Tag Archives: Gareth Edwards

It’s PAYBACK Time!: The Martial Arts Kid 2 Interviews by Kent Hill

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I have always been a fan of underdog stories. They hold for the viewer a message of hope that – should one’s fortitude and perseverance be fixed to the sticking place – then there is nothing that can’t be accomplished or overcome.

Having enjoyed the first installment of the Martial Arts Kid, as well as having a chance to chat with two of its legendary cast, Don “The Dragon” Wilson and Cynthia Rothrock, I was thrilled at the prospect that, not only would the story continue, but that I would have a chance to meet the players from this exciting second chapter.

Of course, it is obvious, that there are parallels to be drawn with John G. Avildsen’s iconic The Karate Kid. Still this is a story onto itself – a story of the discipline it takes to rise to the challenge, and ultimately find redemption in the wake of defeat.

The Martial Arts Kid 2: Payback sees the return of Wilson and Rothrock, headlining an all-star cast of Martial Arts professionals in a tale of courage and honor in the face of adversity. My guests include Producer, Dr. Robert Goldman and stars T.J. Storm, Matthew Ziff and Brandon Russell – all returning from the MAK. I’m certain this shall be another inspirational story, combined with the finest Martial Arts action, and featuring the real life champions of the various styles. A pleasure it was to talk to each of them, and more exciting, the anticipation of the release of the MAK 2. I trust you will enjoy my guest’s insights along with the movie . . . upon its release.

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{Courtesy of https://www.drbobgoldman.info/}

Dr. Goldman is a 6th degree Black Belt in Karate, Chinese weapons expert, and world champion athlete with over 20 world strength records and has been listed in the Guinness Book of World Records.  Some of his past performance records include 13,500 consecutive straight leg situps and 321 consecutive handstand pushups. Dr. Goldman was an All-College athlete in four sports, a three-time winner of the John F. Kennedy (JFK) Physical Fitness Award, was voted Athlete of the Year, was the recipient of the Champions Award and was inducted into the World Hall of Fame of Physical Fitness, as well as induction into numerous Martial Arts Hall of Fames in North America, Europe, South America and Asia.  He founded the International Sports Hall of Fame, recognizing the world’s greatest sports legends, with ceremonies held annually at the Arnold Schwarzenegger Sports Festival the largest sports festival in the world, with over 200,000 participants, 70+ sports represented and over 20,000 competing athletes, making it double the size of the Olympic Games.

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{Courtesy of https://www.martialartsentertainment.com/t-j-storm/}

In high school Storm was shy and started break-dancing as a way of trying to “fit in”. Dance quickly became T.J.’s passion and he would win over 200 dance competitions in the genres of hip hop and break-dancing. He received a dance scholarship and this paved the way for his move to Los Angeles and dancing in music videos. Dance was his passion, but it only provided him with enough money for rent and a diet of Ramen Noodles and Pop Tarts, with little left for anything else. Devoted to the martial arts, Storm often found himself stopping by and observing an outdoor Northern Shaolin class on his way home from work. Eventually Storm was approached by the teacher and he was asked to join class, allowing him to add the knowledge of Northern Shaolin to his others arts. Using his talents for dance and martial arts, T.J. began to pursue acting. He graduated from the Joanne Baron/D.W. Brown Acting Academy. While playing the role of Bayu on the television series, Conan The Adventurer, Storm developed the unique action style that he is known for. His brand of action is a combination of martial arts, acrobatic skill, comedic timing, and an almost balletic grace. Storm has since gone on to work with Jet Li, Sammo Hung, Sir Ben Kingsley, Michael Madsen, Kelly Hu, Cary-Hiroyuki Tagawa, Michelle Rodriquez, Neal McDonough and Kristanna Loken. T.J. Storm made motion captures for Captain Josh Stone and Dave Johnson in Resident Evil 5. He is known for his roles as Criag Marduk in the Tekken Series, and Strider Hiryu in Ultimate Marvel vs. Capcom 3. Soon you will hear T.J. Storm in the video game Battlefield Hardline (2015), and see him in The Gold Rush Boogie (2015), Jonny Flytrap (2015) Bullets Blades and Blood (2015), Boone: The Bounty Hunter 2014 and as Coach Laurent Kaine in The Martial Arts Kid (2014).

 

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{Courtesy of http://www.matthewziff.com/}

Matthew Ziff’s professional career started two months after he was born when he signed with the Wilhelmina Modeling Agency in New York. He has been featured in numerous print ads and campaigns including Glamour magazine. By age 10, due to his talent as well as his professionalism, not only was he considered a top child model, called upon constantly for magazines, clothes and toy boxes, as well as various commercials, he had already appeared in comedy skits on both the David Letterman and Conan O’Brien shows. During his high school years at The Blair Academy, Matthew kept active with acting classes, as well as performing in stage productions, not only as an actor, but also as a director. Once in college at the University of Miami, he signed with Stellar and Elite Talent agencies where he filmed multiple commercials and embarked more thoroughly on his film career. Matthew has worked in many genres in such films as Six Gun Savior (Eric Roberts, Martin Kove), Treachery (Michael Biehn, Sarah Butler, Jennifer Blanc), Hardflip (John Schneider, Randy Wayne), Online Abduction (Brooke Butler, David Chokachi), Mansion of Blood (Robert Picardo, Gary Busey), Safelight (Evan Peters, Juno Temple), Among Friends (Danielle Harris, Kane Hodder) and Searching for Bobby D (Paul Borghese, William DeMeo). In addition to acting, Matthew has his second degree Black Belt in Tae Kwon Do and has studied Hapkido as well as Kendo (swords). In July, 2012, he represented the USA in the International Quidditch Association’s Summer Games during the Olympic Torch Relay in England, where Team USA won the Gold medal. He is also a marksman with rifles and pistols and is a multi-instrumental musician specializing in guitar, bass and saxophone. Matthew has a Master’s of Science in Industrial Engineering from the University of Miami. He is a member of SAG, AFTRA, AEA and GIAA. He maintains homes in California, New York and Florida.

 

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{Courtesy of https://www.imdb.com/name/nm2182241/bio }

Brandon expressed an interest in acting at the age of 3 and by 5 was already a member of SAG. His biggest role to date was his lead role in the feature film, Smitty (2012), which was released in April 2012. Brandon plays the lead role of Ben Barrett and worked alongside: Peter Fonda, Mira Sorvino, Louis Gossett Jr., Lolita Davidovich, Jason London, and Booboo Stewart. Since filming Smitty, he has gone on to film supporting roles in Wiener Dog Nationals (2013) and The Martial Arts Kid (2015). He also had a lead role in the UPtv holiday movie, Beverly Hills Christmas (2015). Brandon has also been seen on Tosh.0 (2009), Supah Ninjas (2011), and Instant Mom (2013). Later, he portrayed Peter Michaels in Fishes ‘n Loaves: Heaven Sent (2016) alongside Patrick Muldoon and Dina Meyer.

 

 

Into the OTHERWORLD : An Interview with RICHARD STANLEY by Kent Hill

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It’s always a fascinating experience to sit down with Richard. The man is such a natural storyteller, with a unique perspective relating not only to cinema, but also to the world around him.

We caught up this time in the midst of bad weather, a troubled connection and, last but not least, a turbulent time in Richard’s beloved Montsegur. While our conversation touched upon this, along with the whys and wherefores of the situation, we eventually turned to movies. At this time it had been documented that Richard was again a part of an attempt to bring Moreau back to the screen – as a TV series. Having been hired by the same people that fired him during the doomed journey of his initial attempt, there seems to be, thanks to David Gregory’s documentary, a renewed interest in Richard’s take on his long-suffering passion project.

I did also bring up The Otherworld, which I had finally seen at the time. Stanley’s absorbing documentary-slash-ghost-story, and the myths and misconceptions surrounding it and ‘The Zone’ which forms the backdrop. Richard is steeped in the history of Montsegur and, flavored with his supernatural encounters, it is indeed a tale of great intrigue.

Also to we touched on, and I must say I highly anticipate, the writing of Richard’s autobiography. A project that was going smoothly until it was insisted, and initially resisted by its author, that a chapter be included on the subject of the collapse of Richard’s vision of Moreau. As thrilling a read as it will be – like I said Richard is a fascinating character – it will be equally riveting to finally have a recounting of the story from the embattled man at the center of the controversy.

Still, the future is full of possibilities, and I for one wait with inordinate eagerness for any and all of Richard’s creative endeavors to finally emerge . . . in whatever form they shall take.

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“By the look of you, you haven’t come to bob for apples.” : Remembering Sword of the Valiant with Stephen Weeks by Kent Hill

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“How the hell do I relieve myself in this tin suit?”

Sword of the Valiant might come across as just another Cannon curiosity, especially for the uninitiated. For the casual observer it may simply look like another film in which another director managed to con Connery into yet another pair of strange/fancy duds?

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But while Boorman managed to get Sean to into his Zardoz get-up, which for my money is more so in the strange/fancy category than SOTV, the film in total is both an elegant and joyful rendition of the days of Arthurian legend from my guest in this interview, Stephen Weeks.

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Yes before Connery got to be the king himself in First Knight, before Clive Owen and way before Charlie Hunnam – in days of old, when knights were bold, there was the tale of Sir Gawain and the Green Knight, which as I discovered, is not the film I know it to be. Turns out I’ve no seen it in all its glory…

Working with Cannon was by no means a cakewalk, as Stephen shall tell you. And the subsequent release of the picture was grossly mishandled. Thus, the world has really not experienced this movie as the filmmaker’s intended, and that was one of many intriguing tales proffered me by the eloquent Mr. Weeks.

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This was not his first rodeo, having made a version of the film some years earlier, Stephen saw this as an opportunity to expanded his canvas. Unfortunately for him and what no one knew, or knew well enough, at the time, was the grimy underbelly of the behemoth at the top which sat Golan and Globus.

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Despite these trappings, and now knowing what I know, I still love the movie and feel privileged to have been gifted an audience with its director, who not only informed and enlightened, but also entertained.

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Stephen Weeks is an impressive filmmaker and now is an accomplished author (please see the link to his work below). As a fan of his work and SOTV in particular, I enjoyed and hope you too shall enjoy, this little trip back into the mists of time – to a fantasy world, and a fantastic film…

 

 

DO YOU SEE? Back to the Event Horizon with Philip Eisner by Kent Hill

 

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It was a good day for a movie. When is it not? I was home from university and had the agenda to go to a flick that started soon and looked good. Science fiction looked good and I had heard and read little about this new offering from the director of Mortal Kombat, the future impresario of  the Resident Evil franchise, Paul W.S. Anderson.

My buddy Paul was just coming out of the theatre, and as it happened he had just watched Event Horizon. I recall him being angry, “That’s shocking, terrible, grotesque,” he said. Well it’s been a while. But I certainly remember the look on his face and he was, for lack of a better word, mortified.

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Now when someone tells you not to look at something, what’s the first thing you do? That’s right, you go check it out. I knew I was going to. I knew my friend to be no coward, so I was automatically intrigued by the prospect of seeing this movie that had gotten to him on such a visceral level. I recall him saying, before we parted company, “Don’t waste your time with it,” or something to that effect.

I bullshitted and said sure, don’t worry, I’m seeing a different movie. After that review I was definitely going inside, and the movie I encountered therein was really cool.

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Coming out I felt satisfied. The movie worked on all levels. It was terrifying, impactful, funny at the right time, suspenseful, beautifully composed, strongly acted and above all, well written.

The world was not as socially connected at the time. Nor was it part of my complete breakfast during that period to track down and try to arrange interviews with the good people who make the movies.

Behind the scenes material was scant at best, and Event Horizon, no one at the time could have known, would go on to become a cult favorite and get a really nice re-release with a handsome collector case and lots of juicy bonus features. There is a great documentary included, commentary and the likes. But there was little about the film’s author and the script is only a brief part of the BTS discussion.

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Fortunately the world has moved on and we are all now accessible via a myriad of networking tools. Thus it was my good fortune to finally get in touch with and interview the very excellent screenwriter and all-round gentleman Philip Eisner. The man who was once locked away with nothing but The Road Warrior for a week, was an absolute pleasure to interview.

I feel, like I often do, when talking to the makers of my favorite films, like I’m getting the commentary track that should be included with the feature. After all, it is the with the screenwriter that these journey’s begin.

As I like to keep things as informal as possible, our chat was not restricted to Event Horizon. We discussed Philip’s journey to writing, the genesis of the script, how sometimes you homage and other times steal, what he thought of Rogue One (’cause us Star Wars boys can’t help ourselves), how it’s easier to say “No” in Hollywood and much more.

I sincerely hope you’ll enjoy this interview as much as I did and, in case you have wanted to know more about the true gem that is Event Horizon, or were looking for an excuse to watch it, if indeed you haven’t already…

Well now folks . .  . you’ll see.

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Rogue One: A Star Wars Story by Ben Cahlamer

War.  Over the course of our history, we justify war to obtain that which we might not have access to, but need to survive.  In the eyes of others, we use war to protect the few resources we have from others. In the end, the more motivated group will overcome the meek.  For those standing up because it is right, it doesn’t mean that we must always bow down to the pressures of the powerful.  Sometimes, we find enough courage and conviction within our own morals to rightfully take back that which has been usurped. This is the basis for Gareth Edwards’ newest, but flawed entry into the Star Wars universe, “Rogue One”.

Word has reached the Rebellion that a cargo pilot defected with a message indicating the presence of a planet-killing weapon being developed by Imperial forces.  Wanting to authenticate the message, Gyn Erso (Felicity Jones) is coaxed into helping the Rebellion.  Joined by Cassian Andor (Diego Luna), they ultimately undertake a risky mission to retrieve the plans for this weapon.

The story, written by John Knoll and Gary Whitta (“After Earth”, “The Book of Eli”); screenplay by Chris Weitz and Tony Gilroy (the “Bourne” series)  is fun, but ultimately flawed as it tries to develop new characters while remaining relate able to the existing universe.

It was evident that the intention was to create a dark, espionage-style thriller within two threads:  the first to assemble the team, while the second to actually commit the deed.  The challenge is that the story starts off so slowly and disjointedly that by the time we get to the second, more impressive hour, we simply shouldn’t care.  The story does tie up its own loose ends, but it also creates more problems than it actually solves.

The characters service the script effectively.  However, the majority of the character’s motives were demurred by the action-oriented narrative.  Felicity Jones’ Gyn clashed with Diego Luna’s Cassian Andor.  Although their backgrounds are not similar, they do ultimately share the same path.  It isn’t until the second hour that we see Gyn become a leader.  Mads Mikkelson’s Galen was sharp; his purpose clear and he was able to parlay with Ben Mendelsohn’s Orson Krennic:  their egos each got the better of them, but their paths and functions were also very clear.  Donnie Yen’s Chirrut Imwe is a fun character, his presence a welcome, if sometimes irritating diversion while Jiang Wen’s Bazel Malbus looked stellar on the screen, but his purpose was ill-defined.  Although he grew the most and had the most to lose, Riz Ahmed’s Bodhi Rook was the most essential of the supporting characters.  Forest Whitaker always looks great on screen, however here his character only serves as a bridge and ultimately, an ineffective bridge between the first and second acts, and while the levity was welcome, Alan Tudyk’s K2SO was a bit over the top becoming repetitive, even in the third act.

Fortunately, the wizards behind the camera truly work their wonders in most quarters.  Costume Designers David Crossman and Glyn Dillon effectively bring us back into the Star Wars universe as does Doug Chaing and Neil Lamont’s stellar production design.

From the stages of Pinewood Studios outside London to multiple locations spanning Iceland, Maldives and Jordan, cinematographer Greig Fraser (“Zero Dark Thirty”, “Foxcatcher”, “Lion”) really stood up to the challenges in front of him, giving the film the visual grittiness it needed while conveying the timeless sense of the space battles that have come to be a trademark of the Star Wars universe.  In a key scene, Fraser’s use of lighting serves to throw off the viewer just enough to allow the special effects technicians to do their magic making the scene that much more effective.

Continuing in the grand tradition of delivering a visual impact, Industrial Light & Magic’s work on “Rogue One” is, without exception, the highlight of the movie.  From traditional model effects work to CGI landscapes, John Knoll, who also served as one of the film’s executive producers, was up to the task.  Without going into too much detail, he and the talented folks at Scanline, Hybride, The Third Floor and Disney Research are to be commended in the look and feel of the movie.

Michael Giacchino provided a more militaristic score, using some of John Williams’ existing themes while largely creating new music for this adventure, which works effectively.

As brilliant as the technicians behind the scenes were, editorially, the pacing and tone of the movie fell flat.  It took no less than three credited editors, John Gilroy, Colin Goudie and Jabez Olssen to bring the full narrative into its final form.  In a slightly lesser role, Stuart Baird was brought in to massage it even further.  Where the script narratively fumbled, the editing could not recover it fully, washing out characters and moments.

“Rogue One” brings together two separate parts of the Star Wars universe in an interesting and diverse way.  Its darker tone is welcome however the jumbled narrative and editing bring it crashing down.  Despite it being fun, its flaws are too numerous.  It is Recommended.

Ben Cahlamer, an aspiring film critic, is a new contributor to podcasting them softly.  Although he spends his time helping hotels to price their rooms, he appreciates the finer nuances of films.  He has been an avid Star Wars fan since he was born, having seen Return of the Jedi on the big screen three times in 1983 and continues to look forward to the future.

STAR WARS POWERCAST EPISODE III

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ATTENTION SPOILERS.  SPOILERS.  SPOILERS.  Frank and Tim FINALLY did another STAR WARS podcast.  This time we speak about the new standalone film, ROGUE ONE: A STAR WARS STORY.  We dive in deep about the emotional impact, the cinematic influences, and where Disney takes the STAR WARS brand from here!

 

ROGUE ONE: A STAR WARS STORY – A Review by Frank Mengarelli

ROGUE ONE is the most surreal theatre experience of my life. Yes, it is a STAR WARS movie that’s very much akin to the seven previous films, yet it is completely different than anything we’ve seen before. In a very odd and perplexing way, ROGUE ONE may just be the best STAR WARS film ever made.

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Set months prior to the events in A NEW HOPE, we’re shown a world that we’ve never seen. The Rebellion is split in fractions, they aren’t painted with heroism, a lot of them are killers without morals all doing this for the greater good of the galaxy.

The call backs not only from the original trilogy but particularly the prequels perfectly thread the needle of anchoring this film in a familiar galaxy but with unfamiliar worlds and characters. The CGI resurrection of Peter Cushing as Grand Moff Tarkin is a flawless effects achievement, and brings a weight of establishment and riches to the film.

The new characters are a perfect addition to the STAR WARS’ cinematic canon. Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Wen Jiang, Alan Tudyk, Riz Ahmed, Mads Mikkelsen, and Forest Whitaker are all wonderful, with Ben Mendelsohn stealing every scene he’s even. Even if he’s matched up against the CGI’d Cushing or Darth Vader, he is the standout.

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Bravo to Disney for making a very dark and dreary film. They haven’t done this before. They simultaneously made a film about the horrific personal repercussions of war while organically sliding it into George Lucas’ cinematic timeline. Disney had everything riding on this picture; THE FORCE AWAKENS was easy. They had the original cast, a continuation of the saga story on their side, but with ROGUE ONE they created someone new and fresh inside of a franchise that honestly didn’t need it to continue forward in public consciousness.

The new score from Michael Giacchino is absolutely wonderful. He does complete justice staying true to John Williams, yet he takes major liberties with some tracks we are already familiar with. Gregg Fraser’s cinematography is perfection. This is the best looking STAR WARS film to date, without a doubt. The aesthetic will please diehard original trilogy fans because we’re back to the utter dilapidation of the Galactic Empire.

Gareth Edwards, Kathleen Kennedy, and Tony Gilroy all deserve acclaim and recognition for the film that they have created. But without the brilliant mind of George Lucas, we would never have gotten this film. For all the undo and faux outrage Lucas constantly receives, none of this would have been made possible without him.

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What makes ROGUE ONE so very special isn’t just the Easter Egg’s, the callbacks, references to BLUE VELVET and APOCALYPSE NOW, and the cameos, it’s a film that is about hope in its purist form. It is about heroes. It is about championing what you believe in regardless of the odds and sacrifices made. And for a lot of us, this is the exact film we needed at this particular moment.