Tag Archives: Jennifer Carpenter

Gone

I’ve never understood the dislike or lacklustre reception for Gone, a moody, propulsive suspense thriller starring Amanda Seyfried. It’s not especially groundbreaking or crazy in any way but it’s a solid genre piece with a lead performance that proves once again what kind of pure star-power she has, enough to carry a film and then some. She plays a girl that allegedly escaped the clutches of a serial kidnapper/killer who tossed her down a hole somewhere way out in the wilderness. The cops never really believed her as there was no actual proof and their searches turned up fuck all, but she won’t be deterred, especially when her older sister (Emily Wickersham) seems to vanish into thin air one night and she’s convinced the guy has returned. Once again the lead detectives on her case (Daniel Sunjata and Ray Donovan’s Katherine Moennig) give her the skeptics eye and she has no choice but to launch her own solo investigation, a dangerous option but the girl has no shortage of bravery. Inherently creepy looking Wes Bentley plays another cop who is decidedly more helpful for his own reasons, but he exists mainly as a red herring and ultimately doesn’t do much of anything useful. This film is about her journey and not so much her destination, as it’s essentially a heightened Nancy Drew yarn fuelled by a constant vibe of suspense and blanketed in the thick atmosphere of the Pacific Northwest region where it was filmed. When her eventual confrontation with the killer does come, it seems a bit after the fact and even rushed, but it was never the point anyways, as the story’s effectiveness lies in her relentless search and resilient, charismatic tactics to discern each clue along the way. The cast here is full of gems, including Dexter’s Jennifer Carpenter as her waitress boss, Joel David Moore, a very young Sebastian ‘Bucky Barnes’ Stan, Nick Searcy, Socratis Otto and legendary tough guy Michael Paré as the Lieutenant of the local precinct who is helpful but stern and concerned about Seyfried’s seemingly drastic actions. Don’t let any negativity spoil a fun evening in with this one, there’s really nothing to hate about it. Tightly wound, nicely acted by everyone, and shot with the benefit of the Northern locale. Admittedly broad and farfetched in terms of plotting, but what thriller isn’t here and there anyways, get over it. Mainly it worked so well for me because Amanda is such a vivid, present actress who can hold a scene like nobody’s business and really commits to her craft. A diamond of a flick in my books.

-Nate Hill

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S. Craig Zahler’s Brawl In Cell Block 99- Thoughts from Nate Hill


Bring a strong stomach with you to S. Craig Zahler’s Brawl In Cell Block 99, a casually vicious ode to 1970’s exploitation that pulls no punches, kicks, backhands or wet-crunchy head stomps that will make your balls retreat up in those nether regions. Zahler is also responsible for 2015’s incredible horror western Bone Tomahawk, which set him on the messianic path to bring hard hitting genre cinema back to the forefront of our awareness. He’s proved here that he plans to make that his long-game plan, with an utterly unapologetic, icily paced prison flick that ramps up into levels of violence that shake and stun. Vince Vaughn, that neurotic, rotund teddy bear, sheds his image as well as his shirt to ruthlessly pummel anyone that gets in the way of his quest to save pregnant wife Jennifer Carpenter after a drug deal gone bad, an area of employment he only entered to provide for those he loved. Stuck inside a minimum security prison, he’s visited by a deliberately sinister old gentleman (Udo Kier, whose very presence solidifies the film’s perpetual eccentricity) who uses the man’s captive wife as leverage, and orders him to get himself transferred to a hellhole of a facility run by a nasty warden (Don Johnson, sadism incarnate). There’s he’s forced to fight tooth, nail and skull to stay alive, and fight he does. It all sounds rather lively, doesn’t it? Not so much. Zahler is fascinated by subverting stereotypes and upturning genre expectations, going ballistic here with the film’s patient, slow-cooker pacing. There’s a Tarantino vibe to the wait vs. payoff in terms of violence especially in the last side of the third act, but it’s much more perverse and played up, and if the carnage in Tomahawk made you queasy, you’ll go full chunder with what Vaughn inflicts on his fellow jailbirds here, and shudder at Kier’s casually evil approach to his job. Zahler has given the ol’ German another chomp at the bit in terms of roles, as he hasn’t done much in years, but he’ll turn up again next year in the director’s ‘Dragged Across Concrete’, which headlines Vaughn and Mal Gibson, so there’s that to wet your panties over. Like Tarantino, Rob Zombie and others, Zahler like ms to handpick actors from bygone eras and showcase them in his roster, a quality I love in a filmmaker and one that shows they’ve done their research. Vaughn is an absolute demon here, a man with a specific, patriotic code of ethics and honour, but also not one to shy away from getting his hands dirty. Don Johnson is riding the wave of a magnificent comeback, his characters here has a southern prince exterior, with evil positively oozing from beneath. This was not the film I expected, not should it have been. It’s unique, purposefully dodging expectations, and hits home with the crippling impact of Vaughn terrifying fists. An unconventional winner.

-Nate Hill 

Faster: A Review by Nate Hill

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Faster is an action film with an eerie aura and a darkly unnerving bite to it. Don’t get me wrong, it’s action through and through, a genre effort right to its marrow. And yet, there’s something oddly esoteric about it, an obvious extra effort put in by the filmmakers, namely first time action director George Tillman, to give every character an off kilter, bizarre cadence to ensure we won’t forget them. There’s clichés, no doubt, but they’re eclipsed by the strange, full moon weirdness of the rogues running about the film’s story. Dwayne Johnson fires up a furious protagonist in his first action role after a long and ridiculous stint in insufferable family comedies. He plays a quiet, hulking dude known only as Driver, reluctantly released from prison by a watchful Warden (Tom Berenger). Upon exiting the gate, he runs. And runs. And runs. He arrives at a small town junkyard where he tears a tarp of a vintage Chevelle which seems to be left there for him like a care package. From there he launches a bloody crusade of revenge that knows neither mercy nor discretion, and whose reasons we are only slowly allowed to know. He’s a one man wrecking ball, the murders piling up before we really have any idea what this guy is about. He’s been greatly wronged in the past, the culprits of which should all be running scared, as he comes looking for them one by one and with the juggernaut pace of a boulder tumbling down a mountain. Pretty soon there’s two cops on his trail, intrepid Cicero (Carla Gugino) and mopey sleazeball ‘Cop’ (Billy Bob Thornton), a dilapidated piece of work who mainlines heroin and clearly has a murky past. Soon there’s one hell of a hitman (Oliver Jackson Cohen) skulking around looking for Driver, an extreme sports enthusiast who has ‘beaten yoga’ and is avidly looking for the next big thrill. Johnson jumps from one ultra violent encounter to the next with all the corrosive ferocity of the grim reaper, tallying up the corpses until we’re all but sure he’s an inhuman elimination machine. Then.. the film curveballs us and throws a glint of humanity into the mix with some late third act emotion that only goes to show the filmmakers set out with more than a one track mind. Driver has been unspeakably betrayed, and his rampage is undeniably justified, but there’s a complexity to his quest that he didn’t see coming, and neither did those of us who expected pure action without a moral conundrum in sight. I say good on it for grasping something besides the thrills. A terrific cast populates the almost Oliver Stone – esque proceedings, including Maggie Grace, Moon Bloodgood, Mike Epps, Jennifer Carpenter  (always superb), Matt Gerald, Xander Berkeley, Buzz Belmondo, Courtney Gains and more. It’s got the depth of a well written graphic novel and a level of thought out characterization that heaps of stale action entries wish they possessed.