Russell Mulcahy’s period stabilization, tour de force of film-making sees its time-honored source material come alive on the big screen…just as it exists on the panels on which it was born. Mulcahy’s Shadow predates the meticulous period recreations and universe building of the modern era with its use of substance, flair, atmosphere and gorgeous little winks to the audience – or as it is more commonly known – fan service…
What makes a comic book film truly saw, is the fact that they shepherded by master visualists, such as my honored guest. Russell’s fluid use of camera, lighting and mood-enhancing trip the light fantastic; working like the perfect partner in a duet with a phenomenal cast lead by Alec ‘in all his glory’ Baldwin, the breathlessly breathtaking Penelope Ann Miller and the most delightfully awesome assortment of some the finest character-actors ever to grace the silver screen such as, James Hong, Sir Ian McKellen and the sweetest transvestite of them all…the grand Tim Curry…
The sun is shining and the days are getting sweatier (here in the great southern land, at least), but we pause and are luxuriously seduced away on the musical carpet of Jerry Goldsmith, into a fantasy panel on a comic page crafted out of artistry and light. What evil lurks in the heart of men, come find out with your mate, my mate, our mate and legendary director Russell Mulcahy….
Among all the razzle dazzle that is the Marvel Cinematic Universe, my favourite series going right now has to be Ant Man. There’s something so relatable about the underdog superhero who’s just a regular guy with a criminal record and a daughter to raise and isn’t some alien from way out there or a snarky billionaire. I love all the quantum realm elements, the trippy SciFi surrealism reminds me of 80’s stuff like Joe Dante or Spielberg and the large/small scale action sequences are hilarious, played up even more in Ant Man & The Wasp, a sequel that blasts further into new ideas, develops the characters more and has a lot more fun than the already brilliant first outing, or at least I did anyways. Paul Rudd’s Scott Lang is under house arrest for two years after an unauthorized trip to Germany, which provides both obstacles and a running joke when Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) need him to wear the Ant Man suit once again and help them find Pym’s missing wife (Michelle Pfeiffer) who got herself stuck in the Quantum Realm decades before. Pretty much everyone is back for the ride again, including Scott’s merry band of thieves (TI, Michael Pena and David Dastmalchian), his ex wife (Judy Greer) and her husband (Bobby Cannavale) as well as others. I loved this film because nowhere in it is there a sense of menace or an edge, usually something I embrace in superhero movies, but I was looking for something light, feel-good and benign. Even the antagonists are on the easygoing side; Laurence Fishburne is a salty old colleague of Pym’s, Walton Goggins plays his black market tech dealer with that frivolous southern charm and even Hannah John-Kamen’s Ghost, who’s in a perpetual state of (wait for it) ‘molecular disequilibrium’, is just a damaged girl trying to make things right. We won’t speak of the jarring mid credits sequence that now has me demanding an Ant Man 3, which better happen soon. These first two and particularly this one are pleasant, gung-ho SciFi comedies that make the most of terrific visual effects, Rudd’s natural charisma and a retro feel. Something about Douglas and Pfeiffer flying around in Ant suits together and blasting through the quantum realm just has me missing the same sort of films they used to star in in their heyday. This is a throwback to that sort of thing, and I love it to bits.
A father/daughter courtroom drama starring Gene Hackman sounds like a recipe for something glossy, showboating and melodramatic, but Michael Apted’s Class Action gives us a mature, emotionally potent and very character driven film that one wouldn’t expect from the slightly sensationalistic trailers. Hackman is a San Francisco attorney who takes on the prosecution of an auto manufacturing giant with a line of suspicious exploding cars. Opposite him as defence for the corporation? His own daughter (Mary Elizabeth Mastrantonio), with whom he has a rocky history with. He’s a philandering hard ass who was never pleased with her and she blames him for the dissent in her family from his womanizing ways years before. The case itself serves as framework for for the very real, raw interpersonal drama that unfolds between them, and their relationship feels grounded and truthful. The key scene is them together in the kitchen cooking; idle small talk leads to harshly flung accusations, emotions are laid bare and by the time the argument reaches a screaming fever pitch, both are quaking with rage, self reflection and sad regret. It’s a powerful scene of performance from both actors, and you’ll scarce breathe for the duration. Hackman is fire and brimstone as per usual, but there’s also a wounded aspect I’ve never seen in him before, something brought out by Mastrantonio who is spectacular in her calmly devastating turn. The late Donald Moffat is great as her steely firm boss, a man governed by fierce logic who has no qualms in casually covering up key evidence. Fred Dalton Thompson is nicely slimy as the reprehensible auto CEO whose soulless disregard for human life is unsettling, Jan Rubes steals his scenes as a loopy ex engineer with ties to the auto giant and Laurence Fishburne (during his ‘Larry’ days) quietly plays Hackman’s firm partner and family friend. I wouldn’t have probably ever known about this film if I hadn’t have come across it in a thrift store, and I’m glad I did. Forgotten these days it seems, it’s now one of my favourite courtroom pieces out there, for letting the characters tell this story, for making it personal and for flowing through the beats organically. The stately San Francisco architecture and melodic score by James Horner give it a personality as well, but Hackman and Mastrantonio rule the roost and probably give their career bests. Highly recommended.
I like to call it Robert Rodriguez’s Predators despite the fact that he only has a producer’s credit, but his influence is all over it, plus the presence of Danny Trejo. This is one solid flick though, and definitely holds up against the first two films. The premise could even be said is more innovative than before, because as with any sequel or update, the story must evolve and break new ground, a feat they’ve outdone themselves with here. The Predators have taken it upon themselves to kidnap the roughest, toughest individuals of the human race and set them loose on a giant planet designed to be a game preserve, and have their fun. Adrien Brody does tense vulnerability to a T as a special ops badass, joined by an Israeli soldier (Alice Braga), a Russian spetznaz operative (Oleg Taktarov), an ex cartel enforcer (Danny Trejo), a psychotic maximum security inmate (Walton Goggins), an African rebel (Mahershala Ali), a disgraced Yakuza (Louis Ozawa Changchien) and… Topher Grace, whose involvement gradually becomes clearer. They’re forced to band together against a squadron of specialized hunters who pursue them, complete with the vicious wildlife native to this planet. It’s incredibly cinematic, brutally entertaining stuff, and the actors give it their all, including Laurence Fishburne as a crazy dude who’s been alone on this world a few too many years. Standout scenes include the chilling moment these poor folks reach the crest of a hill, spot two giant suns in the alien sky and realize they’re not in Kansas anymore, as well as a knockout showdown between the Yakuza and a giant predator that eerily mirrors Sonny Landham’s Billy making a final stand in the original film. Atmospheric, well casted, acted and shot, a solid action horror funhouse that lives up to the Predator legacy.
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!
Knights of the Damned is a film of a type you don’t see much of any more. When I was a kid there were fantasy films by the country mile – with titles including Wizards of the Lost Kingdom, Sword of the Valiant, Hawk the Slayer, The Archer, Zu Warriors, Knight of the Dragon.
But then, like the Western before them, they dried up and have henceforth become sporadic and fleeting. Knights of the Damned marks a return which sees the fantasy genre clash with the zombie phenomena in a film which sees a band of returning nights having to fight their way back to the castle of their sovereign lord through dragons, sirens and dark alchemy which has caused the dead to rise and stalk the living.
It is an exciting throwback to those fantasy films I know and love, as well as being something fresh and a little bit different. So, thrilled I was to speak with the star of show, Silvio Simac. And, thrilled was I to learn that KOTD is the first installment in an epic trilogy. Silvio is no doubt a future action movie notable and comes to the Damned with a CV of great roles in a vast array of high-concept cinema.
So, for all you fantasy lovers out there that secretly yearn for a return to the heady days of high adventure – I won’t spoil it for you – check out Knights of the Damned now, and press play to listen to a fun interview with one of the knights most bold from days of old, whose mighty sword slashes the heads of those undead . . .
Silvio Simac is a Croatian-born British martial artist and actor who has enjoyed a long and varied three decade career with some outstanding achievements. These include being (multi-time) British, European and World Taekwondo champion. Aside from TKD, Silvio holds black belts in Choi Kwang Do, kickboxing, karate and combat self-defence. Having starred in numerous movies with such action superstars as Jet Li, Scott Adkins, Kane Kosugi and Jason Statham he also regularly attends martial arts and health-oriented seminars and conferences alongside such friends as Benny The Jet, Cynthia Rothrock, Michael Jai White, Don Wilson, Shannon Lee and many more! Silvio is widely respected by his peers for being a fount of martial arts knowledge and experience on training techniques, nutrition and philosophy; he remains a hardcore student of life, happily sharing and communicating what he’s learned with ease, covering those details that can be so easily overlooked by other teachers in this day and age.
Abel Ferrara’s King Of New York might simultaneously be Christopher Walken’s scariest, most intense and also withdrawn and detached performance, so idiosyncratically does he a draw his portrait of Frank White, a dangerous career criminal fresh out of the pen with high ambitions on ruling the NYC urban jungle, take no prisoners. It’s one of the moodiest, most dour crime films set in the big apple, but it finds a dark heart of bloody poetry, frighteningly funny menace and an ultimate resolution that has you undecided on whether crime really does pay. Walken’s Frank is a strange man, surprisingly introverted for a guy who commands an army and takes on rival gangsters for the control of city blocks, but it’s in the quiet, dangerous charm that he finds his effectiveness, and as crazy as he still is here, it’s a fascinating far cry from some of his more manic, well over the top turns. There’s three would-be hero cops out to get him by any means they can, cocky hotshot David Caruso (before his talents fell from grace with god awful CSI Miami), Ferrara veteran Victor Argo and a coked up Wesley Snipes. They go so far over the line trying to nail him that the only thing separating them from the crime element is a badge, which seems to amuse Frank as he eludes them at every turn. Walken’s merry band of assholes is an armada of gangbangers and drug chemists which include the likes of Steve Buscemi, Giancarlo Esposito, Paul Calderon, Roger Smith and a fearsome Laurence Fishburne as his first mate, young and rambunctious before his acting style gelled into something decidedly more cucumber cool (hello Morpheus). The violence and threat thereof is palpable, as Ferrara whips up a frenzy of boiling conflict that makes the epicentre of Hell’s Kitchen feel like the eye of a very angry hurricane, while still keeping the mood to a laid back thrum, it’s stylistic and tonal bliss the whole way through. Cinematographer Bojan Bazelli shoots the city with an oblong, lived in, hazed out and very un-cinematic feel, throwing us right into the dirty digs with this troupe of miscreants and crooked cops, while composer Joe Delia makes gloomy, haunted work out of the score, especially in Frank’s darkly poetic final scene. As for Walken, the man is a dynamo and this may be his best work to date. He makes Frank a harrowing demon with humanity that catches you off guard when it breaches the surface of his opaque, unreadable persona, a suave, psychotic spectre of the NYC streets who won’t go out unless it’s with a bang, and won’t ever back down on his way there.