Tag Archives: Jamie Lee Curtis

Richard Franklin’s Road Games

The premise of Richard Franklin’s Road Games is a delicious one: a laidback, eccentric long haul truck driver (Stacy Keach) and the free spirited young hitchhiker he picks up (Jamie Lee Curtis) spend a bit too much time people watching and suspect the driver of a mysterious green van in a string of serial killings. Did I mention it’s set in the Australian outback? What you have there is a recipe for perfect horror thriller material and yet… the film comes across more as a leisurely paced, quirky, cavalier, character based road movie with some horror elements thrown in almost as an afterthought. That’s not to say I didn’t enjoy it, I thought it was an excellent film, I fell in love with both main characters as they’re so well written and acted, the score and setting are to die for, the photography gorgeous, and Keach even has an actual dingo dog named Boswell as his sidekick, so really what’s not to love? His character is such a rare used archetype, and one I’ve come across in my working life more than once: the charismatic, well read renaissance man who happens to be working in a labor job usually populated by, let’s say, less intellectually inclined people. “Just because I drive a truck does not make me a truck driver” he proudly announces, considers himself an aristocrat and we believe him because the character is so well written and acted by the always awesome Keach, he feels like a dude you could run into in real life and not some caricature. Curtis is terrific as the hitchhiker he calls ‘Hitch’ (one of the numerous and deliberate Hitchcock references), a fiercely independent, strong willed girl who is blunt when discussing herself, sex, the highway murders and nonchalantly psychoanalyzes Keach which makes for stimulating banter and enjoyable chemistry between the two. There are a few scenes of killing, suspense, car chases, tension and violence but they’re put there to service plot and in this film it’s not plot that matters or immerses us most, it’s character. The scenes that I got the most enjoyment from and will stay with me aren’t killer related but rather Keach driving down the highway talking to his beloved dog, playing a harmonica, playing ‘I Spy’ to pass the time and sitting around a cozy campfire with Curtis talking about everything from politics to bunny rabbits. I was completely ok with the fact that this is more a laidback character piece than a thriller, and I enjoyed the horror elements as a sort of cherry on top as well. Just don’t go in expecting a full on white knuckle horror show or you’re gonna be hella disappointed. I greatly enjoyed this curious, ragtag little film and it’s comforting to me that there was a buddy road movie out there starring Keach and Curtis that in my 20 odd years of watching films I’d never come across, because now I wonder what other hidden gems are out there in the Outback of cinematic history I’ve yet to discover. Good times.

-Nate Hill

Roger Spottiswoode’s Terror Train

I never realized just how many slasher flicks Jamie Lee Curtis did back in the late 70’s/early 80’s. Well, she only did four, but that’s still two more than I was recently aware of and I probably never would have stumbled upon Terror Train if Prime hadn’t put it top of the queue for awhile. It’s a decent enough horror exercise that is of course no match for Halloween, but has it’s moments. Curtis and a whole pack of rambunctious college partygoers are living it up aboard a train that’s barrelling though rural Quebec in the dead of night. Several of these people were involved in a very nasty prank a few years before and the person they preyed on has returned to prey on them, in the slow build, one by one, gruesome slaughter fashion we’re used to seeing in these types of flicks. It’s essentially your garden variety slasher flick set on a train and is entertaining enough, although never close to anything you might call scary. Curtis is good as the one in their group with the strongest moral compass, who realizes quick that their past isn’t done with them yet. Infamous magician David Copperfield shows up here playing, you guessed it, a magician who entertains these college kids when they’re not drinking or getting hacked to pieces. There’s a salty old train conductor (Ben Johnson) who begins to figure out something is wrong pretty quick, and I enjoyed his keen awareness because usually the slasher lore dictates that any staff or fringe players are clueless until the hammer eventually comes down on them. Pay close attention to certain scenes where the killer is hiding in very plain sight and see if you can tell who it is (it was fairly obvious to me), they picked a very weird, kinda ‘evil pixie’ looking individual whose creepy appearance goes a long way. It’s not a horror classic by any standards, but gets the job done for fans of the retro aesthetic, plus movies set on trains always have that going for them by default.

-Nate Hill

Rian Johnson’s Knives Out

The coolest thing about Rian Johnson’s Knives Out, besides the lavish production design and the fact that the lovely M. Emmett Walsh is *still working* at his age, is it’s epic takedown of wealth, status and the deep seated delusion that goes hand in hand with being born into a rich family. That is, of course, not readily apparent until the stinging but satisfying final shot of the film and I can’t say much because this is the last thing you’d want spoiled going in, but the message is there, delicately wrapped up in a package of intricate plotting, beautiful set artistry and a whole ton of deadpan humour from a dense, scene stealing cast.

Celebrated mystery novelist Harlan Thrombey (Christopher Plummer) has been found dead, apparently by suicide. His raucous, dysfunctional family gathers to pay respects but it’s clear after a scene or two that this is a shady pack of wolves all out for the fortune he left behind. Southern gentleman investigator Benoit Blanc (Daniel Craig) “suspects foul play “ and so begins a whirligig of a search for truth, secrets and an elusive alleged killer who is naturally closer to home than anyone might suspect, except those who already know a thing or two. Thrombey’s family is played by a well rounded, eclectic bunch including Michael Shannon, Toni Collette, Jamie Lee Curtis, Katherine Langford, Chris Evans and a flat out hilarious Don Johnson. Rising star Ana De Armas is terrific as Harlan’s maid and confidante, a hard worker from some South American country that none of the family seem to be able to recall properly, highlighting their bemused selfishness and aloof nature further.

This is for sure a murder mystery and there is a serpentine narrative that does eventually arrive at a satisfactory conclusion but the whodunit aspect wasn’t as elaborate or lengthy as I was expecting. For me the enjoyment here came from these movie stars mugging for genuine laughs in a spoof of bickering families that is so dead on I felt like I was at Christmas dinner with my clan. These folks just can’t get it together or coexist and it provides come priceless exchanges of dialogue. There’s also a compassionate undercurrent between Armas and Plummer too, who between them give the two finest performances of the film, full of adorable camaraderie and flippant gallows humour. I can’t say much but the film serves to iterate and literally illustrate through circumstances that it doesn’t matter how many silver spoons you’re born with shoved up your ass or what kind of background you come from, you really only have claim to what you earn through hard work, be it laborious, interpersonal or other. I like that compassion and understanding woven into a film like this, it gives the Clue board a soul. Oh and I’ll also add that Daniel Craig has an absolute fucking one man party as Blanc who is an endlessly watchable, quaintly verbose delight and I love seeing him in eccentric roles that breach the surface of his cold, detached 007 persona. Good times.

-Nate Hill

Robo & The Butterfly: A Fan’s Journey Continues by Kent Hill

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Eva Rojano is not your average RoboCop fan. I remember Mark Hamill’s narration of the TV special SPFX: The Empire Strikes Back, in which he states, and I’m paraphrasing here: “that Star Wars has excited a generation to such an extent that the children who have seen the film are motivated to become doers . . . as well as watchers.

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Eva seems to be the modern day personification of this ideology. What began at the tender age of eight, has blossomed into more the obsession. It is now, unbridled creation.  Of course with all artists, we find and fixate on books, movies, comics, fine art, music. These, while they may not have planted the seed, are certainly the fertilizer in which the formation and manifestation of dreams thrive.

Eva’s journey through the wilds of the universe which began with the brutal murder of officer Alex J. Murphy and his subsequent, phoenix-like resurrection as RoboCop, has seen her not only receive friendship and guidance for two of the franchises integral staples; in the form of Nancy Allen (eternally the dynamic and resourceful Officer Anne Lewis) and Edward Neumeier (one half of the creative genius writing team that gave rise to a franchise).

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Under luminous glow and encouragement, Eva has ascended from her enthusiastic efforts in the production of electrifying art and fan-fiction, directly associated with the Robo-Universe, to a place where she now has the courage, just as all artists who have come before her, to step out from under the wing of the movie that has nurtured her dreams, and into the light that is birth of her own original concept and voice.

This current incarnation of Rojano’s prolific creative output manifests itself as a novel entitled: The Black Butterfly. And I was intrigued as ever to learn the story, the motivation . . . the journey behind what drove this fan among fans to dig below the surface of her own creative crust – unearthing something fresh, unique and touchingly profound.

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What was once purely driven by that glorious cinema classic that is part man, part machine, all cop, now transforms into a bold new vision from a creator that has been fostered by the cinematic equivalent of lightning in a bottle – exploding on to the printed page near you…

An Exorcism in Awesomeness by Kent Hill

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I don’t know what they are putting in the water over there in Germany, but I have of late had the privilege of speaking with some of the country’s brightest indie stars. Starting with Dominik Starck and his action movie man-at-arms, Nico Sentner. Then, I stumble into the path of a couple more revolutionaries and fine gentlemen to boot, Erza Tsegaye and Nicolas Artajo – talking about their little gem of a movie, and as history will tell, the forerunner of a new wave in German horror films . . . SKIN CREEPERS. This country Germany seems to have more than just good beer on tap . . . seems the brew cool movie-makers too.

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It’s the story (partially inspired by true events:  where a Korean family performed an exorcism on a young woman who sadly lost her life) of two unsuccessful filmmakers who want to make a pornographic movie, and things go very, very wrong. See, their lead actress . . . . gets possessed by a demon.

It’s a film,  although shot on a limited budget, that is already being recognized for its stunning visual effects and its old-school practical approach to film-making. Following a successful German theatrical run, the film is now celebrating its international release in the US, Canada, Australia, the United Kingdom and Ireland on multiple major VOD Platforms, including Amazon Prime and Tubi, among others.

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Filmmaker Ezra Tsegaye, worked previously in commercials as a storyboard artist for Hollywood films such as “THE INTERNATIONAL,” and is also a successful comic strip artist, who was involved in the creation of the first original German superhero comic. This background as a comic book/storyboard artist is mainly responsible for the film’s unique visual style. The picture, produced by media entrepreneur Sebastian Wolf, started the project with the intent to revolutionize German Horror Cinema, putting it back on the map by giving this extraordinary movie the chance to reach the big screen.

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So we chatted about the movie, of course. I heard what I would sound like – if dubbed for German audiences. There was talk of good beer, and a pub crawl in Berlin with the boys. How could this interviewer refuse?

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SKIN CREEPERS, get out there and enjoy it…The Exorcist meets Evil Dead with a sexy twist!

Kathryn Bigelow’s Blue Steel

How bad could your first day on the job as a cop go? For Jamie Lee Curtis in Kathryn Bigelow’s Blue Steel, pretty damn bad. Before the title was a Ben Stiller fourth wall break it was a sexy, simmering, extremely violent psycho thriller from Bigelow, who was always way better back in the day when she focused on gritty genre films and not the politico-war stuff she’s known for today.

Curtis is a rookie cop who finds herself in a tense stand-off with a convenience store robber (Tom Sizemore, fired up in one of his first gigs). When the guy won’t back down she’s forced to shoot him, case closed. Right? Nah. First of all, her superiors take harsh disciplinary actions instead of giving her the medal she deserves, but there was also someone else there that night, a posh stockbroker (Ron Silver) who witnessed the whole thing, and something about the violence and potency in the air just kind of makes him lose his shit. He somehow got ahold of her gun, has been carving her name into the bullets and shooting people all over town, making it look like she’s out there playing vigilante. The captain (Kevin Dunn, always welcome) and the DA (Richard Jenkins, also always welcome) are furious and blame her for inciting this whole hellish series of events. But soon he’s insinuated his way into her life and she finds herself in a steamy affair with him, unbeknownst that he’s the lunatic that’s been circling her for days like a hungry wolf. There’s also another fellow cop, a hard nosed detective played by Clancy Brown, who she *also* starts up a torrid affair with and naturally that doesn’t end well. It’s nice to see Brown in a non-villain role for once and especially as the romantic lead, of sorts anyways. Elizabeth Pena shows up as well, as do Louise Fletcher and Philip Bosco as her troubled parents.

This is a gritty, bloody, scary piece of filmmaking and I can see why it turned many viewers off. There’s a kinky psychosexual vibe running through it like a perverse current of deviant energy and delirious, trashy abandon. Curtis is tough but vulnerable as well, no stranger to playing the lone girl stalked by an unrelenting, spectral madman. Silver is an actor who is no longer with us (remember him as the evil senator in TimeCop?) and it’s a shame because he was a real treasure. This has to be his best turn and he’s eerily on point in showing how a mind can deteriorate and turn sick after witnessing trauma. There’s an ‘unstoppable killer’ vibe to his action and pursuit scenes but he also gives the quieter moments a terrifying humanity as a guy who maybe doesn’t even know what he wants or isn’t in control anymore, it’s deeply disturbing work. Bigelow is just so good at staging practical action scenes and makes the chases, gunfights and jump scares supremely effective while maintaining a shadowy, blue tinged nocturnal palette that’s decidedly noirish and feels like an outright horror film in many instances. A real forgotten classic.

-Nate Hill

At play in the Fields of Cullen: A Look at the Director’s Cut of London Fields by Kent Hill

I must confess I am in the same boat as my learned colleague Mr. (Paul) Rowlands of money-into-light.com, when it comes to an interest in films marked by some form controversy. Well, not solely controversy, but the types of films that have been long-suffering passion projects finally seeing the light of day, or long overdue restorations of genuinely overlooked masterpieces that may or may not have suffered the same fate as the picture that I shall, in these words following, discuss. It is the wretched crime of the industry at large to present grand achievements in aborted states – the director’s vision left on the cutting room floor, or in the parlance of our times, designated to a file on some mass storage device.mathewThe embattled figure in this saga is filmmaker Mathew Cullen and his stunning debut, London Fields. A slick and stylish noir, bombarded by flashing images of humanity’s chaos, swirling around  and serving as the world beyond that which we shall traverse with the movies’ delightful assortment of strange and sympathetic characters. Into the urban sprawl, at the center of this film’s universe, comes the melancholically-serene presence of Samson Young (Billy Bob Thornton), who we learn has traded his own stateside shithole for the shabby chic and eccentrically opulent abode of Mark Asprey – a disembodied Jason Isaacs.static1.squarespace.comBut this is not where our story begins. Our story begins with a murder.

A death that was seen coming by its victim, along with the hook being that the killer remains faceless until the movies’ final moments when we discover exactly who our Keyser Söze is.x1080-38ESo we have Thornton/Young, a man that has to live his stories. Being a natural voyeur, he soon becomes intrigued and infatuated if you will, by the astonishingly sexy and magnetic presence of Nicola Six (Amber Heard), whom I have enjoyed since she appeared in John Carpenter’s last effort, The Ward and again in the truly awesome guilty pleasure that is Drive Angry with the quintessential renaissance man himself, Nicholas Cage.London-Fields-Featured-ImageShe has power both in character and in substance. She is a woman who has flirted with the perilous, courting intrigue, danger, the playful and the despicable. And this it would seem is her last hurrah . Bringing into the final web she will spin the polished bravado of Guy Clinch (Theo James), and the personification of grotty goodness, Keith TalentJim Sturgess taking his Cloud Atlas Scottish football hooligan character to its apex.

 

These crotch-led power-mongers think they have our girl Six clocked and at their mercy. The key portion of that sentence being, ‘think’. Because this is all ruse, all part of Nicola’s game, indeed part of how Nicola (we take from the shards of back story given) has lived out her existence until its brutal, bloody climax. Young/Thornton watches and listens along as Six leads the boys into her little traps, playing each against the other in the midst of their own debauched  and dysfunctional existences – Clinch’s disintegrating family life and Talent’s quest to become an all conquering champion of darts.MV5BZmYyNjAwMjQtNDBiYy00YWI0LWI5OTQtOTJhZDYyNTJlOTI2XkEyXkFqcGdeQXVyNjUwNzk3NDc@._V1_If it all sounds a bit nutty (wait till you meet Chick Purchase), I say now, don’t be afraid. The juxtaposition of comedy, tragedy, sex, violence, a musical number and the bizarre nature of Nicola’s game is an easy pill to swallow. For the casual multiplex visitor, yeah, maybe not – but this is a picture that had me from start to finish and brought to mind fond memories of the time when it was my privilege to witness another spectacular director’s cut in the form of Wim Wenders’ Until the End of the World – an equally luscious and absurdly-infectious cocktail of cinema.b0be7af53fa5c87a98786b212a5a1f17I have followed the press surrounding London Fields and waited for such an opportunity as I have thus been presented with, which is to experience the film as the director always intended it to be seen.5917e9efb12a157c32b854dbd16ed744912a0557 This being the case, I have in the interim sought out and devoured Martin Amis’ gorgeous darkly comedic, mysterious murder source material and also the theatrical version. So, if these words I write carry any weight at all with you, please believe my sincerity when I urge you, nay, implore you – seek out this, the director’s cut of London Fields. It is a heartbreaking urban-dystopian twisted noir love poem that, thank God, exists for us all to watch, to ponder, to cinematically wolf-down. Bon appétit, dear viewer.London-Fields

John Carpenter’s The Fog

John Carpenter’s The Fog is such a great campfire ghost story that it literally starts off with a campfire of its own, told by wistful sea captain John Houseman in a role that feels like it was meant for Donald Pleasance. He spookily regales a bunch of youngsters one cold coastal night: Long ago, a mysterious schooner crashed against the rocky landscape of Antonio Bay in a dense fog, for reasons slowly made clear. A century or so later, the fog returns, and those onboard come with it seeking revenge. Speaking of the coast, that vast, gorgeous California shoreline is a perfect backdrop and character all it’s own in Carpenter’s tale, the title credit appears over a picturesque beach, setting the ambience of the seaside region perfectly. Carpenter always values atmosphere and suspense above all else, his films have some of the most delicious slow burn setups out there, and the ethereal first act before the fog even shows up is one of the best extended sequences he’s ever done. As far as plot and character goes, the film has a cool Robert Altman vibe to its ensemble, from Hal Holbrook’s nervous priest, Jamie Lee Curtis’s plucky hitchhiking artist, Adrienne Barbeau’s sultry radio DJ and more, they all work in round-table fashion to get their stories across. They and others find themselves suddenly stranded in the approaching haze and hunted by silent, sword wielding zombie pirates who are more than a little pissed off that their boat crashed. The real treasure here is Carpenter’s original score, one in a long line of brilliant compositions. The main theme is a restless, jangly electronic cadence that feels both melodic and laced with doom, while quieter synth chords are infused with church bell cues elsewhere to bring the soundscape alive as only Carpenter can. This is a brilliant horror film, my third favourite Carpenter after Halloween and The Thing, and never fails to be as effective, chilling or beautiful to behold with each revisit as it was the first time I saw it.

-Nate Hill

Halloween Double Bill: 1978 and 2018

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Frank and Paul are back, this time to discuss John Carpenter’s 1978 masterpiece, Halloween and how it stacks up to David Gordon Green’s direct sequel. They also discuss the Rob Zombie remake as well as the legacy of the franchise and how it has endured over time.

David Gordon Green’s Halloween

David Gordon Green’s update on John Carpenter’s Halloween is currently slashing its way through theatres, and aside from a few nit-picky asides, it’s a winner, both in terms of a genuinely scary horror and as the long awaited sequel to a film that practically reinvented the printing press of the horror landscape.

The new Halloween is sleek, vicious, aesthetically pleasing and brings back Michael Myers to do far more killing than he ever did the first time around, as this takes place in a universe bereft of any other sequels, an interesting choice which gives the it a fresh, immediate vibe. Also back is Jamie Lee Curtis’s Laurie Strode, who has calcified into a paranoid, blunt realist who doesn’t so much worry if Michael will come home, but just somehow knows it in her bones. Judy Greer is fantastic as her estranged daughter Karen, Toby Huss provides great comic relief as her husband and Andi Matichak is a sensational find as Laurie’s granddaughter Alyson, who echoes both the resilience and vulnerability we remember in Laurie when she was her age. Will Patton also kicks ass as the Haddonfield Sheriff’s deputy, always great to see him.

It’s nice to see references that aren’t overt or forced, but woven into the narrative almost seamlessly and with purpose. Many instances feel serendipitous, and as the infamous classroom scene always intones and reiterates here, fate is an inexorable bitch from which there is no escape. Green and his team have lovingly made Michael the relentless stalking Shape we fondly remember, using fluid tracking shots, lingering suspense, mounting dread and those classical music cues to herald his arrival on the fringes of nocturnal suburbia like a monster in a bad dream. There are impeccably orchestrated scares involving a closet and a motion sensor light that are impressively effective and nerve shredding. There were a few things that felt dumb, like the extended involvement of a Dr. Loomis proxy called Sartain (Haluk Bilginer) who at first is welcome until his arc gets inexplicably loopy, as well as some ham fisted writing for Alyson’s male friends, one of whom is so irritating I wish they’d casted an actor who looked and sounded like less of a ripe cheese, but oh well, at least he’s short lived.

Now, my favourite thing about the film: that beautiful score, and I’m not just referring to the original jangly tune. Carpenter himself, his son Cody and Daniel A. Davies worked together to not only rework the iconic theme a bit but compose swaths of new stuff, atmospheric passages and nightmarish synths that are instantly worthy of the main theme. This is definitely the best sequel since the original Halloween 2, which can be considered a companion piece to Carpenter’s first anyways as he reportedly directed chunks of it. This feels like a slasher should, but it’s also smart, deliriously stylish and scary in that elemental way where it’s not the violence itself that haunts the experience, but the spaces in between where Michael is lurking with intent and the suspense builds. That’s what Halloween is about.

-Nate Hill