Tag Archives: Gregory Hoblit

Gregory Hoblit’s Frequency

Looking for a smart, slick Sci-Fi thriller that has the emotional heartbeat to keep you caring right through the narrative? Check out Gregory Hoblit’s Frequency, a brilliant little high concept mind bender that’s aged so well they even recently rebooted it for TV, which I’m a little dubious about. Like it’s celestial Sci-Fi premise, the film is kind of a lightning in a bottle type flick where they captured the exact recipe of magic, character relationships and plot points that resulted in something really special, and I’m doubtful the new one could come close. Dennis Quaid and Jim Caviesel are awesome as father and son separated by both time, space and even death, until a miracle comes their way. Frank Sullivan (Quaid) is a firefighting, fiercely loving family man in the 70’s who is crazy about his wife (Lost’s Elizabeth Mitchell) and young son. Flash forward thirty years or so, his son (Caviesel) is grown up and now a cop, haunted by the past, and his dad has died in the time since. One year there’s a particularly powerful set of Aurora causes by sunspots, right when Caviesel happens to be tinkering around with a HAM radio. It’s delightfully farfetched, but this cosmic occurrence allows him as a grown up to communicate through time thirty years previous, reconnect with Quaid and try to set his family on a less tragic course. The reason it works so well is the dynamic between the family; Quaid, Mitchell and their young son (Daniel Henson) are so thoroughly believable and adorable as a family that we stick by them with each beat and deeply care about their outcomes, which are constantly shifting every time the past is changed via the future, and vice versa. Quaid has two friends (Andre Braugher and Noah Emmerich) who revolve around the character development too and have their parts to play, as does Shawn Doyle as a menacing serial killer who crosses their paths. Quaid loves to pick out these high concept Sci-Fi scripts it seems, he’s been appearing in them throughout his whole career from InnerSpace to Enemy Mine to Dreamscape to Pandorum, the amount of interesting stuff in his filmography is inspiring and this is one of his best. This is a tale to get lost in and revel at the sheer escapism it throws your way, a clever twist on time traveling that puts it’s two charismatic protagonists at dual control panels and gives them the power over fathomless phenomena, connected by an astrological two way radio that knows no bounds of space or time. A classic for me.

-Nate Hill

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Gregory Hoblit’s Primal Fear

Gregory Hoblit’s Primal Fear does a fine job of using opaque marketing to conceal it’s delicious, devilish secrets, a tactic that many films recklessly abandon and ruin far too much in trailers or posters. This is a careful exercise in serpentine plotting. Is it courtroom drama? Supernatural shocker? Psychological thriller? Pot-boiling procedural intrigue? Check it out and be as floored as audiences were for the first time back then. Richard Gere holds his end well as a legendary hotshot defence attorney in Chicago, one with a tarnished reputation and a penchant for defending unscrupulous clients. A weird case comes his way in the form of mentally challenged alter boy Edward Norton, accused of murdering someone high up in the clergy and causing a political hailstorm throughout the city. This is one of those thrillers that does genuinely keep you guessing, until literally the final frame, using human interaction and intimate performances to instigate reactions, rather than a barrage of special effects or manufactured narrative gimmicks. I’m being deliberately vague because this is the one film you don’t want spoiled for you ahead of time, it’s that cool. This was, I believe, the role that put Norton on the map, and he’s a gale force of electric energy, giving everyone else onscreen a huge run for their money. It’s fun watching Gere, an assured and confident pillar of law and order, slowly unravel and find himself at the mercy of malicious curveballs he doesn’t even see coming until they’ve hit. The cast is dynamite, with rockin’ turns from fiery John Mahoney as the worst mayor in Chicago’s history, Laura Linney as Gere’s hot tempered rival, Terry O’ Quinn, Alfre Woodward, Andre Braugher, Jon Seda, Frances McDormand, Maura Tierney, Joe Spano, Tony Plana and a slick Steven Bauer as a mob don with ties to Gere. This has all the trappings of a big, overblown thriller drawn from broad strokes, but Hoblit wisely brings it in in places, giving us a nuthouse claustrophobic shivers to go along with the big league intrigue. One of the best thrillers of the 90’s, and one that should get mentioned more often. I’ll also say it has to have one of the coolest DVD special edition covers ever, it’s always nice to see extra effort put into that arena.

-Nate Hill

Gregory Hoblit’s Fallen


A demon angel. A Badass Denzel Washington. Tony Soprano singing the Rolling Stones. Creeping psychological dread. Browned, burnished production design. A deliciously mean spirited, ballsy twist ending. All this and more can be found in Gregory Hoblit’s Fallen, an atmospheric spook-house of a flick that gets tone, fright and suspense just right. Nestled in that sweet spot of the 90’s where detective stories often had a neat supernatural twist (The Prophecy is another dope one), it’s a film that demonstrates the power of storytelling and atmosphere done right, like a campfire tale that cops tell their youngsters. Denzel is Hobbs, a detective who oversees the graphic execution of serial killer Edgar Reese (Elias Koteas, terror incarnate), a monster he once caught. Case closed, right? Not so much. Soon after he kicks the bucket, one or more copycat killers show up, and once again the crimes happen under Hobb’s watch. Coincidence? Paranormal? It’s a neat, eerie game of cat and mouse with an antagonist who possesses a few unearthly methods of skulking around in the dark. Hobbs is helped by his two colleagues, salt of the earth John Goodman and hothead James Gandolfini, bumps heads with the obstinate police captain (Donald Sutherland), and runs into his foe at every turn, each time in a new vessel which gives the actors, right down to extras, an opportunity to have some devilish fun. Embeth Davidz is her usual withdrawn self as a woman with ties to the killer’s past, and watch for Robert Joy and Gabriel Casseus as well. Composer Dun Tan’s unearthly drone of a score compliments the drab shadows, oppressive nocturnes and threatening frames of the film eerily as well, creating a mood-scape that drips ambience. The end is an acidic kick in the nuts, and I admire a film that has the stones to chuck in such a shock tactic, embracing the dread that has been built up to that point with one last sardonic, hopeless cackle. Film noir to it’s roots, subtly mystical, a perfect one to settle down with as we move into the Halloween season. 

-Nate Hill