Tag Archives: Jason Momoa

The King has risen: A Joyous Appraisal of AQUAMAN

Now the dude in the video above isn’t singing about the movie I caught today (and I’m not denying the fact that that is a damn tasty burger he has there) but his song along in the words of the film’s charismatic lead: “That was awesome,” is kinda how I feel right now.  Yes folks, despite any negative press you’ve heard, read, whatever – Aquaman is a feast – a thrilling adventure that really transported me. Not merely into the sumptuous and glorious undersea kingdoms created by the filmmakers involved – but back to the fun, exuberant times I ‘used’ to have at the movies – before the dark clouds engulfed us, trapping us in the forgotten seas where the dark creatures of the trench started forcing us to feed on one franchise after the next. Dark, moody, brooding, shit. That is not the joy I remember in that magnificent dark place we call the cinema – where worlds merge and the magnitude of the movie-maker’s vision takes me into it’s care, placing me, willingly, under it’s spell.

What a spell indeed, let me tell you. James Wan had me when I read his response to a question regarding the tone of Aquaman: “I’m a film fan, I’m a product of the 1980s and 1990s, and a lot of people have said that  Aquaman has a very 1980s quality to it. Especially the high-fantasy of the 1980s, like Flash Gordon and Krull.”

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Flash Gordon meets Krull! Vibrant, fantastical, magical world building on a big canvas. I don’t chiefly give to much of a fiddler’s fart about the MCU or the DCEU and their never ending cavalcade of chicanery, but, when I read Wan’s response to that question I was, hands down, not missing this picture. And it’s become a common phrase of late – “see it on the biggest screen possible” – but, meh, they’re right. Aquaman is a big picture, so that’s the best advice I can give.

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The cast are wonderful in their parts, and I get the feeling they understand the kind of ride they’re crafting. The exposition is fluid like the oceans that dominate the movie. You feel carried along on a current if excitement and wonder as the story advances. But, one the best parts truly, in terms of constructing this film which Wan did so masterfully, is that he simply shunned the Marvel formula of tying it together with all that has come before – a line of dialogue sorted that out. It’s a freeing maneuver that allows this exciting director to do what he does best, which is to flex is visual muscles and take us into a world that makes anything James Cameron has done thus far seem a little flaccid. The production design, the gliding camera, the effortless action. Oh my God – I love it.

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Momoa brings a grand juxtaposition of the boy unwilling to take up his trident, mixed with a guy just playin’ it cool. His nonchalant approach is great, and I caught myself smiling at his delivery more than once. He is supported by strong players all. Patrick Wilson’s power-mad dictator, Dolph Lundgren on his seahorse (sorry, sea dragon). Willem Dafoe, always dependable, Nicole Kidman, getting better with age (love that fish suit), Amber Heard, feisty-sexy, badass Black Manta and hell, his dad is Jake ‘the Muss’ for Christ’s sake – and he can drink Fishman under the table.

It’s a whale of a tale I tell you lads, a whale of a tale that’s true. ‘Bout the flappin’ fish and a mother’s love – stoppin’ a deep sea war with the shores above. I’d swear by my tattoo if I had one but put simply – scintillating, sensational, spectacular. Home might be calling, but they’ll need to leave a message ’cause I’ll be out . . . watching Aquaman . . . again. GO SEE IT NOW!

As always, dig your movies . . .

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That Dude in the Audience.

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The Return of The Return of Swamp Thing: An Interview with Jim Wynorski by Kent Hill

 

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Jim Wynorski is the man I want to be when I grow up. He is a sharp, prolific, terrific guy that doesn’t suffer fools and makes movies ’cause that’s what he loves – and that’s what he does best.

He has made over one hundred films, directed my beloved Deathstalker 2, and even written a foreword for my tribute/homage DS2 book Sword Dude 2 . He is a top bloke, as we say Down Under, and it had been a while since we last spoke ( for our chat on Deathstalker 2 click here: https://podcastingthemsoftly.com/2016/11/15/is-that-your-first-name-or-your-last-name-remembering-deathstalker-2-with-jim-wynorski-by-kent-hill/ ), so when I heard about the glorious reissue of Jim’s The Return of Swamp Thing I took a chance and phoned up this perpetually active filmmaker to see if he could spare the time to talk about the release.

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Thanks to my much improved recording setup, this time there is no transcription. This time you get to hear the man himself, and listen in as I touch base and hopefully convince a couple of you to check out the fantastic re-release of the awesomeness that is Wynorski’s  take on the comic that he loves.

The ever candid Jim always has surprises for me when we talk. Sadly some of the cool news he tells me I can’t share – it’s a for-my-ears-only kinda deal – but fear not, he does deliver many a splendid anecdote.

(GET THE DVD https://www.amazon.com/Return-Swamp-2-Disc-Special-Blu-ray/dp/B0791TR1S5 AND THE SOUNDTRACK https://www.amazon.com/Return-Original-Motion-Picture-Soundtrack/dp/B07FHLZZFQ/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1533815456&sr=8-2&keywords=RETURN+OF+SWAMP+THING+SOUNDTRACK&dpID=61ZcXsCkJ1L&preST=_SX342_QL70_&dpSrc=srch)

Long before Marvel and DC dominated the popular consciousness, Jim Wynorski was directing a DC movie. Before we see the proposed, rehashed series spearheaded by Aquaman’s Jamie Wan, take a trip back to the sweaty swamp and see Dick Durockthe original and still the best – rise from the murky depths and fight evil mutants, seduce Heather Locklear and give the thumbs up. The return of The Return of Swamp Thing

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https://www.amazon.com/Sword-Dude-2/dp/B07G4L9J3P

“God wants you on the floor.” : Remembering Hoosiers with Angelo Pizzo by Kent Hill

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It’s hard not to be romantic about the sports film. From classics like The Natural and Bull Durham to more modern efforts like The Blind Side and Moneyball. They range across all genres and all sports. Football (Rudy, Any Given Sunday), Golf (Tin Cup, The Legend of Bagger Vance), of course, Baseball (Field of Dreams, For Love of the Game) and in the case of Hoosiers, Basketball (Blue Chips, He Got Game). But Hoosiers, and I happen to share this sentiment, is one of the finer examples of the sports genre and is, for my money, the best basketball film ever made.

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Now, I use the term sports film very loosely. Yes all of the aforementioned contain the listed sports as part of their narratives. But, the games are not really what lies at the heart of these tales. The true centerpiece are themes like redemption, romance, the search for self, the search for acceptance – all these things within the characters either as player, coach, fan etc.

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So why do I think Hoosiers is the best example of this genre? Well, it’s simple. Hoosiers has all of these working within it. Comedy, romance, drama, redemption, the search for self, the search for acceptance. Okay, so it doesn’t have a crazed Bobby De Niro terrorizing any of the players to feed his grossly misguided obsession and distorted view of the world – but that doesn’t mean that it lacks thrilling, intense and impactful moments that keep you watching and ultimately cheering for the underdog, the little team that could. One could argue that this is a key ingredient in these kinds of films. A down-on-his-luck former golf pro, a disgruntled former player trying to manage a failing team, a boxer with all the odds stacked against him or a basketball team from a town in the middle on nowhere that couldn’t possibly take on the big schools and win.

Then there are the characters – all looking for second chances. Hackman’s coach, Hopper’s alcoholic father, Hershey’s teacher. They all have something to prove, something to gain from the victories the home team are accumulating. And, they are all masterful turns by each of the three principals. Indeed from all concerned with the production. None more so than that of first-time screenwriter and my guest Angelo Pizzo.

The man who was headed for a career in politics eventually ended up going to film school. After graduating, and spending sometime working in the arena of television, Angelo felt the need, at last, to make a film about a subject he was passionate about – basketball. And, being unable to find writer for the project . . . well . . . he decided to have a crack at it himself.

This wonderful film, under marvelous direction, David Anspaugh, from a great script with a stellar cast and punctuated by a phenomenal Jerry Goldsmith score is a small miracle that has, not unlike the team portrayed in its story, taken on the giants and carved out its place in cinema history.

If you haven’t seen Hoosiers, I urge you to do so. Don’t get caught watchin’ the paint dry…

Marcus Nispel’s Conan The Barbarian: A Review by Nate Hill 

I’ve never seen any of the original Conan films with Ahnuld (I know, get the torches and pitchforks), so I don’t really have anything to compare Marcus Nispel’s remake to, but on it’s own I found it to be a solid, servicable sword and sandal outing with a welcome hard R rating and some neat work from legendary actors. Jason Momoa was fresh of his Game Of Thrones stint, jumping right into a very similar role as iconic Conan, a musclebound soldier of fortune on a grisly quest to exact revenge against warlord who decimated his village when he was but a pup. Momoa exudes a different aura than I imagine Schwarzenegger must have, a stoic, silent tunnel vision style as opposed to posing theatrically. It works, but it’s a new Conan from the one I’ve seen in many a trailer and snippet on tv, that’s for sure. My favourite part of the film is the extended prologue, which just somehow feels like the most grounded part, whereas everything else is almost cartoonish, reminding me of stuff like The Mummy. The opening is terrific though, introducing us to a young Conan (Leo Howard) and his father Corin (Ron Perlman, who else?), living in their nomadic village on the edge of nowhere. Enter tyrannical villain Khalar Zym (Stephen Lang) and his super freaky daughter Marique (Ivana Staneva), played later down the line by Rose McGowan, before she got all lame on us. Laying waste to Conan’s home and killing countless people including Corin, he is left to breed fearsome vengeance for years, until he sets out into the wide world on a journey to find Zym and mess him up real good. The story is standard, the action is well staged by Nispel, who has a golden eye for spectacularly orchestrated displays of violence in his films, and pulls no punches here. He also casts roles on the nose, and has for years. Lang is in overdrive, practically frothing at the mouth and turning Zym into something scary indeed. McGowan is straight out of a Takahashi Miike film, all bone white hissing snarls and needle sharp appendages, a hellcat with supreme bloodlust that you just don’t want to encounter. Momoa has the brawn for Conan, but a few extra syllables of dialogue wouldn’t have hurt, if only to round the guy out some more and give Jason something to say, which he rarely gets to do in his work it seems. I think parts of the film, especially the finale, were somewhat ruined for me by the catastrophically bad 3D they used (when oh when will they learn with the damned 3D), so I feel like a Blu Ray revisit is nigh, in which I can fully appreciate some of the set pieces without being reminded of a popup book. It’s a good time at the movies, but like I said, I have nothing to compare it to as far as Conan goes.