgatorial halo of mayhem? Does it have something to do with his ex girlfriend (Naomi Watts) who works at a mysterious physics research lab owned by a Machiavellian despot (Mel Gibson) hellbent on some nefarious agenda? Well of course it does but the fun is in seeing how, and how with each new day, or each new crack at the level as this thing is a terrific mirror board for video game concepts, he learns a little more, and gets a little closer to figuring out what’s happened, who has it in for him and why. Grillo is a great choice for an action hero because not only is he physically adept and imposing, he also has acting talent and charisma for days and just feels like someone you want to be around. He narrates the film in hilarious, touching and sardonic voiceover and makes Roy a terrific character creation. Gibson is in scenery chewing Bond villain mode, munching on a giant cigar and commanding hordes of minions like some dark god, while Watts is terrific as ever. Keep an eye out for Will Sasso, Michelle Yeoh, Annabelle Wallis, Quinton Rampage Jackson and Ken Jeong as a lippy bartender. This is a wonderful motion picture with balls to the wall ruthless gory action, absolutely hilarious and colourful dialogue (Carnahan has a way with words like no other), a SciFi concept that is just this side of silly yet still tantalizes the brain (the Osiris Spindle is such a cool idea) and feels intricate and trippy enough to keep us guessing and immerse us in the world. You know what really hit it home for me though? Roy is a real character with an arc who not only has to fix the dilemmas imposed upon him by an external antagonist, but fix his own heart and mend his own wayward tendencies, particularly in the relationship with his son (Rio Grillo, Frank’s real life kid) who he’s never seemed to find the time for, until now when all he has is one day, but a day that scintillates into eternity. There is real pathos in this story and for a 90 minute action film with this much destruction, mayhem, crazy characters, conceptual exposition and layered plotting it’s rare to find an emotional core emanating from it as well, but this one really has it all. Kinda like Source Code meets Groundhog Day with splashes of Bond and this exhilarating undercurrent of video game thematics, and also fiercely and singularly its own thing. Best film of the year so far.

-Nate Hill

The Sweetest Thing

by natewatchescoolmovies, posted in Film Review

I’ve always liked The Sweetest Thing, a deranged sex comedy from the female perspective that has the winningly bonkers personalities of Cameron Diaz, Christina Applegate and Selma Blair to make it something memorable, if not that original. This got royally shit upon by critics and while I’ll concede that it’s slight, airy stuff without much to say overall, there’s no denying it’s hysterical energy, lovable chemistry between the three leads and overall enjoyable lunacy.

Diaz, Applegate and Blair are three early thirties party girls in San Francisco, all looking for that special guy or at least one to have fun with for the night until he comes along. Diaz is the ruthless player of the bunch, and as the film opens we see a montage showing all the guys she’s dumped, one and done-d and left in the dust, until one night at a club she meets her match in Peter (Thomas Jane), a seemingly perfect guy who vanishes later that night, leaving her with a bunch of what-ifs in her head and the desire to track him down. With Applegate’s help she embarks on a mini road trip to find him, while Blair has some raunchy misadventures with her boyfriend (Johnny Messner) and his massive dong. Others show up along the way including Parker Posey, Frank Grillo, Lillian Adams, James Mangold, Johnathon Schaech and Jason Bateman as Jane’s goofball brother.

I think this wasn’t received well because most super crude sex comedies are done from the male perspective, and there’s this reluctance or uncomfortableness when it’s perceived the other way round, which is sort of unfortunate and not at all a fair or honest angle. These three chicks know how to have fun, love to party and are a blast to watch onscreen, especially seeing the insanity apparent in their group dynamic, which if seems excessively zany for a group of girlfriends, trust me.. it’s not. There’s some really raunchy stuff like a semen stained dress getting licked by an elderly dry cleaning owner and a dick piercing getting snagged down a girl’s throat during a blowjob, and don’t get me started on The Penis Song. It’s all in good fun though, and the guys get to have a blast too, as we see Jane and Bateman at a driving range whacking balls at the hapless groundskeeper who wears a confederate flag hat. Not a great film, but definitely a hilarious one and worth it to see Cameron, Christina and Selma clearly having about as much fun as you can in front of a camera.

-Nate Hill

Joe Carnahan’s The Grey

by natewatchescoolmovies, posted in Film Review

When the marketing campaign came along for Joe Carnahan’s The Grey, they really tried their hardest to make it look like ‘that Liam Neeson movie about punching wolves.’ It’s understandable, because what we really got was a heartbreaking, human survival story rooted in character, streaked with sorrowful existentialism and so far from the rugged action film advertised. That kind of film is hard to sell in Big Hollywood, but it’s always better as filmgoers to receive something this thought out, carefully made, entertaining and deep when visiting the multiplex, and it’s gone on to become one of the best films of recent decades as well as a personal favourite.

Neeson is scary good as Ottway, hired gun for an oil company and resident badass at the remote Alaskan rig where hordes of rowdy labourers chase that paycheque they’re just gonna blow on booze the same night. On a routine transport back to Anchorage their plane crashes horrifically, scattering the tundra with bodies and leaving a handful of survivors to fight their way across the desolation. Led by Ottway, they soon realize their path has cut right trough the hunting ground stalked by a hungry pack of wolves, and they are now in the crosshairs as well as at odds with the cruel indifference of Mother Nature. The wolves here are never really seen clearly and don’t mimic what you might see on BBC’s Planet Earth, instead we get snarls, gristle, sinew and nasty unseen phantoms growling out there in the dark until one of them lunges for a kill. They serve not so much as literal wildlife but rather as harbinger of inevitability, a spectral reminder of one’s mortality in a situation like that, and the ever present fear of death.

Carnahan has a background in what you might call ‘manly movies,’ previously helming the excellently gritty Narc, the fabulous and underrated Smokin Aces and the silly reboot of The A Team, but The Grey is a brand new bag. Deadly serious, deeply thoughtful and surprisingly emotional, this is a film that loves its characters despite putting them through icy hell. Neeson is uncannily good, his character goes through sadness in ways that mirror real life tragedy the actor has been through, events we can see echo in his haunted, career best, primal howl of a performance. Dermot Mulroney makes brilliant work of Talget, a pensive man who just misses his daughter and holds onto that as will to live. Frank Grillo brings down the igloo as Diaz, a macho, hard bitten jerk-off who quickly discovers that such abhorrent behaviour is something both his fellow survivors and the wolves have no time for. Other fantastic work comes from James Badge Dale, Joe Anderson, Dallas Roberts, Nonzo Anozie, Ben Hernandez Bray, Anne Openshaw and more.

Roger Ebert said that the only time he ever walked out on a film was the next one in line after seeing this, and that sort of encapsulates the almost profound effect this one has. The first time I saw it was a bleary bootleg version on a laptop and I sat there stunned in silence after. There’s many aspects that went into attaining that quality, but what resonates and makes it work so well for me is how much it respects, loves, and treats its characters like actual human beings instead of cannon fodder victims for the wolves. They are all well developed, non-archetypal individuals, and it’s that that pulls you right into the story. There’s a scene where Neeson eases the passing of a fatally wounded man with comfort and grace, it’s easily the most devastating death scene I’ve ever seen filmed, made so by blunt realism and uncomfortable truth. My favourite scene has to be the remaining survivors sitting around a campfire, simply talking. They banter, Neeson shares a poem his father wrote, Mulroney tells a story about his daughter he misses so much and Grillo lightens their collective mood with a bit of humour. You feel like you’re sitting right there with them. A masterpiece on many levels.

-Nate Hill

The Purge: Election Year

by natewatchescoolmovies, posted in Film Review

I love the Purge films, and I find the evolution of the franchise fascinating. Trust an Ethan Hawke home invasion horror show to spawn some inspired, stylish and whacked out sequels. As good as Hawke and the horror was, it’s the concept of the Purge itself that led to ignition on the rest of series. Where Anarchy broke free from the conceptual restraints of the first and burst into all out war as we got to see full scale just what a purge looks like, Election Year builds ideas upon the carnage and gets political, though no less visceral and terrifying. There’s just something so unnerving about the premise of it, the absolute extremes in human behaviour it brings out, accented by a wry, satirical edge that seems so disturbing to me and what makes these films unique from scores of other horror fare. Here we see the New Founding Fathers, originally responsible for inauguration of the purge, challenged by a fierce new independent senator (Lost’s Elizabeth Mitchell), who has survived a particularly nasty purge night years before and wants to abolish the night forever. The evil, bitter chairman of the Fathers (Raymond J. Barry, turning the creepy Machiavellian scumbag dial up well past eleven) slightly augments the newest purge night in hopes of eliminating her from the running. Frank Grillo returns as eternally badass Sarge, now on her private security detail, and they both are forced to run through the night from rabid purgers (who have now gone international, apparently) Barry’s lethal Neo Nazi special ops assassination squad and even a bunch of crips. Help comes from a salty old deli owner (Mykelti Williamson) who wont go down with out a fight and a badass anti purger (Betty Gabriel) with a triage van. It’s loud, mean, brutal stuff that, as Anarchy did, takes lurid advantage of the premise and shows some jarringly depraved human behaviour from folks in all classes and makes a strong point towards the purge being a pretty shitty idea to begin with, especially when ulterior motives of those in power become clear. Writer director James Demonaco always attracts interesting actors to these films and has carved out quite the little legacy here. This year saw another one, a prequel called The First Purge which I’m excited to see, and Amazon just announced their own small screen version, so bring it on.

-Nate Hill

B Movie Glory: iMurders

by natewatchescoolmovies, posted in Film Review

iMurders. Just let that title sink in. It’s worse than it sounds. A movie about a series of murders related to an online internet chat room should at least have the trashy decency of something like Pulse or One Missed Call, but this thing plays like a soap opera that got cancelled after the pilot. Cheap, lazy and ridiculous, the only saving grace is the comforting presence of a few character actors to brighten your day. It’s a roundtable whodunit with a series of characters, all who might be the killer stalking them via ‘cutting edge’ technology that resembles nothing Apple has actually ever put out. There’s a tragic shooting from years before that has somehow spurred this lunatic to torment a MySpace group like this, but honestly it’s all a bunch of narrative mud. There’s a scandalous college professor (the great William Forsythe), Gabrielle Anwar (who honestly deserves better than this) as a girl with a few skeletons in her closet, a detective (Frank Grillo) with some personal ties to the case, and more. The one decent strand sees a mysterious psychiatrist (Charles Durning) interviewing a girl (Miranda Kwok), and the two appear to be in some weird other dimension, probably one where the horror films are better than stuff like this. Tony ‘Candyman’ Todd shows up as a sarcastic FBI agent. The whole thing has a silly Fisher Price feel to it and we never buy anything as legit, and even on the standards set by B Movies this is shameless, and that’s all I have to say. Oh and Billy Dee Williams is apparently in it too, but I’ll be fucked if I remember who he is.

-Nate Hill

Pride & Glory

by natewatchescoolmovies, posted in Film Review

Pride & Glory is a gritty police melodrama that grabs the audience, shakes them till the point of concussion and wrings the life out of them with it’s nonstop intensity and performances that could raise buildings to the ground. Think I’m exaggerating or overselling? Give it a go, it’s fucking nuts. NYC cop dramas are a common occurrence out there, and have been for a long while, but something about this one just rings eerily true, rattles your cage and lets both the violence and corruption seep into the marrow of one’s viewing experience. After a drug deal erupts into multiple murder, a family of cops is thrown in an uproar. Haggard straight arrow Edward Norton is on point of investigation by boozy patriarch Jon Voight, and ends up finding out way more than he bargained for not only in regards to the NYPD, but about his fellow cop brother (Colin Farrell) too. Their third brother (underrated Noah Emmerich) is too busy taking care of his sick wife (Jennifer Ehle) to notice the corruption, or maybe does and looks the other way. Every faction adds to the pressure cooker of an atmosphere, rooted in the familial relationships that can’t withstand dangerous secrets. They should call the guy Colin Feral, because he’s a right beast as a guy whose moral compass is so out of whack he doesn’t know who he is anymore. The actor is fervently complex in his work, and makes the guy way more human than other performers would, but he’s still terrifying, whether threatening a newborn baby with a hot iron or full on brawling with Norton in a fracas of a man to man bar-fight. Voight is one of those characters who is so corrupt he doesn’t even notice it anymore, which is a dangerous avenue to arrive at when you’re in such a position of power. The supporting cast is pockmarked with fiery work from terrific actors including super underrated Carmen Ejogo, Wayne Duvall, John Ortiz, Lake Bell and two arresting turns from reliable firebrands Frank Grillo and Shea Wigham. Built around a script by Joe Carnahan, who feeds off of authentic dialogue and realistic shaping of events, this is one that pulls you right into it’s suffocating world of beleaguered sentinels of law enforcement whose eyes have become dim to that thin blue line separating order and madness. Brilliant, heavy stuff.

-Nate Hill

“Don’t be afraid.” – A review of The Grey by Josh Hains

by Josh Hains, posted in Film Review

You’re watching the opening titles click along, Open Road, Scott Free, the works all rolling through their frames in eerie silence. You think for a fraction of a second that maybe something bad will happen, maybe one of those wolves you’ve seen advertised will erupt into the frame and tear someone’s throat out and perhaps scare the hell out of you. It would be a most opportune time for a jump scare. Instead, wolves bay at the moon, their howls long and bone chilling. I think the howling is more frightening.

John Ottway (Liam Neeson) narrates the opening scene, conveying a “I-don’t-give-a-damn” no nonsense, cynical mindset. He drifts through the cold night like the ghost of someone who died with unsettled demons. A hopeless, broken man. So broken is he that Ottway contemplates and nearly commits suicide, his mouth firmly around the barrel of his rifle until the baying of wolves cuts his actions short. This understandably drawn out sequence is juxtaposed with marksman Ottway shooting a lone wolf that charged some oil drillers, a job he seems born to execute. Ottway respects the animal enough to stay with it until death, almost comforting the creature until its final breath.

A plane ride to Anchorage for oil rig workers on leave (Ottway amongst them) reveals seven more characters of worth, each one playing a significant role in the plot of the film. Flannery (Joe Anderson), the young reckless hick, scared out of his mind, nervous, panicky. Diaz (Frank Grillo) the cynical ex con with a penchant for the f-bomb and bar fights, and his pal Hernandez (Ben Bray). Lewenden (James Badge Dale), presumably a family man. Hendrick (Dallas Roberts), the sympathetic and rational religious mind of the group. Talget (Dermot Mulroney), the gutsy father. Burke (Nonso Anozie) the welcomed comedic relief in several key scenes. The plane they’re travelling in crashes, delivering easily one of the most terrifying on-screen plane crashes you’ll ever encounter on film; it’s the stuff of nightmares and fever dreams.

Ottway soon takes charge, seemingly the most experienced man in the group, making the decision to leave the crash site after Hernandez’s mangled body is found the morning after the sudden and brutal wolf attack that led to his death. The forest a few miles away will provide richer shelter against the harsh, unrelenting winter weather, and might work in the group’s favour against the wolves. Superficially,  The Grey is about a group of men the world seems to have discarded, “men unfit for mankind”, struggling against unfathomable odds. It’s a classic action adventure with elements of horror, but there’s more to this movie than just teeth and death.

The surviving men find opportunities for conversations that bring to light their wants and desires in life. Obviously, we learn the most information about our hero John Ottway, some though deep philosophical thoughts he seems to have been holding onto for ages, and some throughout the movie in the form of brief flashbacks with his wife. Though they are depicted as group at nearly all times, director Joe Carnahan (and co-writer Ian MacKenzie Jeffers, who also penned the short story Ghost Walker that The Grey is based on) understand perfectly how to treat each character as an individual guided by their own unique desire to survive this horrific ordeal, and live to tell about it. The performances across the board are all great, though Grillo and Neeson seem the most natural, helping maintain the grounded atmosphere the movie carries. Neeson deserved more praise upon release than he ever received for giving such a moving, raw performance.

At the end of the movie (*spoiler alert* for those who haven’t seen The Grey over the past five years) Ottway is alone, freezing, desperate, and significantly more broken than he was when we first encountered him, reflecting on those who fell before him by looking through their collected wallets (the real wallets of the cast). Soon realizing to his dismay that he has found the den belonging to the wolves that have relentlessly hunted him, he reflects upon the passing of his late wife, told through one last heartbreaking flashback, her final words giving him the strength to press forward and fight for his life. After taping a knife and broken bottles to his hands as the alpha wolf approaches him, he delivers the lines to an anonymous poem he mentioned to the group earlier that sat in his father’s office when he was a boy. The screen cuts to black, and we’re left stunned and profoundly moved.

Our only clue as to what went down between man and beast lies in promotional material, a brief glimpse of which is shown in a nightmare Ottway has and nowhere else, not even on the Blu-Ray’s deleted scenes. A post credits scene shows Ottway is alive, resting on the presumably dying alpha wolf, though it remains unclear if he is mortally wounded or just worn out, exhausted.

While the misrepresentation of the final product in the promotional materials irked many, it didn’t bother me like I thought it would because I still understand that the sequence (as awesome as it likely is) didn’t fit the tone of the rest of the movie. Liam Neeson slashing and stabbing a territorial wolf sounds like an epic fight for the ages, but that makes about as much sense as having Roy Scheider repeatedly stab the behemoth shark in Jaws to death while clinging to its dorsal fin. In a movie built on a foundation of callous logic and reasoning, that ending just wouldn’t have sat right in our stomachs, and I’m content with that.

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