Tag Archives: Keira Knightley

Director’s Spotlight: Nate’s Top Ten Tony Scott Films

There was no other artist on the planet like Tony Scott. Behind that epic cigar and under that iconic sun bleached pink cap there resided an intense desire to blast celluloid with a distinct visual aesthetic and brand cinema forever with pictures that exploded out of the mould, caught the projector on fire and often inspired quite divisive reactions. Why have one steadicam stationed at a traditional angle when you can have multiple cameras on all kinds of rigs panning, gliding and pirouetting all over the place? Why use generic colour timing templates when you can saturate the absolute fuck out of every frame, sprinkle in the grain and turn up the yellows until you scorch your irises? Why employ pedestrian editing when you can zip, zoom, use jagged swaths of movement, arbitrary subtitles and hurtling fast motion to tell your story? Tony has a huge bag of tricks that was constantly evolving over the course of his career, and for anybody who could both catch up to him and appreciate the aesthetic he left us a wealth of cinematic treasure behind after his tragic and untimely death. These are my top ten personal favourite of his films!

10. The Hire: Beat The Devil

This is one in many short films sponsored by BMW, all featuring Clive Owen as a 007-esque getaway driver for hire at the wheel of a Beamer. Scott’s entry definitely leads the pack though, get this: The legendary James Brown (James Brown playing himself) has made a deal with The Devil (Gary Oldman) for fame and fortune and now that old age has struck he wishes to renegotiate. How to settle matters? Brown and Owen in the Beamer race Devil and his trusty butler/driver (Danny freakin Trejo) along the Vegas strip at sunrise. Oh yeah and Marilyn Manson makes a hysterical cameo too. It’s a balls out fucking freaky wild ride with Oldman making scary, flamboyant work of ol’ scratch and Scott amping up the stylistics to near excess. Favourite scene: that Manson cameo, man. So funny.

9. Spy Game

Robert Redford and Brad Pitt headline this highly kinetic tale of espionage, mentorship, loyalty and resilience while Tony fires up what little action there is terrifically. It’s interesting because this isn’t an action film, it’s got depth and personality, the visual tone serving the affecting central relationship well. Favourite scene: Brad and Robert argue morality atop a Berlin apartment rooftop, Brad loses his cool and whips a chair off the edge as Scott’s cameras dutifully circle them like restless seagulls.

8. The Last Boy Scout

A tumultuous production ultimately led to the first in the ‘unofficial L.A. Noir buddy action comedy trilogy’ written Shane Black, to be followed up years later with Kiss Kiss Bang Bang and The Nice Guys. Tony lends his sun soaked grunge to this tale of an ex football pro (Damon Wayans) and a disgraced Secret service agent turned PI (Bruce Willis) navigating a dangerous underworld conspiracy while trying to put up with each other. This is one hilarious, high powered ride with super nasty villains, a terrific supporting turn from Danielle Harris as Willis’s rebellious daughter and a playfully sadistic streak to the intrigue. Favourite scene: the shocking opening sequence set during a rain soaked NFL game gives new meaning to going the extra mile for that touchdown and sets the gritty, sarcastic tone well.

7. Unstoppable

This exciting riff on the runaway train shtick sees railway workers Denzel Washington and Chris Pine try and prevent a renegade unmanned locomotive from crashing in a densely populated area, causing cataclysm. Tony keeps the pulses racing and the action almost literally nonstop in his final film before passing. Favourite scene: the hair raising climax.

6. Crimson Tide

Denzel again! He goes head to head with Gene Hackman in this explosive submarine picture with uncredited writing from Quentin Tarantino and fantastic supporting work from James Gandolfini, Viggo Mortensen and others. Tony loved wide, expansive settings to play in but he works just as terrifically in a confined space here, letting the energy reaching a boiling point. Favourite scene: a fierce verbal battle of wills between Hackman and Washington over a tense mess hall dinner.

5. Déjà Vu

Time travel gets a twist in this trippy, exciting and surprisingly emotional tale of one ATF agent (who else but Denzel??) using a state of the art SciFi technique to take down a dangerous terrorist (Jim Caviesel). Scott uses many elements played both backwards and forwards to keep interests locked and please the crowd. Favourite scene: When all is said and done Washington shares a final moment with a witness (Paula Patton) that calls back to earlier moments of the film and caps this story off nicely.

4. Enemy Of The State

Chase thriller, espionage intrigue, mob war-games, Gene Hackman basically reprising his role from Coppola’s The Conversation, a trademark Mexican stand-off shootout, this prophetic, endlessly exciting film has it all. Will Smith and Hackman team up awesomely in this fast paced, prescient, frequently scary and rousing thriller that has a cast you won’t believe, some showcase explosions and enough excitement to go round.

3. Man On Fire

Denzel Washington’s Creasy is the titular incendiary avenger in this south of the border tale of revenge, kidnapping, redemption, cruelty and corruption. It’s a startling film and the first one that felt like Scott’s specific calling card style had been fully formed and delivered to us in a package that many (including those pesky critics) weren’t ready for. Grainy, choppy, putting us right in the passenger seat with Creasy and his sketchy frame of mind, this one is a master stroke of filmmaking.

2. True Romance

This would be first on the list if it were a singularly ‘Tony’ film but it’s just as much Quentin Tarantino’s show and as such is kind of a two man dance, not to mention the legendary ensemble cast. Christian Slater and Patricia Arquette are an early 90’s Bonnie & Clyde on the run from just about every nasty villain you could think of in this cult classic that just gets better every time you watch it (I’m well over a hundred views myself).

1. Domino

This just has to be Tony’s masterpiece, and he crafts it without compromise or apology. With a framework loosely based on real life bounty hunter Domino Harvey, he boldly hurtles towards the asphalt horizon with this hyperactive, unique, mescaline soaked, badass adrenaline rush that is an experience like no other. Critics pissed on it but fuck them, it’s a gem, really, a visual and auditory juggernaut that doesn’t just light up your TV screen but pretty much makes a break for your circulatory system and bounces around your veins for two hours. This is the one I’ll always remember Scott for.

-Nate Hill

Eternity’s Music, Faint and Far: Nate’s Top Ten Time Travel Films

I love a good time travel film. There’s something so purely exciting about opening up your story’s narrative to the possibility, and once you do the potential is almost endless. From the mind stretching nature of paradoxically puzzling storylines to the sheer delight of seeing someone stranded in an era not their own and adjusting to the radical development, it’s a sub-genre that always has me first in line to buy tickets. Here are my personal top ten favourites:

10. Nicholas Meyer’s Time After Time

How’s this for a concept: H.G. Wells (Malcolm McDowell) chases Jack The Ripper (David Warner) around 1800’s London, through a time machine and all over 1970’s San Francisco. This is a brilliant little picture because as sensational as this high concept is, the filmmakers approach the story from a place of character and emotion rather than big style SciFi spectacle or action. McDowell plays Wells as a compassionate, non violent fellow while Warner’s Jack relishes in the ultra-violent nature of the time period. This is also the film where McDowell met Mary Steenburgen and shortly after they were married.

9. Rian Johnson’s Looper

Time travel gets monopolized by the mafia in this stunning futuristic tale that is so specifically high concept it requires a near constant expository voiceover from Joseph Gordon Levitt so we can keep up. Playing an assassin hunting his future self (Bruce Willis), this has a vaguely steam punk feel to it, an uncommonly intelligent and surprisingly emotional script as well as scene stealing work from Emily Blunt, Pierce Gagnon, Paul Dano and a scruffy Jeff Daniels.

8. Terry Gilliam’s Time Bandits

A young boy tags along on one hell of a epic adventure with a band of time travelling dwarves on the run from both the Devil (David Warner for the second time on this list, how nice) and God himself (Ralph Richardson). This is an exhilarating, lush example of what can be done with practical effects, from a giant walking out of the ocean to a Lego castle somewhere beyond time and space to a recreation of the Titanic. Not to mention the cast, which includes cameos from Gilliam’s Monty Python troupe regulars as well as Ian Holm, Shelley Duvall, Jim Broadbent and Sean Connery in several sly roles.

7. Robert Zemeckis’s Back To The Future

“Great Scott!!!!” Man, who doesn’t just love this film. It’s practically it’s own visual aesthetic these days, and spawned two fun sequels that couldn’t quite capture the enchantment found here. From scrappy antihero Marty McFly (Michael J. Fox) to demented genius Doc Brown (Christopher Lloyd) this just hits all the right notes and gets a little taboo in the process as we see what would happen if someone ended up in the past and got hit on by their own mom. Yikes!

6. The Spierig Brothers’s Predestination

The less you know about this tantalizing, twisty flick going in the better, except to know that it will fuck your mind into submission with its narrative. Ethan Hawke plays a rogue temporal agent who’s been pursuing a relentless terrorist through time since he can remember, and finally has a plan he think will work to end the chase. Featuring Noah ‘exposition in every other SciFi film’ Taylor and the sensational new talent Sarah Snook, this is not one to miss and you’ll need a few viewings to appreciate it fully .

5. Tony Scott’s Déjà Vu

Scott’s trademark visual aesthetic blesses this kinetic, elliptical story of secret FBI technology used by keen ATF agent Denzel Washington to find and stop a mad bomber (Jim Caviesel) who has already slaughtered hundreds in a riverboat explosion. Adam Goldberg and Val Kilmer are welcome as agency tech experts but the real heart of this film lies in Washington’s relationship to a survivor of the incidents (Paula Patton) and how that plays into the fascinating central premise that doesn’t start *out* as actual time travel but gradually becomes apparent.

4. Gregory Hoblit’s Frequency

A father son relationship is the beating heart of this tale of cop Jim Caviesel (again!) and his firefighter dad Dennis Quaid. They are able to communicate across a thirty year gulf of time and the barriers of death itself via a miraculous HAM radio and some pseudo science involving the aurora borealis. This provides an exciting, involving and heartbreaking dual experience as the son races to find ways to save his dad from several different grim fates and take down a nasty serial killer while he’s at it. This film has aged so well mostly due to the genuine emotion felt between the family including mom Elizabeth Mitchell. The yearning to escape perimeters of linear time and reconnect with passed loved ones is especially prescient for me nowadays days based on my own recent experiences and as such the film holds extra weight now. A classic.

3. James Cameron’s The Terminator

Artificial intelligence works out time travel for itself in Cameron’s ballistic gong show of an action classic that sees freedom fighter Michael Biehn, civilian turned survivor Linda Hamilton, homicidal cyborg Arnold Schwarzenegger and a few hundred short lived cops engaged in a bloody, brutal fight for the future. I picked this over the sequel because the notion of time travel in the saga overall feels freshest and most well worked out here, despite my love for T2 being just a smidge higher on the gauge. Perhaps it’s also because the excellent Biehn makes damn believable work of convincing us that he’s a weary, distraught soldier from a different era, and sells the concept with his beautiful performance.

2. John Maybury’s The Jacket

Hazy, experimental, haunting and atmospheric, this was not a critical hit and it’s chilly vibe is evidence of that, but beneath that there’s a heartfelt story of confused gulf war vet Jack Starks (Adrien Brody) trying to make sense of his shattered psyche while surviving a gnarly mental institution run by a madman with a god complex (Kris Kristofferson). Somewhere along the way he discovers he can jump through time and uses the phenomena to investigate his own death and prevent others from happening. Featuring a low key, emotional turn from Keira Knightley and fantastic supporting work from Daniel Craig, Kelly Lynch and Jennifer Jason Leigh, this is a harrowing psychological thriller that gradually reveals itself as a meditation on life, death and the realms in between.

1. Terry Gilliam’s Twelve Monkeys

Gilliam gets two on this list, lucky him! He deserves it though, this is a curious film with unbelievable production design, a deeply felt performance from Bruce Willis and one from Brad Pitt that kind of defies description and erases doubts of his immense talent from anyone’s mind. Willis is a convict sent back in time from a bleak future to discover how and why a deadly virus wiped out most of earth’s population and sent the rest into subterranean caves. It’s not the film you’d expect and the sad, eerie resolution at the end is something that will stick with you for a long time.

Once again thanks for reading! There’s many that didn’t make the list as it’s tough to just pick ten, but I’d love to hear some of your favourite time travel films!

-Nate Hill

Richard Curtis’s Love Actually

Who doesn’t love Love Actually? I know I do. It’s such a sentimental, goofy, overblown pile of mush and I love it even more for being so. It can be sappy, but a lot of the situations and character interactions it entails are blunt, awkward truths made even more hilarious by an even more awkward cast, and encapsulate the meaning of Christmas. Not all the couples work out, not all of the individual stories end well or in satisfaction for characters or audiences. But that’s life, and they make the best out of what they have at this time of year, which is what it’s really about. Some turn out splendidly for the characters, leaving them beaming. Some learn tough lessons that are necessary for growth, some find love in storybook fashion and others are simply there for comic relief. What comedy and tearful drama we get as too, delivered by an astoundingly massive cast of British legends, speckled with a few familiar Yankee faces just to garnish the giant British figgy pudding. Liam Neeson plays a grieving father whose son (Thomas Bodie Sangster) is sick with love. Neeson’s sister (Emma Watson, grounded, real, heartbreaking) deals with her irresponsible husband (Alan Rickman, incapable of a false note). The newly elected Prime Minister (Hugh Grant in full flustered, fumbling glory) is attracted to his cute secretary (Martine Mcutcheon) and aloof writer Colin Firth feels pangs for his Portuguese housekeeper (Lúcià Moniz) who speaks not a word of English. Laura Linney has a steamy office romance with Rodrigo Santoro whilst dealing with an ill sibling, Bill Nighy is hysterical as a cynical Grinch of a pop star with a jaded facade, Keira Knightely, Chiwetel Efjor and Andrew Lincoln are involved in a subtle love triangle, and there’s all kinds of interwoven vignettes including Martin Freeman, Elisha Cuthbert, Ivana Milicevic, January Jones, Claudia Schiffer, Shannon Elizabeth, Denise Richards, Joanna Page, Sienna Guillory, Billy Bob Thornton as the sleazy US President and a priceless Rowan Atkinson as the world’s weirdest jewelry salesman who gives new maniacal meaning to holiday gift wrapping. It’s a big old circus of Christmas spirit with all kinds of different desires, motivations and relationships that reaches a festive fever pitch before erupting into a joyous finale of giddy Yuletide melodrama and cathartic good times that is impossible not to smile at. An annual watch for me.

-Nate Hill

Tony Scott’s Domino

Domino is Tony Scott’s fire roasted, charbroiled, turbo charged masterpiece. I’ve seen it over fifty times and every time I seem to enjoy it more. It’s pure unfiltered Scott, free from the nagging pressures of the studio, financed by his own company, a loving treatise of pure style and breakneck kamikaze energy that doesn’t let you breathe for a second. It’s loosely based on the life of Hollywood baby turned rough and tumble bounty hunter Domino Harvey (Keira Knightley), daughter of actor Laurence Harvey. She leaves the 90210 world of rich snobs and gilded mansions to pursue a grittier path, in the form of restless underground law enforcement. Now, the film sheepishly admits it’s not entirely based on a true story before the credits even start, so as long as you know that much of it is fantasy going in, you won’t feel cheated. Knightley is a pissed off, sparking roman candle in the role of her career, shedding the dainty image and going full furious grunge, giving Domino an alternative edge and damaged pathos that fuels much of the film’s kinetic energy. Mickey Rourke plays her grizzled boss Ed Moseby, a veteran bounty hunter with a trail of violence behind him, who’s weary and tough in equal parts. Rourke fires on all cylinders, giving some of his simultaneously hilarious, heartbreaking, badass and best work. Edgar Ramiraz plays scrappy Choco, third musketeer and eventual lover to Domino with fiery Latin charisma. Christopher Walken, weird mode fully activated, waltzes in as a reality TV producer with the attention span of a ferret on chrystal meth, Mena Suvari as his squirrelly assistant, Lucy Liu as a prim, OCD afflicted federal agent who verbally spars with Knightley in flash forwards, Delroy Lindo is excellent as their bail bondsman handler Claremont Williams, and there’s scuzzy work from Dale Dickey, Lew Temple, Macy Gray, Monique, Dabney Coleman, Jacqueline Bisset, Jerry Springer and more. Just to sample some of the esoteric weirdness that goes hand in hand with the hard boiled crime elements, Tom Waits has a beautifully perplexing cameo as a spiritual wanderer who has a mysterious meeting with Domino and her friends in the Mojave desert, imparting some prophetic truth to them that only Scott and the sand dunes are in on. This is the kind of film that grabs you by the collar and hurls you down an asphalt horizon of hallucinatory camera work, brings you an intricate, lurid story of true crime gone wrong, and a balls to the wall depiction of life at its fastest, wildest and most out of control, as only the maestro of such things, Scott, can bring you. Domino, at least in this film, lives a crazy life that culminates in a hellish Mexican standoff and subsequent shootout atop a Space Needle-esque Vegas casino, a fitting way for a Scott film to come full circle and certainly not the first time he’s ended one in that situation. He uses cinematic magic to create visual poetry here, his sucker punch editing, nebulous display of scorched out colours, thunderous symphony of sound design and hectic, buzzing aesthetic isn’t for everyone but it’s something truly unforgettable and a style wholly his own, I truly miss the guy and believe he was one of maybe the ten best filmmakers to ever work in Hollywood. This is by far his best film, definitely his most personal and also the most arresting vision he’s ever sculpted, it will leave you haunted, pummelled, fired up and deliciously puzzled. Domino ironically says in voiceover near the end, “I’ll never tell you what it all meant”. Scott tells you, in his own special way, and if you’re tuned in to his otherworldly frequency you’ll treasure this masterwork as much as I do, and will continue to for years to come.

-Nate Hill

“We’ve got some unique time constraints.” : Remembering Déjà Vu with Bill Marsilii by Kent Hill

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Initially I felt the same way about Déjà Vu as I did Gilliam’s 12 Monkeys. Both of the inaugural screenings I attended were sullied by external forces which greatly influenced my mood during the viewings and thus, my opinion of the films.

But time, it was once said, is the ultimate critic. Under different circumstances I watched both films again, and, this time around, my feelings toward both movies were drastically adjusted.

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In several books on the art of screenwriting it is often put about that, if you cannot sum up the film you are writing in a single sentence, then you may want to rethink the plot. There is a great moment on the commentary track of this film in which the late, great Tony Scott admits that even he struggled to distill Déjà Vu into the logline form.

It’s a science-fiction/action/thriller/time-travel/romance in which the hero, Denzel Washington, meets the girl he will eventually fall in love with on the slab – dead as disco. Unbeknownst to him, he will eventually join a team that will, along with the help of a device that can see into the past, aid him in bringing her killer to justice. And it was from this humble yet intriguing premise that my guest, Bill Marsilii and his co-writer Terry Rossio constructed this rich, multi-layered tale which deserves more applause than some would proffer for its inventiveness and compelling real-world take on the age old time machine story.

 

But what I uncovered as I spoke to Bill was far more than a series of behind the scenes anecdotes and your typical boy meets idea, boy turns idea into a screenplay, screenplay sells for big dollars, boy lives happily and successfully ever after in Hollywood kind of scenario.

And yes, while it is true that Déjà Vu is the highest earning spec script thus far, beating out other entries like Basic Instinct, Panic Room and The Last Boy Scout, the story of how Bill came to, not only the concept, but how the writing and selling of the script changed his life is just as compelling as anything Jerry Bruckheimer and Co. managed to get onto the screen.

 

This interview, at least for me, proved also to be somewhat of a masterclass in, not only screenwriting, but the ever painful and soul-crushing journey the writer must endure to actually sell the script. It’s about the luck, timing, persistence and internal fortitude that you must have sufficient quantities to survive the gauntlet that exists between the page and the screen.

Bill’s heart-warming, inspirational adventure to make it in the realm where dreams are brought to life with that strange blending of art, science and commerce – that ultimately no one can tell you how, when a film is successful, it all comes together in the perfect proportions to ensure success is on the menu – is a conversation that could have gone on and on.

I hope you’ll will enjoy some extended insights into Déjà Vu, but more than that, I hope you, if you are one of those dreamers still out there trying to write your own ticket to cinematic glory, that Bill’s wisdom you’ll take onboard and continue pounding away on those keys until fortune smiles and your efforts will be coming soon, to a theater near us…

Ladies and Gentlemen . . . Bill Marsilii . . .

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“By the look of you, you haven’t come to bob for apples.” : Remembering Sword of the Valiant with Stephen Weeks by Kent Hill

Stephen Weeks interview

“How the hell do I relieve myself in this tin suit?”

Sword of the Valiant might come across as just another Cannon curiosity, especially for the uninitiated. For the casual observer it may simply look like another film in which another director managed to con Connery into yet another pair of strange/fancy duds?

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But while Boorman managed to get Sean to into his Zardoz get-up, which for my money is more so in the strange/fancy category than SOTV, the film in total is both an elegant and joyful rendition of the days of Arthurian legend from my guest in this interview, Stephen Weeks.

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Yes before Connery got to be the king himself in First Knight, before Clive Owen and way before Charlie Hunnam – in days of old, when knights were bold, there was the tale of Sir Gawain and the Green Knight, which as I discovered, is not the film I know it to be. Turns out I’ve no seen it in all its glory…

Working with Cannon was by no means a cakewalk, as Stephen shall tell you. And the subsequent release of the picture was grossly mishandled. Thus, the world has really not experienced this movie as the filmmaker’s intended, and that was one of many intriguing tales proffered me by the eloquent Mr. Weeks.

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This was not his first rodeo, having made a version of the film some years earlier, Stephen saw this as an opportunity to expanded his canvas. Unfortunately for him and what no one knew, or knew well enough, at the time, was the grimy underbelly of the behemoth at the top which sat Golan and Globus.

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Despite these trappings, and now knowing what I know, I still love the movie and feel privileged to have been gifted an audience with its director, who not only informed and enlightened, but also entertained.

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Stephen Weeks is an impressive filmmaker and now is an accomplished author (please see the link to his work below). As a fan of his work and SOTV in particular, I enjoyed and hope you too shall enjoy, this little trip back into the mists of time – to a fantasy world, and a fantastic film…

 

 

Gore Verbinski’s Pirates Of The Caribbean: Dead Man’s Chest

Pirates Of The Caribbean: Dead Man’s Chest is so good it almost gives the first one a run for it’s money in terms of visual effects, imagination, swash and buckle. It does have it’s issues with letting some of the action set pieces run on literally forever (that rolling windmill sword fight tho) until you seriously start to question the limits of cardio in those involved, but director Gore Verbinski has always been an advocate for cheeky excess, so who can complain. In preparing a sequel to Black Pearl, they no doubt had a daunting task in equaling, and if possible outdoing the sheer bliss that came before, and they kind of succeeded and then some. Jack Sparrow, Will Turner, Elizabeth Swann and a whole circus sideshow of others are propelled on a dazzling adventure that spans past the isle of Tortuga, beyond the waters of Port Royal and to the far ends of the Caribbean, not to mention amping up the supernatural aspects of the first to dizzying heights. In Captain Barbossa’s absence (well, almost;), they also had to find a villain to match his adorable theatrics, and Bill Nighy’s moody Davy Jones, a hentai tentacled tyrant cursed by the ocean’s magic, doomed to sail the baroque galleon The Flying Dutchman forever, fits the bill. His crew are a gnarly, barnacled bunch of miscreants adorned in enough wicked cool marine biology and detailed special effects to get an Oscar nomination, which they did. Other new character additions include mopey Stellan Skarsgard’s bedraggled Bootstrap Bill, Naomie Harris’s spooky voodoo babe Tia Dalma, as well as familiar faces like Commodore Norrington (Jack Davenport), who gets a lot more to do here than twiddle the stick up his ass as he does in the first one, Governor Swann (Jonathan Pryce), Gibbs (Kevin R. McNally, deadpan as ever) and the whole motley crew. Depp takes what made Sparrow so charismatic and weird in Black Pearl and soars over the rainbow with it, he really and truly carries these films with his presence and it may just be the best characters created by him. A worthy sequel, kickass adventure and one for the books.

-Nate Hill

John Maybury’s The Jacket


The Jacket is a curiosity of a film, and didn’t stand out for many critics when it came out, but for some reason it’s stayed in my thoughts for years since and has become one of my favourites, of any genre. Moody, cold, desolate and sketchy, it’s an at once alienating and life affirming piece that puts you front and centre with the kind of crushing loneliness one must feel when the mind becomes broken, and then wraps us in a comfort blanket with the notion that forces unknown to us, and some not so mysterious (human contact is touched upon), one might extricate themselves to a better situation. Adrien Brody is confusion incarnate as haunted gulf war vet Jack Starks, a gaunt silhouette of a soul who suffered a head wound, the neurological fallout of which has left gaps in his perception of reality and a jagged sense of cohesion. Shipped off to a nightmare of a mental facility run by Kris Kristofferson, whose character almost certainly shouldn’t be left in the care of troubled minds as his idea of treatment consists of pumping patients full of untested pharmaceuticals and shunting them into a morgue drawer. This is where, by unexplained phenomena, Jack is able to bounce forward in time from his drab 1999 timeline over to a slightly less drab 2007, where he meets Jackie (Keira Knightley), a girl who might have ties to his past. The film sounds high concept, almost Sci Fi, but the way it’s composed is anything but. The supernatural elements are shown frankly and never overblown, gilding the psyche of the characters in a more internal, psychological fashion, especially when Brody is in that drawer and all manner of bizarre subconscious phantasms dance before his vision, before he’s whisked off to the future. All the characters but one are listless, withdrawn and somber, from Jennifer Jason Leigh’s sympathetic, forlorn doctor (she’s terrific here) to Kristofferson, who provides grizzle and a welcome depth where other actors would have gone the straight up Dr. Frankenstein cop-out route. Daniel Craig is the one live-wire who breaks the mold, and I enjoy his early career work before he calcified into the stoic 007 template. He’s a treat here as a rambunctious fellow patient and spirit guide to Starks. Appearances from Brad Renfro, Kelly Lynch and Stephen MacKintosh are notable as well. There’s a despondent, bleak blanket over much of the film, a coldness brought through in broad strokes by director John Maybury, whose distinct European approach to filming (multiple extreme closeups, subtle voiceover, trippy experimental effects) helps the mood really soak in. There’s a contrast at work too though, amidst the film’s themes of loneliness and unrest there shines through a deep emotional warmth, a reassuring grasp on the reins from Brody’s character to seize back a life that was taken from him, and wake up from his nightmare, with help from those around him. A willingness to keep going, to change the course of one’s life when it swerves off track, explored quietly, underplayed in harmony with the seeping discomfort hidden in many of the frames. Part Hollywood thriller, romance, art house flick and psychological horror show, there’s just no other film like it. 

-Nate Hill

London Boulevard 


Pains me to say this, but London Boulevard is a whole lot of nothing. Like, a disgraceful amount of nothing when you step back and look at the talent involved. I read a review on IMDb saying that “every element of this film is so right, but how did it end up so wrong?”.. Sad to say, I couldn’t agree more. This is one unfocused, meandering, royal catastrophe. Where does the blame lay? Who can say, really.. I don’t want to lay it on the director, even though his only other feature, Mojave, was pretty dismal, but he’ll find his groove. The cast is capable and willing, none of them totally phoning it in. No, I feel like it’s the script, a botch job of a story consisting of scenes mired in a never-ending doldrum where nothing ever really goes anywhere and the characters get caught up in the purgatorial nonsense of it all. Colin Farrell is a tough guy who is hired to act as pseudo-bodyguard to a reclusive, neurotic film star (Keira Knightley), after which all sorts of freak occurrences and oddball Brit-bag characters get in the way. He’s got a wayward sister to protect (Anna Adriel), a volatile partner in petty crime (Ben Chaplin) a nosy DI on his trail (Eddie Marsan) and all these chess pieces converge upon the arrival of London’s most fearsome crime boss (Ray Winstone), who has a bag of bones to pick with Farrell for a number of different and equally muddled reasons. Winstone tries to pull him back into the game with vague homoerotic intimidation, Knightley wistfully wallows in depression with her druggie friend (David Thewlis, looking like he forgot to read the script) and hides from paparazzos, the story clumps along missing every beat and wasting a decent score as well as some stylish flourishes on events that no one seems to care about, least of all the audience. Perhaps that’s why Farrell scowls his way through the whole thing, and not in a smouldering, potent way either, more like a confused, begrudging participant in a pointless exercise. They really should have gotten their shit together a little more with a cast and budget like this, found a better script and given us something worth seeing. Instead we’re given the cinematic equivalent of a pocket of lint, promising on the outside before we look in, ripe with potential but filled with nothing remotely worthwhile once we look inside. Shame. 

-Nate Hill

10TH ANNIVERSAY REVIEW OF TONY SCOTT’S MASTERPIECE DOMINO — BY NICK CLEMENT

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Without question or hesitation, I can firmly state that Domino is my absolute favorite Tony Scott film, the one I keep coming back to the most, and at 10 years old, I feel it’s time that this insanely undervalued pièce de résistance from one of our ultimate modern auteurs got the critical attention and audience credit that it truly deserved. Ahead of its time yet also fabulously au courant when the film was unleashed upon cinemas in 2005, Domino is a smashing entertainment, the perfect synthesis of Scott’s gritty yet slick, highly aggressive style that he developed in the 80’s and 90’s with The Hunger, Top Gun, Days of Thunder, Beverly Hills Cop 2, Revenge, The Last Boy Scout, True Romance, Crimson Tide, and The Fan, which then led to a decidedly expressionistic (and at times impressionistic) aesthetic in the mid to late 2000’s, with such works as Man on Fire, Beat the Devil, Agent Orange, Déjà Vu, The Taking of Pelham 123, and his final film, the hard-charging and incredibly entertaining Unstoppable, pushing his trademark visual flourishes to the absolute extreme. Sandwiched in between were his two “silver-blue sheen” political thrillers Enemy of the State and Spy Game, with the former sort of predicting our post 9/11 world climate, and the latter commenting on it in real-time. But for me, Domino is the *Toniest* Tony Scott film that the iconic filmmaker ever crafted.

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Easily one of the most misunderstood, sadly maligned films of the last decade, Domino is due to gain a much-deserved cult following. It bombed at the box office, and with the exception of a few sharp critics (Ebert, Dargis, Strauss), people really attacked Scott over this distinctly personal and hyperactive piece of purposefully heightened cinema. And make no mistake, like an effort by Picasso, Domino is a work of collage-inspired art, maybe the first piece of true cubist-cinema ever crafted, leading a super-charged group with the likes of Running Scared by Wayne Kramer, Joe Carnahan’s Smokin’ Aces and Stretch, Michael Davis’ Shoot ‘em Up, and Edgar Wright’s Scott Pilgrim vs.The World, all of which feel spiritually and stylistically connected to Scott’s over the top yet highly artistic sensibilities. Simply put, Domino is one of the most visually elaborate and sophisticated movies ever created, and all of these efforts feel birthed from the seismic contribution that Oliver Stone’s breakneck masterwork Natural Born Killers brought to the forefront in 1994, with its unrelenting sense of visual dynamism, outlandish humor, graphic violence, experimental tone and structure, and an emphasis on constant forward momentum. It’s also more important to note that Scott went on record as saying that Domino was his most favorite film that he ever directed; at the end of the day, he got the movie made the way he wanted to make it, and that says a lot in our current bean-counting movie climate.

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I know that this is Scott’s most divisive, most critically savaged film. Many people hate it. Some people, like me, consider it to be the apex of Scott’s razzle-dazzle career as a storyteller and stylist, with a wild cast of characters (Keira Knightley, Mickey Rourke, Edgar Ramirez, Mo’Nique, Christopher Walken, Dabney Coleman, Delroy Lindo and many others) who all throw themselves into the filmmaking process with gusto and unending enthusiasm for the lurid material. The film is a slightly insane, pseudo-biopic of infamous bounty hunter Domino Harvey (the fantastic Knightley) that exists primarily as a showcase for Scott’s obsession with style and form and, as per usual, a heartfelt narrative. What makes Domino work as a whole is that the story is as unhinged as the style, always complimenting each other, always doing this crazy cinematic dance. Also, many people forget that much of the film takes place through a cloud of mescaline, and most of the third act incorporates a hallucinogenic-trip aspect to the proceedings. And then there’s Domino herself – a wild, rebellious British model turned bounty hunter who wanted only to march to the beat of her own drum. The real Domino Harvey did in fact lead a crazy life, but it probably wasn’t as over the top as Richard Kelly’s crisscrossing and zigzagging script, which was based on a story co-created by The Last Seduction scribe Steve Barancik. The filmmakers make it clear upfront that they’ve taken liberties with the facts – there’s even a graphic that reads: “Based on a true story…sort of.” What I love most about Domino is how frenetic and in your face the filmmaking is, and how incredibly intricate the plotting becomes by the finale. Scott’s hyperventilating and exhilarating style would mean diddly-squat if it wasn’t in service to an exciting plot with characters you like and stakes that are high. Knightley shredded her good-girl image with her balls-out performance as the titular heroine; from the lap-dance scene to breaking Brian Austin Green’s nose to busting out the double machine guns during the finale, she grabbed the role and ran with it. Mickey Rourke’s recent career resurgence really began here, with a gruff and stern performance as Domino’s boss. And Edgar Ramirez, who would later blaze up the screen in the epic five hour terrorist biopic Carlos, busted out in a big way as Domino’s volatile partner, Choco, and the love story that develops between them is as soft and tender as the rest of the film is jagged and primal.

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Many complained that Scott’s directorial tricks and kinetic editing patterns were a major problem in Domino. To those individuals I say: Go home and watch Driving Miss Daisy. First off, lest anyone forget, the film is framed through the P.O.V. of a main character who is tripping on mind-altering substances – that should be the first sign to the viewer that the film is going to be a bit off-kilter. Kelly’s labyrinthine yet still coherent screenplay is a marvel of ingenuity, character construction, and dense plotting with a couple of his customary satiric zingers thrown in for good measure. Daniel Mindel’s super-saturated, kaleidoscopic cinematography bleeds with intense color as the images jump off the screen, assaulting and overwhelming the viewer’s senses – it’s a hot-blooded cinegasm of technique, designed to get you off. Repeatedly. And when you take into consideration that Kelly’s off-the-wall but still rooted in reality screenplay frequently shoots off in various directions at any given point, always carrying the potential to spin wildly out of control, you have to applaud the zeal of all the people behind this crazy undertaking. Strip away all the pyrotechnics and the nonlinear structure and you’re left with a rather simple story of love, deceit, revenge, and emotional and physical catharsis. And let me tell you – if you don’t find it cinematically satisfying when Keira Knightley and Mickey Rourke and Edgar Ramirez are speeding down that elevator shaft in the Stratosphere hotel while the penthouse level is exploding from an I.E.D., well, I’m not sure what to tell you!

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There are just so many glorious sights that this movie has to offer: The epic opening credit sequence which needs to be played at full volume blast, Christopher Walken stealing scenes as a lunatic reality TV producer with a serious “font issue,” Ian Ziering and Brian Austin Green destroying their 90210 celebrity personas in hilarious cameos, Tom Waits as a tripped-out roamer of the desert with some poetic and interesting notions regarding fate, Knightley giving a bra and panty lap dance to a gang member in order to get her crew out of trouble – this movie never stops chugging and churning, throwing stuff at the audience, egging them on for a visceral response. The Jerry Springer interlude with the unveiling of the “mixed-race flow chart” is still a pisser for the ages, and overall, the bizarre nature of the narrative can never really be pinned down, which is a huge part of the fun factor. This was Tony Scot unleashed, the moment where you felt Scott put ALL OF HIMSELF into making a movie. It’s that rare, expensive, personal project that only gets funded by private investors who then let the filmmaker do whatever it is that they want. Domino is Tony Scott’s undying love letter to cinema as a whole and stands as his immortal masterpiece. As Manohla Dargis of the New York Times said in her glowing review of the film: “It’s all the Tony Scott you could want in a Tony Scott movie.” Damn straight.