Tag: Karl urban

Riddick: A Review by Nate Hill 

by natewatchescoolmovies, posted in Film Review

Being a huge fan of the two previous Riddick films, I was overjoyed to hear that Vin Diesel would be raiding his own couch for change to save up in order to make this R rated follow up, still helmed by David Twohy. It’s reassuring that in a franchise with more than a few haters, Diesel has the passion and ambition for his character to go out of his way in bringing this to fans. Not to mention what a kick ass, gnarly little space yarn it turned out to be. Pitch Black was a claustrophobic horror fest set on a single harsh world, and The Chronicles Of Riddick opened up into a vast galactic space opera. This one reigns it in closer again (partly because of budget, I would imagine) and gets back to the roots established in Pitch Black. After defeating the Necromongers and becoming their King, Riddick is betrayed and sent into exile by the treacherous Lord Vaako (Karl Urban in a brief but memorable reprisal). Cast out into the stars with a ship running low on fuel, he finds himself marooned on a small, deadly planet that’s more challenging than any other he has found himself on (and if you remember, he has been to some hellish little nooks in the past). This world is a dry, acrid rock where every form of wildlife seems to be incredibly lethal, and out to get him. The first half of the film is pure genius, and consists of Riddick playing Survivorman with his environment, battling aliens and elements and befriending a small hell-pup type doggo that grows up into a teeth and claw ridden killing machine that is at one point referred to as a ‘dingo dango thing’. This is where it’s at for the film, and as soon as the more generic second half arrives, the air gets a bit stale, but it’s still heaps of fun. After mastering the terrain and ingeniously dispatching a snakelike alien that seems to have wandered right in from Wolfgang Petersen’s Enemy Mine (practical effects POWER), he encounters trouble of the human variety, in the form of bounty hunters. Two teams of outlaws have arrived to claim him: the stern Boss Johns (Matt Nable) who has an old bone to pick with Riddick, and the psychotic A-hole Santana (Jordi Molla, who I think of as the Latin Gary Oldman). They bicker a whole bunch on who gets the prize, unknowingly being infiltrated and messed up by the guy before they’ve barely landed. Katee Sackhoff is nutso awesome as Dahl, a lesbo tough chick who legit has the line “I don’t fuck guys, but occasionally I fuck them up.” Soon there’s more charming wildlife, this time in droves of shrieking reptilian predators who intend to see each of them, Riddick included, dead. This forces an amusingly unstable team-up from all forces to battle the uglies and escape this godforsaken place. It’s giddy sci-fi pulp good times, and benefits from its hard R rating, something which the other two films never had on their side. Diesel was born to play Riddick, the growling teddy bear, and I hope he gets to continue wearing the goggles for more of these movies, indefinitely if possible. A hell of a great time. 

Dredd: A Review By Nate Hill

by natewatchescoolmovies, posted in Film Review

  

After the floundering absurdity that was 1995’s Judge Dredd left a nasty taste in the collective mouths of fans, all wen quiet on the cinematic front of Dredd for nearly two decades (I call it the Batman & Robin effect). The clouds parted though, and we finally got one streamlined masterpiece of a flick with 2013’s Dredd. Not only is it achingly faithful to the comics right down to Dredd never removing his helmet, but it stands as one of the ballsiest and well made action pictures in recent years. It’s never overstuffed or busy, takes the violence seriously, has genuine suspense, a bone deep and super tough performance from a grizzled Karl Urban, a sexy, no nonsense villain and the best original score of 2013 by a country mile. Not too mention it’s atmospherics, which are helped by said score of course, to create a sonic mood board of post apocalyptic ruin and urban rot. Dredd is part of an elite department called the Judges, who roam the smoky desolation of Mega City One and act as judge, jury and executioner wherever they see fit. Dredd is a trigger happy juggernaut with no use for scum or criminals and has not a qualm with taking them out like the trash they are, often in brutal, bloody and uncompromising ways. On day he’s partnered up with judge in training Cassandra (Olivia Thirlby, perfect), a rookie with blossoming telepathic abilities. A routine call leads them to a gargantuan Mega Block tower called Peach Trees, a sting irony once we see the rampant squalor inside. This tower happens to be controlled by the fiercest criminal overlord in town, Ma Ma, played by a purring, lethal and altogether terrifying Lena Headey. Her tactics go beyond barbaric and she’s sitting on the manufacturing of a drug called Slo Mo, which makes the users feel like time is passing at one percent it’s normal rate (a gold mine for setting up a scene visually). Ma Ma locks down the tower as the two judges arrive, and decrees that she wants them dead. Now it’s a visceral fight for survival against her armies of thugs and miscreants, and a slow ascent towards her penthouse lair, for Dredd to finish her off. The whole film takes place in Peach Trees, so it’s a self contained, one location affair, and a goddamn knockout of a movie. There are R rated films that dabble in violence a bit and barely earn their stripes, and then there are R rated films that leap at the chance to show people dying six ways to Sunday. Dredd absolutely decimates Ma Ma’s armies in high style and often in super slow motion as they face him while they’re high. The slo mo never feels tacky, but has a tactile richness and fluidity that makes the inflicted carnage so satisfying as it unfolds. The score by Paul Leonard Morgan is an uproarious rallying call that drives forward constantly, charging out of the gate in the opening minute as Dredd pursues a van down the highway on his thundering motorbike, and pummelling each scene with heart stopping force until it mellows out for an eerie passage called ‘Ma Ma’s Requiem’ which is my favourite piece in the film and can be listened to on repeat. Pure genius. Thirlby is the voice of reason and the eyes of the audience, experiencing for the first time how ugly this crime fighting business is, and holding her own wickedly. There’s a dark sense of danger to the whole thing, a frank and outright lawlessness to the villains, as it’s just another day on the job for them. No overacting, no histrionics. Just mellowed out murder and meanness all round. This is the Dredd film that we’ve been waiting for, and have long deserved after that other mess. Low box office returns means we may never see a sequel (wtf is wrong with people, like, who didn’t go see this??), but we’ll always have this little blitzkrieg of a flick to re watch time and again. I know I will.

The Chronicles Of Riddick: A Review by Nate Hill

by natewatchescoolmovies, posted in Film Review

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David Twohy’s Pitch Black was a dank, murky horror sci fi that took place inside a claustrophobic killing jar, all the action unfolding on one planet, and over a short amount of time. With The Chronicles Of Riddick, he lifts the lid off that jar, unveiling more planets, characters, creatures and broadening both the scope of what is seen visually and what takes place in the story. What began as a simple human vs. monster survival tale crystallizes into a full blown operatic space saga, and I loved every minute of it.  Now there are a lot of people who hate it, and fine for them if they want to live inside such negativity. I was sold after the intro, in which a snarky, canine – like bounty hunter (Nick Chinlund) chases a haggard looking Riddick a across the bizarre, jagged face of a planet that would make the asteroid from Armageddon sweat. This film takes place sometime after Pitch Black, the few survivors scattered across the galaxy. There’s  a price on Riddick’s head, which Toombs (Chinlund) intends to collect. Riddick unwittingly wanders into the path of something far more dangerous in his evasive efforts: a powerful, fascist master race known as the Necromongers are cutting a swath through the known universe, converting or killing anyone they find. They are led by the “” (Colm Feore), and commanded by Lord Vaako (another badass character for Karl Urban to another do to his rogue’s gallery), a nasty piece of work who is futher soured by his insidious wife (Thandie Newton). Riddick has encounter with them, as well as an old friend from former times (an all too brief Keith David) and is taken far and away, to a dangerous prison on a planet called Crematoria, where the wrecking ball of a sun fries everything on the surface every half hour or so. It all happens fast (and furious hehe), in a somewhat rushed frenzy of sci fi action, cool effects and surprisingly vicious antics for a PG-13 flick. Diesel was born to play Riddick, a growling night wolf of an antihero and endlessly watchable. There’s all sorts of half Cooke ideas running around, some fun and others left unexplored. There’s a prophecy involving the Purifier  (Linus Roache) who has ties to Riddick’s tragic past and the fate of his race, a strange elemental (Judi Dench looking confused), another person from his past (Alexa Davalos) and other intrigue involving Urban. Best to sit back and let it wash over you like the fun it is. Chinlund is hilarious as Toombs, the only character who seems to have wandered in from inner city L.A., a wide ass prick with a hate streak for Riddick and that old school charisma that carries scenes. The set pieces are exhilarating and make up for the plot which is at times spread too thinly, but never hurts the film. I love it, watch it all the time, let the haters sulk… more for us.