Tag Archives: Kenneth Welsh

Roland Emmerich’s The Day After Tomorrow

Roland Emmerich’s The Day After Tomorrow is one of those textbook disaster flicks where every recognizable element is in full swing: determined scientist, sure of his curveball theories that no one else buys, saddled with a dysfunctional family and a clock that’s quickly ticking down towards some looming cataclysm, in this case severely bat tempered weather. It’s cliche after cliche, but this is one of the ones that works, and I have a theory why. These days it seems like the formula for the disaster film is pretty dead, or at least doesn’t carry the same magic it did throughout the 90’s and early 00’s.

Stuff like San Andreas, 2012, Geostorm (shudder) just feel dead on arrival, and instead we go back and revisit things like Armageddon, Independence Day, and for me, ones like this. There’s a quality, a feel for time and place that got lost somewhere along the way as time passed in Hollywood, and this is one of the last few that serve as a milestone as to where that happened. The first half or so is cracking stuff, followed by a slightly underwhelming final act. Dennis Quaid is the scientist who gets all in a huff about an extreme weather front that’s apparently barrelling towards the east coast, threatening to give the whole region one wet day in the park. There’s an exaggerated halfwit Vice President (Kenneth Welsh) who scoffs at him, an excitable veteran professor (Bilbo Baggins) who eagerly supports him, and an estranged family right in the storm’s crosshairs who he must rescue. The special effects are neat when the maelstrom slams into New York like a battering ram, pushing over buildings with walls of water and chucking hurricanes all about the place. Quaid’s wife (Sela Ward) and wayward son (Jake Gyllenhaal) are of course stuck in this mess, as he races to find out what’s causing it, and how to escape. The initial scenes where it arrives are big screen magic, especially when Gyllenhaal’s girlfriend (Emmy Rossum) is chased down main street by a raging typhoon and barely scapes into a building, a breathless showcase moment for the film. The second half where the storm levels off isn’t as engaging, despite attempts to throw in extra excitement, such as wolves, which I still can’t quite figure out the origin of, despite watching the film a few times now. Holed up inside a library, it’s a long waiting game in the cold dark where the writing and character development is spread a bit thin for the time they have to kill, but what can you expect here. Should have thrown in a T Tex or some ice dragons to distract us from sparse scripting. Still, the film gets that initial buildup deliciously right, the nervous windup to all out chaos, the editing between different characters and where they are when the monsoon shows up, and enough panicky surviving to make us thankful for that cozy couch and home theatre system all the more. One of the last of the finest, in terms the genre.

-Nate Hill

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George P. Cosmatos’s Of Unknown Origin 


Peter ‘Robocop’ Weller vs. home invading rodents. That’s pretty much the premise behind George P. Cosmatos’s Of Unknown Origin, a warped little TV movie that takes on battling rats as a central plot-line, with a straight face no less. Usually this type of thing would be a campy SyFy original with screensaver special effects and the tonal towel already half thrown in. This one goes for full realism though, or at least tries, and it’s an odd mixture. Weller plays a mild mannered businessman who just gets so irked by those pesky vermin, enough so that he saddles up in all kinds of elaborate gear that would make Christopher Walken in MouseHunt jealous, and trawls the hallways and ducts of his townhome like a looney head, trying to kill the little bastards. There’s a vague satire angle in terms of his job, office politics and whatnot, which is one more thing you wouldn’t really find in this type of flick, if it were garden variety, but this one avidly shirks the standards. The rats are treated not as spooky monsters or a shadowy hidden legion, but the outright heinous plague they are on society. I got a try-hard metaphor vibe out of this one, something like these things representing the decaying monotony of the proverbial ‘rat race’, and one lone suit and tie renegade who aims to blast the gnawing pet peeve out of the water, like Michael Douglas in Falling Down. Or maybe it’s just a flick about one lone crazy dude who just really doesn’t like rats. Either way, it’s a bizarrely constructed little thing that ducks the limbo bar of genre and darts off in it’s own slightly dysfunctional direction. 

-Nate Hill

Episode 44: THE VOID

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Frank and Kyle discuss the latest VOD horror sensation, THE VOID. They also discuss the latest footage from ALIEN: COVENANT. We’ll be back next week with an episode focused on Lawrence Kasdan’s SILVERADO and our top five performances from Danny Glover.

The Void 


The best horror film of the year so far has arrived in the form of The Void, a genuinely spooky, deliriously gruesome 80’s throwback that gets tone, pacing and atmosphere right on the money, hitting that sweet spot that not all homages can fully grasp. It’s this year’s It Follows, I’ll put it that way. Balls out ballistic, atmospherically eerie and gorier than a chainsaw mud wrestling competition for spastics, it starts somewhat reigned in and then amps up to feverish nightmare fuel once it gets going, and boy does it ever get going. When emulating classics from distant eras, it’s important that these films find their own specific flavour and unique groove, as well as cleverly wearing influences on their sleeve. There’s an obvious adoration for John Carpenter’s The Thing running through it like an undercurrent, but the filmmakers find their own otherworldly pulse, and the fabulously icky body horror is subservient to an overarching plot involving forces from another dimension beyond ours, which a few lunatics are foolishly trying to contact. That happens later on though, once that special ripcord within the horror genre is pulled, the one that separates an uneasy opening act, a calm before the storm and the craziness to follow as soon as that first inciting attack occurs. The premise? Solid and simple: a small town cop (Aaron Poole) brings a blood soaked drifter to a nearly shut down county hospital run by a weary skeleton crew. No sooner has he arrived, bad shit starts happening. Some of the night staff go madly insane and start lobbing their own body parts off, while white cloaked cult weirdos gather outside to prevent anyone from leaving the building. A gruff, shotgun toting badass (Daniel Feathers) breaks in and pretty much violently threatens anything that moves. Corpses come alive and transform into glistening, pulsating piles of aborted pizza pocket waste, and to use the time honoured slogan, ‘all hell’ quite literally breaks loose. The head doctor (veteran character actor Kenneth Welsh, aka Windom Earle, is devilishly scary) clearly knows more than he lets on, and the new bodies pile up on the rotting older ones as dark forces gather for some kind of… birth. The actual how’s and whys of the story are left appropriately vague, as is tradition in hectic 80’s creature features with a supernatural twist. The term ‘void’ is never mentioned by anyone, rather hinted at by glimpses of a dreamy, austere parallel dimension that calls to mind everything from Altered States to Beyond The Black Rainbow to The Cell. A buddy of mine referred to the film as “Carpenter Fanboy Porn”, and while that’s definitely one angle you can look at it from, there’s more than just that, if you widen your gaze. It’s clearly a love letter to the man and his work, but it has its own thing going on as well, and feels at once as fresh as the titles it looks up to must have when they came out, and as lovingly nostalgic as a throwback piece should. The filmmakers have deliberately left it open for a sequel as well. Bring on the franchise, I say, the genre can really use stuff like this to fill the Void. 

-Nate Hill

The Art Of The Steal: A Review by Nate Hill 

Heist flicks are sneaky affairs, but that doesn’t mean that awesome ones like The Art Of The Steal should just tiptoe past everyone’s radar with no hubbub. When subpar stuff like Now You See Me is breaking waves and this one collects dust before a year since it’s release, you know somethin ain’t right. It’s actually probably just budgeting and marketing, to chalk it up simply. Despite the cast (what a lineup) this one barely made a blip on the sonar when it came out a couple years ago. It’s great fun, with a crusty lead performance from Kurt Russell as Crunch Calhoun, an ageing motorcycle daredevil who used to moonlight as an art thief. He is lured out of ‘retirement’ by his sleazy brother Nicky (Matt Dillon crosses off another notch on the old scumbag belt with this role) with the proposition of one last score, involving his old crew and the theft of a historical artifact owned by a hilarious Terence Stamp. Other members of their crew include a crafty Jay Baruchel and Kenneth Welsh as salty ladies man Uncle Paddy. Twists and turns lace the plot, as they should in these types of films, but it’s the bawdy sense of humour that won me over. More than anything else this is a comedy, situational in nature and willing to give each weirdo of the bunch their own demented moment to shine. It’s Russel’s show though, a burnt out Evel Knievel type of dude who gets a face full of nonsense from his brother, edging him to the end of his rope. Russell owns it, egged on by the raucous chorus of characters accompanying him, and the nasty arc from Dillon that is the only piece which subverts the mostly lighthearted tone. Fun, little seen stuff that deserves a wider audience.  

HBO’s Vendetta: A Review by Nate Hill

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Vendetta is a tough film to watch without feeling sadness and outrage, but such is the stuff that HBO churns out, honest pieces of history that sting you with their refusal to honey coat or gloss over the nasty details (I’m looking at you, History Channel). This one takes place in 1890 New York City, a time of mass Irish and Italian immigration which spurred a ton of unrest among those already settled and raised in that area. Everyone is fighting tooth and nail for a piece of the pie and a chance to feed their families, and the ones with a bunch of pie just greedily want more. The influx of Italians is a cause for insidious worry for James Houston (Christopher Walken), an obscenely wealthy and deeply corrupt piece of shit. He’s joined by equally nasty William Parkinson (Luke Askew), and Mayor Joe Shakespeare (Kenneth Welsh), as the trio cook up an evil scheme to implicate a few young Italian men in the mysterious death of a sympathetic and kindly Irish police chief (Clancy Brown). This sets in motion a tragic outbreak of riots and and angry acts of violence against the Italians. Even their union representitive Joseph Macheca  (Joaquim De Almeida) cannot bring peace or stop what Walken and team have started. You may think why make a film of this, as it heads straight for the bleakest of resolutions, but I think it’s important to shine a light on even the darkest patches of history, in order to understand the levels of deception and human cruelty so that we may see it coming before it’s too late next time around. This was a terrible, terrible event and the film hits you square in the face with it’s blunt truth and unwavering honesty. Kudos to HBO fpr taking it on. Watch for the late Edward Herrmann and Bruce Davison as rival lawyers in the chaos.