Russell Mulcahy’s period stabilization, tour de force of film-making sees its time-honored source material come alive on the big screen…just as it exists on the panels on which it was born. Mulcahy’s Shadow predates the meticulous period recreations and universe building of the modern era with its use of substance, flair, atmosphere and gorgeous little winks to the audience – or as it is more commonly known – fan service…
What makes a comic book film truly saw, is the fact that they shepherded by master visualists, such as my honored guest. Russell’s fluid use of camera, lighting and mood-enhancing trip the light fantastic; working like the perfect partner in a duet with a phenomenal cast lead by Alec ‘in all his glory’ Baldwin, the breathlessly breathtaking Penelope Ann Miller and the most delightfully awesome assortment of some the finest character-actors ever to grace the silver screen such as, James Hong, Sir Ian McKellen and the sweetest transvestite of them all…the grand Tim Curry…
The sun is shining and the days are getting sweatier (here in the great southern land, at least), but we pause and are luxuriously seduced away on the musical carpet of Jerry Goldsmith, into a fantasy panel on a comic page crafted out of artistry and light. What evil lurks in the heart of men, come find out with your mate, my mate, our mate and legendary director Russell Mulcahy….
Once upon a midnight dreary, while I pondered, weak and weary, over Men at Work and why can’t they make a sequel. While I feasted on potato chips nearly napping, suddenly there came a rapping, turns out it was Herbert West a-rapping, at my chamber door.
I just want to go on the record and say there are a handful acting dynamos out there that have enjoyed long and industrious careers. But then, there’s Jeffrey Combs. If you’ll forgive the crassness of a STEP BROTHERS fan (and Jeff, I mean this as a compliment mate), Mr Combs is the f#@king Catalina Wine Mixer of genre/character/genius actors. You need only to watch Sir Peter Jackson’s The Frighteners – nothing further your Honor.
But for right now let’s focus on NEVERMORE. The creators of the eleventh episode in the second season of Masters of Horror have brought their act to a literal theatre near you – but if you’re reading this outside of the US – sorry. Directing legend, Stuart Gordon (Space Truckers) and his (frequent) co-writer from “The Black Cat”Dennis Paoli (From Beyond) have created a vehicle which has brought to the stage a critically heralded experience that has delighted audiences for over a decade.
Hailed as “a landmark performance” by the L.A. Times, Combs has thrilled crowds across the country with his dynamic and revelatory portrayal of the legendary Poe.
This marks NEVERMORE’s Westchester County, NY, premiere, an event made extra special by the area’s bicentennial celebration of Washington Irving—a contemporary of Poe who was, from Poe’s perspective, also a rival. As Combs recalled in a recent River Journal article, “I don’t think they ever met. I take dark delight in pointing out that Poe doesn’t have very nice things to say about Irving. Specifically, about Irving’s penchant for always having a moral to his stories while Poe was often criticized for being without morals.”
SHIFF (The Sleepy Hollow Film Festival) celebrates the Hudson Valley’s wellspring of American history, of classic literature, and the continuing legacy of supernatural writings and cinematic works that it has inspired,” says festival co-founder Taylor White. “We’re excited to have NEVERMORE as part of the festival because it encapsulates so many of these ideas—not to mention it’s a fantastic show, at the perfect time of year, in the perfect venue. We can’t wait for the crowd to experience it!”
As Combs added in the River Journal, “Poe was truly one of America’s great writers. I’m honoured every time I step on stage and recite his beautiful words.”
SHIFF, a celebration of outstanding genre cinema in the cradle of the American supernatural, takes place in Sleepy Hollow and Tarrytown, NY, October 10-13, 2019.
Finally, Jeff Combs was an absolute pleasure to chat with, his personality is as vivacious and extraordinary as the multitude of characters he has brought to our screens. If we had more time I would have really delved a great deal deeper – but, never being one to turn down opportunity when he comes a-rapping at my chamber door, I could not in good conscience turn down the chance to talk with one of the world’s most original performers. He’s still batting a thousand, I hope you’ll enjoy…
Dominik Starck is a cool guy who loves and makes movies. That’s a man I’m down for spending some time with – so I did. His new movie, The Hitman Agency, is a complex nest of intrigue, danger, action and redemption. Throw those altogether and you have a great blend that tastes a little like something we’ve had before – yet it’s flavored by Mr. Starck’s unashamed passion for his many cinematic influences as well as the sheer joy he has being a filmmaker.
Most of us, at one time or another, who make fatal decision to go off and pursue a career as an artist, are met with the inevitable speech for our parents which carries the immortal lines like, “You’ll never make any money,” or “Why don’t you get a real job.”
Now Dominik tried that – he tried to deny the fire inside, the voice telling him he wasn’t doing what he was meant to be doing. He wasn’t, as the Bard would say, to thy own self being true. So he started doing what he had to do, and, for my money, what he does well – he started making movies.
“Making an indie film is close to being a hitman; choose your goal, aim and go after it no matter the obstacles. And like assassinations, it’s a hit and miss with movies. I consider our movie the latter but it’s up to the target audience to decide if that’s the truth or not,” says Starck, the writer/director. While the German independent production by Starck Entertainment and R.J. Nier Films is represented by distributor Generation X Group GmbH at the film market in Cannes (May 8th to 17th) for international sales, the US audience is the first to be able to watch THE HITMAN AGENCY on Amazon.com where it’s available for rent and buy.
This movie is the directorial debut of writer/producer Dominik Starck who previously worked on the award winning mercenary action film ATOMIC EDEN, starring Blaxploitation legend Fred ‘The Hammer’ Williamson and Lorenzo Lamas (RENEGADE). While being a deliberately different type of movie, THE HITMAN AGENCY features a special appearance by 11 time kickboxing champion Don ‘The Dragon’ Wilson from BLOODFIST-fame. Starring American-born Erik Hansen (THE COUNTESS) and LA-based Everett Ray Aponte (ATOMIC EDEN) as competing hitmen from different ends of their assassin-careers, THE HITMAN AGENCY is a character-driven conspiracy-thriller with twists and turns, spiced with some martial arts outbreaks and assassinations. Shot on locations in Germany in English with more blood, sweat, and tears than a real budget, this underdog movie is proof to the phrase that nothing can stop you from making a movie when you really want it. Not even in Germany where there’s no platform for genre films at all.
Like I said at the top, Dominik is a cool guy and a cool filmmaker. He was worried about his English before we spoke but I tell you now as I told him then – “his English is as beautiful as his film-making.” Seek out THE HITMAN AGENCY… (follow the link below)
I have no words for Highlander 2 other than ‘what in the actual fucking fuck.’ I can’t call it Russell Mulcahy’s Highlander 2 because the poor guy tried to have his name removed from the credits, and who could blame him, really. In fact, it’s so thoroughly godawful it shouldn’t even be called Highlander, either. It’s ‘Movie X’, fit only for quarantine and to be blasted off into space so the folks on fictional planet Zeist can keep it. I love the first Highlander, it’s a camp cult rock n’ roll sci-fi sleeper classic, and any sequel would have large shoes to fill. What can be found here? Time travel. Outer space. An artificial ozone layer. Autistic porcupine alien assassins. Michael Ironside ripping off Clancy Brown’s beloved Kurgan villain so blatantly it hurts. Christopher Lambert in old age makeup that looks like it inspired Jackass’s Bad Grandpa. A Sean Connery montage visiting a tailor set to the William Tell Overture. I know all these ingredients could potentially brew up an even zanier cult classic than the original, but nope, no sir. This movie is a badly told story with scant context and zero continuity in both connective tissue to the first film and finding any organic roots of it’s own. Lambert’s Connor McLeod appears to be both old, young and somehow from a different planet, oh and he helped build a synthetic ozone layer to protect earth, a subplot both arbitrarily drawn up and coincidentally concocted around the same time as Total Recall came out, which I’m sure is just one big coincidence, ho ho. Ironside plays some radical called Katana who travels to earth and through time (wat) to kill Connor because there can be only one, a mantra that the film also happily dismantles in its earnest quest to bury the legacy of the first film in confusion and custerfuckery. I won’t even begin to describe Virginia Madsen’s haphazard love interest, a ‘scientist’ who winds up in bed with McLeod like minutes after she’s met him and seen him reverse age randomly and get young again. I’ve heard that Lambert would only do the film if Connery did too, and that the pair formed a bond working on the first film. The studio would have been better off just pitching their bucks in for the two of them to take a fishing trip together, no cameras involved, and save us all the headache.
“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?
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.
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.
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.
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.
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…
Among the flurry of big action movies that graced our screens from the late 80’s and into the 90’s, it was easy to see how some lost their way to an audience. But thanks to video, these movies that did not enjoy a successful theatrical release were quickly rediscovered on VHS, and some might say because of it, they have endured long after they could have so easily vanished.
They say all a movie cheerfully needs is a man with a vision, and the talented former music video genius turned Hollywood go-to guy for stunning visuals and artful storytelling was looking for exactly that – another story to tell. Russell Mulcahy had made a name for himself long before he directed a little movie called Highlander, but he had just come off of an unpleasant experience directing that film’s sequel when the script for an action/thriller, Ricochet, came across his desk.
The film was being produced by the legendary, machine gun-mouthed Joel Silver and was fixed by the man, Steven E. de Souza, who would eventually pen Die Hard. It would be headlined by the talented John Lithgow and future Academy Award winner Denzel Washington.
Washington plays Nick Styles, a cop on the L.A.P.D. At a carnival, criminal Earl Talbot (Lithgow) takes a hostage after a botched drug deal. Styles and Blake confront each other, during which Blake is wounded by Styles and is imprisoned. Seven years later, Blake escapes and begins to carry out his revenge against Styles, which centers predominantly around destroying his life and career.
It’s a fast-paced, fun ride as Lithgow turns Washington’s world upside down. It is also a film of excellent performances from the whole cast. Lithgow is such a delicious villain and the ever solid Washington exudes the charisma which would see his career skyrocket over the following years.
Russell’s direction, as ever, is stunning, fluid, and he captures action like few other directors. It was really cool to sit down and have a chat with him while taking a break from working on his new film here, in the great down under; and, I’m happy to report, like most of the cool filmmakers I’ve had the pleasure of speaking to, you always get more than you hoped for. Russell told me about an upcoming re-release of his debut feature Razorback and it’s hard not to touch on the subject of his cult classic Highlander. You’ve probably heard all the stories by now – but it is a far different experience when they are recalled for you by the man himself.
I really love Ricochet and I always enjoy talking to Russell, so this one was a real pleasure to bring to you. If you’ve not seen Ricochet then go to it, you won’t be disappointed. It is out there on DVD, but if you can, check out the Blu-Ray for the film in all its true visual splendor.
My Grandmother was the avid cinema-goer in our family. She passed her love of movies down to my Mother who in turn, passed it on to me. Another little boy who learned about the wonders of the movies from his Mother was Brett Leonard.
This love would grow, forging a filmmaker whose career that has been eclectic, but always on the cutting edge. The man who was once a killer clown from outer space, has in many ways been one the pioneers in the eventually, all-compassing integration of the digital age into the celluloid art form. With his ground-breaking work in The Lawnmower Man, Leonard has since been blazing a trail throughout the industry. His early concepts of combining virtual reality with the cinematic experience are still expanding, and his vision of where it is all going to go, is far from complete.
Yet I was fascinated with the journey this humble gentleman has taken. He has worked both independently and with the studios, he has directed some of the finest actors to grace the screen, he has bore the brunt of the dark politics that whirls below surface of the filmmaking process. Still, he manages to laugh it off and move on to the next project with an energy and optimism that has served him well.
I thrilled at the revelations Brett shared with me about his movies, which I admire greatly, but also about his personal adventures including something I was, I admit, grossly unaware of: he a spent a significant period of his life living and working here in Australia. To such an extent he even was labelled an Australian filmmaker by the local media. He said, in the great Down Under, he learned not only the true value of mateship, but also spent some of his most glorious days.
He was a pleasure to interview, a true gentleman, a fabulous filmmaker – ladies and gentlemen, I give you, Brett Leonard…