Tag Archives: Jim Carrey

BLINDING ACTION: The Making of BLINDSIDED: THE GAME by Kent Hill

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It’s funny how the fates play their hand. Not long before I hand completed the interviews for this piece, I found I had been gifted the opportunity to interview Phillip Noyce, who happens to have directed BLIND FURY – a film that was both the inspiration behind and the film that came to mind when I first heard about Blindsided: The Game. And what a film! Walter is a seemingly unassuming guy who likes his peace and serenity – and his warm apple pie. His daily life, to the voyeur, would appear idyllic – that is until he decides to visit his local convenience store at the wrong time. A gang of stand-over men are looking for payment on a debt owed by the proprietor, and Walter’s friend. You know something is rotten in Denmark, and Walter looks as though he is the kinda guy to let sleeping dogs lie. No way! Like Josey Wales before him, Walter is the man, the hero who’ll always double back for a friend. That’s when the ACTION begins….

You might find yourself, as I did, waiting for something to happen. When Walter reveals his secret however, you’ll marvel and the grace, fluidity and devastating ability that the film’s hero has been keeping under his hat. The ensuing war which Walter wages with the movie’s antagonists is fierce – with a satisfying resolution.

I think the only thing I wasn’t happy about after watching Blindsided is that it ended – ’cause I, for one, wanted more. So it was an honor and a privilege to sit down with the filmmakers behind this veritable dynamo – this indie action gem waiting in the wings.

Blindsided: The Game pays homage to classic action films like Zatoichi and Blind Fury not only in its protagonist Walter, a blind swordsman, but also in that the film places heavy emphasis on storytelling combined with great action. This is no surprise with Clayton J. Barber in the director’s seat, who comes with over 20 years of experience as a stunt coordinator in Hollywood. Leading man Eric Jacobus plays Walter, a lovable cook who’s an expert gambler and swordsman. The character is the amalgamation of Jacobus’s 18-year career as a comedic action performer in the indie film arena. Director Clayton J. Barber is pushing the boundaries of modern action entertainment by bridging Hollywood with the indie action film world.

Barber notes that, “Eric Jacobus came from the indie action film realm. He was like a punk rocker of the action genre using raw film-making. We’re bridging these worlds together to create a totally new kind of action experience.” Jacobus echoes Barber’s sentiments: “Indie action guys have all the tools they need to showcase their skills, but the element of storytelling still has to be there. Clayton’s that storyteller who knows action. This is our Le Samurai.”

Barber and Jacobus aren’t the only stuntmen involved in Blindsided: The Game. The film features an ensemble of action stars and stunt performers both behind and in front of the camera. Roger Yuan, a veteran action star featured in action films such as Shanghai Noon and this year’s Accident Man, who plays the shopkeeper Gordon, also choreographed one of the film’s major fight scenes. Producer David William No (Altered Carbon from Netflix, and Matrix Reloaded) acts as a knife-wielding card shark and goes toe to toe with Jacobus in the climax. Veteran stunt performer Joe Bucaro (xXx, Iron Man) plays the ruthless gang leader Sal, Nicholas Verdi (Close Range, Agents of S.H.I.E.L.D.) plays Nico and acted as director of photography, and Sal’s enforcer is played by Luke LaFontaine (Savage Dog, Master and Commander) who also served as the sword fight coordinator.

Production company, JB Productions, is dedicated to delivering strong storytelling and first-rate action, created by people who truly understand action. Barber says, “This is a new approach to action film-making. Blindsided: The Game is the perfect collaboration for us, and we hired great stunt performers to play the lead roles and even work behind the camera with us because we wanted to work with folks who knew action. That’s the brand people are buying into, and we’re always looking to build that brand by collaborating with talent both in America and overseas.”   Jacobus and Barber previously collaborated on the hit short films Rope A Dope and Rope A Dope 2: Revenge of the Martial Arts Mafia. Blindsided: The Game is an expansion of the 2017 short film Blindsided, which was the first title under the Jacobus / Barber (JB) Productions banner. Blindsided was released to much acclaim, with fans craving a conclusion to the story. Blindsided: The Game replays the entirety of the original Blindsided and carries the story to completion, capping the film off at the length of a TV pilot.

Jacobus and Barber are confident that Blindsided: The Game will fulfil fans’ desires for a complete film. Blindsided: The Game will be free to stream on YouTube NOW!

ERIC JACOBUS

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CLAYTON J. BARBER

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DAVID WILLIAM NO

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LUKE LaFONTAINE

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WATCH THE FILM NOW…

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Dirty Harry: The Dead Pool

The Dead Pool is a a slick entry in the Dirty Harry franchise, also capping off the series as the fifth and last one. Clint Eastwood had come a long way since he first stepped into the shoes of no nonsense, persistently violent San Francisco super cop Harry Callahan to do battle with the Zodiac Killer, and in this one things get a little bit more meta and witty than they ever have in the canon, but none less violent or tough. After the murder of a junkie rockstar played by none other than a young Jim Carrey, San Francisco is on high alert after the discovery of an underground game called the dead pool, where people bet on celebrities to die (I myself have never engaged in such behaviour). The chief suspect is an asshole horror film director played by Liam Neeson, sporting a greasy ponytail to match his greasy attitude, but each clue seems to lead nowhere, and Harry keeps getting attacked by unseen assassins from both the mob and the killer’s arena. The fun in these flicks is observing his zero tolerance policy for bureaucracy, red tape or rules and the flagrant defiance in the face of any social niceties, not to mention his enthusiasm for cheerfully excessive force, behaviour that has made him such a beloved character. The 44. Magnum gets a ton of exercise here and before the opening credits are nearly up he’s already blasted holes in like six people. My favourite scene has to be the unique car chase action sequence in which the killer employs a tiny, bizarrely fast remote control car rigged with a bomb and chases Harry all up and down the famous hills of San Francisco, it’s absolutely hysterical and looks as if a family of Borrowers decided that they needed to wiped out Clint Eastwood and are hunting the poor guy down. Eastwood is a little older and a bit more grizzled here, and his hair has the refreshing metamorphosis aesthetic of the late 80’s emerging from the dust of 70’s poof/mullet nightmares (also observable with Nick Nolte between 48Hrs and Another 48Hrs), which adds to the character. Good stuff.

-Nate Hill

The Farrelly Brothers Dumb & Dumber To

I might catch some royal shit for this, but I loved Dumb & Dumber To, the Farrelly Brother’s decade’s later follow up to pretty much one of the best comedies of all time. It’s different; meaner, raunchier, a tad more meta and way less down to earth than its predecessor, it seems to be almost universally projectile vomited upon by critics and loyal fans alike. Fuck em if they can’t take a joke, because there’s no arguing that this one isn’t funny. In bad taste? Sure, but so was the original in its own 90’s way. Less charming? Maybe, but suck it up. Discontinuous to the nature of the leads in the original? Granted,

but it’s been like twenty years and the filmmakers/actors have changed as artists. Bereft entirely of valuable, effective humour? Not a chance. Just be thankful we got something to erase the pungent memory of Dumb & Dumberer, a prequel wholly undeserving of the legacy’s name. Jim Carrey and Jeff Daniels are a little older and a little more leathery, but they’re still Harry and Lloyd, the two dim witted pioneers of mid 99’s gross out humour and buddy comedy shtick, resurrected for a brand new adventure. After a prologue where Harry rescues Lloyd from a care facility (that catheter is a wince moment), they’re off to find Harry’s daughter (Rachel Melvin) who he spawned with the notorious Freida Feltcher, brought to life by none other than Kathleen Turner in full hoe mode, she’s a face I haven’t seen in movies for years. There’s a half baked crime melodrama unfolding around them just like in the first one, and just like then, they’re too dumb to get what’s going on, a running joke that villains Laurie Holden and Rob Riggle (doing a double shift) carry amiably enough, but they’re no Joe Mental or Nicholas Andre, let’s be real. The highlight for me was when Harry and Lloyd bumble their way onstage at a TED Talk-esque (updating set pieces for a new millennium) as judges, and hurl moronic criticism at every invention that graces the desk. It’s not the same as the original but it’s been years, after all. The Farrelly’s have always been about distasteful, raunchy, whacked out humour that aims low and beats the laughs out of you, which is exactly what I found to be on display here. Vastly undervalued.

-Nate Hill

THE RIDDLE OF STEEL with Matt Greenberg & Kent Hill

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Matt Greenberg returns, and after the most excellent first time round it was never a question of if, but when. Matt is, of course, not only a cool cat but a talented screenwriter (Reign of Fire, 1408). In our first interview (which you’ll find here: https://podcastingthemsoftly.com/2017/01/13/writing-with-fire-an-interview-with-matthew-greenberg-by-kent-hill/) we discussed his career, the highs and lows – basically his adventures in the screen trade.

This time round I really had no plan, and I find that makes for the best interviews, cause, man, it can go anywhere. I love his unfiltered take on the epicenter of the film industry, his encounters with certain movie town luminaries, his hilarious CliffsNotes on the status of the latest cinema fodder, and his seeds of wisdom when we’re talking shop.

From possible titles for Meatloaf’s next album to O.J. Simpson, to the best idea I’ve ever heard for a reality TV series, Matt and I don’t just shoot the breeze, we gleefully fire and Uzi into the clear blue sky and I hope you’ll delight, as I do, with what hits the ground.

So for luck, for laughs, for the unknown, join us now, me and my mate Matt as we sit down again. And don’t worry – we also talk about movies…

Problem Children with Big Eyes who make Biopics that’ll give you Goosebumps: An Interview with Larry Karaszewski by Kent Hill

As the child from a working class family in South Bend, Indiana, Larry was introduced to the movies by his father. He was not restricted as to what he could watch, so he watched it all. After high school he debated between pursuing either a career in comedy or a life in pictures.

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Larry opted for the movies, and soon found himself at USC. It was there that he would meet Scott Alexander, and together they would form not only a friendship, but also the foundation of a prolific career as a successful screenwriting duo.

After (and though it launched a trilogy of films and even an animated series) Problem Child, the screenwriters struggled to find work. It seemed as though they had been typecast buy their work and so looked to independently produce a biopic they were working on about the notoriously bad filmmaker Ed Wood.

As fate would have it, word of the project reached director Tim Burton. After expressing interest, the boys would have to hammer out a screenplay in double-quick fashion. They succeeded, and this, the first in a string of biographical efforts, would re-establish them in Hollywood and from it they would carve out their place in the genre and become, in many ways, its ‘go-to guys.’

Biopics of Larry Flynt and Andy Kaufman would follow, seeing the boys team up with Academy Award winner Milos Forman. They would go on to re-team with Tim Burton as well as dabble in a variety on different genres including everything from a kid-friendly version of James Bond to horrific hotel rooms were you’ll spend a night or perhaps even an eternity.

Larry and Scott have garnered the highest accolades the industry has to offer and continue to deliver. While trying to get a hold of Larry for this interview I caught him riding high on his recent wave of success, so I would just have to wait for the tide to turn. I am however, glad that I did. It was, as it is ever, a privilege to chat with a man whose work I heartily admire. I love the films he has written and I look forward to the projects that he and Scott have in the pipeline.

Without further ado I present, the award-winning screenwriter and all-round nice guy . . . the one, the only, Larry Karaszewski.

Eternal Sunshine Of The Spotless Mind: A Review by Nate Hill 

Films like Eternal Sunshine Of The Spotless Mind come around once in a lifetime, if we’re lucky. I watched it when I was too young to fully grasp much, and it flew over my head. In the last few years I had a revisit and was knocked flat. Few stories out there have the power to mine deep within the human psyche and search for the complexities, contradictions and puzzling flaws that lie in the beautiful disasters we call human beings. A contemplative yet fast paced meditation on relationships, love, heartbreak and reconciliation doesn’t even begin to paint a picture of what you’re in for with this uniquely told and one in a million film. Sagely ragamuffin Michel Gondry, not one for the easy way out, has truly outdone himself, as has screenwriter Charlie Kaufman, who is never short on wild ideas with emotional heft that sneaks up and blindsides you. Joel Barrish (Jim Carrey) ditches work on a whim one morning, and hops a train out to snowy Montauk. Through fate’s mysterious grasp, he meets free spirited Clementine (Kate Winslet), and the two hit it off immediately. He’s reserved, cautious and calculated, and she’s an impulsive wild card. They couldn’t be more different, but somehow they work. Until they don’t. Joel is devastated to learn one day of a radical brain alteration technique that effectively removes the memory of an ex from your mind, and Clementine has taken the plunge. Joel is confused and lost, and while the iron is still hot in his beating heart, he decides to undergo the procedure as well. Then the film really turns your world upside down. Whilst the staff of the Institute (Mark Ruffalo, Elijah Wood and Kirsten Dunst) go to work on his mind in his sleep, he has a change of heart. With the memories of Clementine radidly disintegrating, he races through the internal landscape of his mind in order to find and save her, hiding her in obscure corners of his data log where she won’t be found. It’s a genius way to tell the story, taking a delightful turn for the surreal as both of them find themselves catapulted headlong into various moments of his life. On the outside, a tragic subplot unfolds involving Dunst and the the head doctor at the program (Tom Wilkinson). Kirsten and Tom have never been better, treating an often used trope with dignity and gentleness. For all its tricks and psychological whathaveya, the film is first and foremost about love. It isn’t interested in showing us any generic or clichéd depiction of it either, like most of the pandering fluff that gets passed off as romance these days. It strives to show love in all its brutal and painful glory, the fights, the hurt, the time spent alone, the resentment and the willingness to batter your way through all that, against better judgment and logic, if it’s worth it. Is love a force of its own, a measurable influence that can transcend a procedure like that? Is it it’s own element, or simply always a part of us? Carrey and Winslet (and, to a lesser extent, Wilkinson and Dunst) tenderly search for the answers to these difficult questions in what are the roles of a lifetime for both. Carrey has never been so vulnerable, so open, and despite his brilliant comedic work elsewhere, his performance here is a direct window into the soul, and his best work to date. Although the film is quite labyrinthine and jumps around quite a lot, it never, ever jumps the track or misses a beat. It’s always concise, deliberate and crystal clear, if you have the patience and dedication to watch it a few times in order to let all the beautiful images, words and ideas sink in. Movies are first and foremost for entertainment. You give the man your nickel, he fires up the projector and you watch the lone ranger chase down down a speeding locomotive. Every once in a while you get one like this, one that challenges and inspires deep thought, intangible feelings and teaches you something, maybe even about yourself. Every once in a while, you get one that alters your life, and that is what is so important about that little spinning machine that opens up worlds upon a simple flat white canvas where before there was nothing. A masterpiece.

The Truman Show: A Review by Nate Hill 

Everyone at some point in their lives has been bothered by the notion that their surroundings are all an elaborate prank, that somehow every single human being but them is in on some giant impossible joke, watching their every move for strange and unthinkable purposes. What if my life isn’t real? What if all my friends and family members aren’t who they say they are, and I’m just part of some ungodly social experiment? What if my life as I’ve known it just isn’t.. real? For Truman Burbank (Jim Carrey) these concerns are very pressing, as he discovers throughout one of the most thoughtful, touching, creative and insightful films ever made. Director Peter Weir works with a script by Andrew Niccol to bring us this now timeless tale of a man existing in a patented pastel world that was never his own and always destined for him. Truman is the unwitting star of his own television show, inducted into its gargantuan studio set since the day of his birth, and conditioned to believe all his life that the people, places and events around him are in fact his real life. Cruel? Perhaps, but the film never takes sides, instead favoring wonder over analytical dissection, a wise move. Even the conductor of this whole absurd symphony, a prolific filmmaker played by Ed Harris, gets his moment of sympathy which can be read as preening ego or the desire to connect with his leading actor beyond the pixelated jumbo-tron he sits behind, depending on how you view the situation. Truman has a lovely wife (Laura Linney), a salt of the earth best friend (Noah Emmerich) and the perfect little white picket fence life. But none of it is real, or at least organic in the sense that every person deserves out of the womb. Truman is a rat in a very elaborate maze, but like anyone who’s had the wool pulled over their eyes, eventually he begins to see lights of authenticity piercing the seams. Gradually he begins to sniff out the ruse, like a child losing their innocence, and questions the eerily idyllic life he has been given. The people, or rather, actors in his life react in different ways. Some panic, others stick to the script, and Harris sorrowfully watches his controversial creation awaken beyond his control. Carrey is a starry eyed revelation as Truman, in one of the most overlooked performances of the century. His arc is the stuff of dreams, spanning the lengths of naivete trapped in a bubble that bursts into affecting, starry eyed realization and wonder. Every moment is owned by him, every beat is resoundingly hit in flawless fashion. When a mysterious and beautiful defector (the luminous Natasha Mcelhone) enters his life to play the part of whistle-blower, it’s the first geniune and non-puppeteered interaction he’s had with a human being. Sparks fly high enough to reach the heavens, and it’s the catalyst for a journey to find the self, the reason for his predicament, a world beyond the Lego brick suburbia he has known and the next step in his impossibly unique life. There’s a piece of Truman embedded in every viewer beholding, and I believe that’s why the film has held up for so long, and been beloved by so many. Every human being has insecurities as large as the fake sound stage that raised him from a pup. Every one of us has at one point felt the alienation he must have gone through upon realizing the truth. In a story so larger than life, we find the answers, or at least a modicum of such, to what it means being a person in this world. Carrey’s Truman is an achingly relatable avatar of this and a direct conduit into the essential. Couldn’t have picked a better actor to bring all of this to life. Couldn’t have made a better film about it. A classic. Good morning, and in case I don’t see you: good afternoon, good evening and goodnight.