Tag Archives: Martin Scorsese

Martin Scorsese’s THE IRISHMAN

Martin Scorsese closes a decade, much like he opened the 70s; crafting and birthing a deeply personal film that instantly stands to be marveled at, and is cause for celebration. The names Martin Scorsese, Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel are all what legends are made of and once they are gone, they are instantly irreplaceable and each of them will become an idol of a time in human history where movies became cinema, and each one of them will become an iconic footnote of the lasting impression of art.

There is so much to take away from this picture. Yes, it is a cumulative capstone of a generation of artists who have become the living embodiment of cinema, while also revolutionizing computer generated de-aging to a point where it is not a gimmick, it becomes reality. It pushes past the boundaries of tentpole fatigue and allows these four actors to move fluidly throughout four decades, all the while teaching the viewer about the passage of time where the final destination is death.

The entire film is underplayed and painstakingly low key. Thelma Schoonmaker’s editing glides at a steady pace, the performances are all somber as they are sublime, with the exception of Al Pacino who gives a magnetically hammy turn as James R. Hoffa. Robert De Niro’s transformative performance marks a new high as what it is to be stoic, and Joe Pesci gives such an anti-Pesci performance, he will linger with the audience long after the credits roll.

And then there is Harvey Keitel. It has been thirty-one years since Scorsese worked directly with Keitel and fifty-two years since the two first worked together on WHO’S THAT KNOCKING AT MY DOOR. Scorsese bestows the David Bowie in THE LAST TEMPTATION OF CHRIST or Paul Sorvino in GOODFELLAS role to Keitel; the extended cameo that is so powerfully singularly due to casting, his presence hangs throughout the duration of the picture. It is an overly emotional re-teaming of the two strange bedfellows – the former Marine and devout Jew coupled with the anxious and hyper-obsessive artist whose Catholic guilt is worked out over the course of over fifty fruitful years of being the father of modern-day cinema. It is an absolute joy to bear witness as these two cinematic icons work together again in what will forever be Scorsese’s most seminal and grandiose work.

Inside the film, Scorsese sticks with the original title of I HEARD YOU PAINT HOUSES. And within it, he made his most self-aware picture that subtly references his career through music, atmosphere, location, and casting. He pulls in a cast representative of the many eras of his canon. His HBO era cast of Bobby Cannavale, Ray Romano, Stephen Graham, Jack Huston, and Dominick Lombardozzi to his gangster-era casting of Paul Herman and Welker White to the new guard of Stephanie Kurtzuba, Bo Dietl and J.C. MacKenzie all play a prominent role of merging Scorsese’s entire career into one three and a half-hour film.

There is a moment in the film where De Niro is gifted a ring by Pesci, where the ring in question is only worn by three people: Keitel, Pesci, and now De Niro; signifying Scorsese’s three boys, and the ones who are most representative of cinema’s most important auteur and solidifying their status as cinematic titans.

Netflix has truly outdone themselves with putting all their support and money behind Scorsese and letting him do whatever he wants. There isn’t another entity in existence that would have let Scorsese do what he did with this picture, and their protection of not allowing a massive theatrical run is absolutely just.

I HEARD YOU PAINT HOUSES, is Scorsese’s most import and cathartic work; and shows the audience about the embracement of death in a way that has never quite been conveyed on film. This is not a gangster film populated with slow-motion kill shots cued up to the Rolling Stones or Eric Clapton; it is a deeply personal picture that is a goodbye from Scorsese, De Niro, Pacino, Pesci, and Keitel.

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STEVEN LAMBERT: From Reel to Real by Kent Hill

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Steven Lambert has crafted what is, the apotheosis of a war chest of cinematic tales, told in such a vivaciously detailed manor . . . you crave each and every page. It was staggering to read this man’s life and his journey from the neighborhoods of Brooklyn, to the Mount Olympus of the movies.

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Buckle up for what has to be the wildest tell-all, behind the scenes peek into movie history, bursting at the seams with an incredible life, never before told. A self-proclaimed “punk kid”, Lambert trained in the martial arts before becoming an in-demand stuntman in the final golden age of Hollywood, rising from glory to glory, working with and beside screen legends such as Arnold Schwarzenegger, Sylvester Stallone, Jean-Claude Van Damme, Harrison Ford, Al Pacino and James Woods.

Lambert relates such staggering exploits – putting his life on the line for death-defying stunts in films such as Remo Williams: The Adventure Begins, where he literally hung from the Statue of Liberty without a harness, doubling Sho Kosugi, the original screen ninja, in films such as Revenge of the Ninja and Ninja III: The Domination. He witnessed the meltdowns and bad behavior from Nicolas Cage and Sean Penn on Racing With the Moon while doubling Penn. And, last but not least, “THE TRUTH” behind the Gene LeBell and Steven Seagal showdown on the set of Out for Justice.

But it’s not just action stars on offer . . . no . . . film-making masters also feature: such as Steven Spielberg, James Cameron, Martin Scorsese, and Roland Emmerich – plus the infamous producers Menahem Golan and Yoram Globus of the infamous Cannon Group.

He’s heard and seen it all – from Chuck Norris to Charlton Heston. I personally could chat to Steve for days, but I’m honored to have been given the time I had, and was humbled to read his utterly absorbing tome that is so packed with awesomeness, you just gotta get out there and get it! From the Streets of Brooklyn, to the Halls of Hollywood – NOW!

(See link below)

GET STEVE’S BOOK HERE:

Martin Scorsese’s BOXCAR BERTHA

BOXCAR BERTHA is not only an aesthetic precursor to Martin Scorsese’s seminal picture, THE LAST TEMPTATION OF CHRIST but also a thematic one. It is equal parts a love story between the lead, Barbara Hershey, and man, David Carradine but also Scorsese’s most Americana film that encompasses the life of the 1930s through craps games, bank robberies, and our heroes riding the rails.

The film is very low budget and not as polished as those of us who have followed Scorsese’s career are used to. It’s rough and hard, playing less like a Scorsese picture and more like a less tuned version of BADLANDS or some early Malick movie that time forgot; yet the film plays more like an exploitation than something whimsical.

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In typical Scorsese fashion, he has his core ensemble of actors who would again appear in later works, Hershey, Carradine, Barry Primus, Harry Northrup, and Victor Argo. And naturally, the film features a cameo by Scorsese himself. Bernie Casey is also featured in an excellent turn, who brutishly rounds out the gang.

In the film’s less than ninety minute runtime, a lot of ground gets covered, and the plot devices and the pacing is slightly out of sync but works towards the film’s advantage. Through it’s exploration of sex and violence, this was the first “studio” film where Scorsese honed his skills as one of cinema’s most important auteurs.

Hershey gives a marvelous performance as a young woman who accidentally gets ensnared in a fight between the railroad and its workers, becoming the eye of Carradine’s storm. Big Bill Shelley is his name, and busting up the railroad is his game. Carradine is such a magnificent bastard in the film, and wonderfully chews each scene he is in. John Carradine, his father, gets a very fun, albeit, brief role as the railroad tycoon determined to bring Big Bill Shelley down. And of course, Scorsese gives us one scene between the two.

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It is not Scorsese’s most important film, nor by any means is the film a masterwork. It plays like a thesis film he’s making as so he can graduate and blossom into the filmmaker he is known for today. It is sexy and dangerous, it is rough around the edges, and has such a grandiose ending; one that is one so striking and powerful, both thematically and practically made, that any serious viewer of film cannot help but absolutely admire how audacious it is.

BOXCAR BERTHA is available on blu ray from Twilight Time and to stream on Amazon Prime.

The Man who would be Cage: An Interview with Marco Kyris by Kent Hill

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I feel like I’m somehow getting closer to Nicolas Cage. I’ve spoken to a man who has directed him – a man who has “Nic-polished” his scripts. So, you can image my delight when Marco Kyris, Cage’s stand-in from 1994 till 2005, agreed to not only have a chat, but also to give me a preview of his new documentary, UNCAGED : A Stand-in Story.

People ask me, “What’s with this Cage obsession?”

My answer is always…I think he’s a genuinely smart actor, with eclectic tastes and a wide repertoire which has seen him enjoy Oscar glory, big box office success and become a champion of independent film.

The son of August Coppola (nephew of Francis Ford), but with a name lifted from the pages of his comic book heroes, Cage is at once both an actor and a movie star. With a legion of devoted fans worldwide and, heck, even a festival that bears his name – celebrating the wild, the weird, and the wonderful of the cinema of Nicolas Cage. From the genius of Con Air to the brilliant subtlety of Adaptation, the exceptional character work of Army of One to the gravitas of Leaving Las Vegas – Cage is a ball of energy that needs only to be unleashed on set.

It was my sincere pleasure to talk with the man who stood in for the man when the man wasn’t on set. Marco’s tales are a fascinating glimpse – another angle if you will – in the examination of one of the movie industry’s true originals. I know you’ll find his story and his film, UNCAGED, compelling viewing  – for both those curious as to the life of a stand-in, and also those looking for a unique look at the life of a superstar.

I’ve been privileged to chat with the people who made the rough stuff look easy for Arnold Schwarzenegger and Rene Russo…

Now it’s time to uncage the legend.

(ALL IMAGES COURTESY OF MARCO’S WEBSITE: https://www.mkyris.com/)

BEFORE YOU GO, CHECK THIS OUT…

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FOR MORE INFO: https://www.facebook.com/HailThePopcornKing/

FUCK YOU ALL: The UWE BOLL Story Interviews by Kent Hill

I love the cinema of Uwe Boll. How you ask? Haven’t you read the reviews – don’t you know the stories? My answer: Yes.

I have read the press, I know all the stories. I watched as mindless degenerates hiding in their mother’s basements hurled shit across the web, and into the face of one of cinema’s most prolific, most passionate, fiercely independent figures. A man who needed, not a studio, but his own incredible knowledge and production savvy to make movies . . .

. . . all Uwe Boll ever wanted to do.

But I’m getting ahead of myself. Let’s set the ‘way-back machine’ for the late 90’s, and I’m tending the counter at the local video store – back when it was really its namesake – and they bring in a new coin-op to keep the punters in the store and spending money. That video game was called House of the Dead.

Supposedly so graphic and horrifying – as well as being literally rated R – HOTD was a shoot ’em up in the best, most fun sense of the genre. Behind the black curtain that was there to frivolously attempt to shield the eyes of the innocent from the mayhem, the masochistic, bullet-shredding magnificence, was a really cool world where the aim of the game was to blast your way through hordes of the undead with merciless glee.

So being a fan, and sneaking off to play while I should have been at the desk – when a friend of mine said, “I hear they’re going to make a movie based of this” – I was like, “take all my money man – this is gonna rock!” (And that was prior to The Rock  giving video game adaptations a shot)

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I remember going to the cinema to see it, and soon being one of only a handful of people still watching after a good number of folks had walked out. So – why did I stay I can hear you ask? Well there are two reasons. One is simple – I enjoyed the movie on many levels. Yes it wasn’t the game, nor could it have been. I think people operate under the fallacy  that just because a video game has a backstory or mythology on which it is based, then it must be simple to adapt into a movie. I believe precisely the opposite to be true. I think truly solid adaptations rely more on the wit and invention of the filmmaker. To combine a good narrative with recognizable elements from the game to appease the faithful.

And, love him or despise him, that is exactly what Uwe Boll could do – and do well. For if he couldn’t dear reader, then those multitudes of investors that he went back to time after time, movie after movie would not have entertained him. If he were not commercially successful, the career of Uwe Boll would not exist, nor could it be captured in the brilliant, candid and touching portrait of a film about a filmmaker, a man, who refused to remain silent whether he was being applauded or damned.

Unlike Dan Lee West’s RAGING BOLL, which deals more with the sensationalist side of Boll’s career, S.P. Shaul’s picture meanders down the quite roads and sheds light on the personal figure behind the media circus, the private man, the family man, the man who in spite of those basement dweller’s vitriol – followed his dreams and fought many a battle to bring them into the cold light of reality.

FUCK YOU ALL, is not a gratuitous middle finger in the face from the man dubbed the worst filmmaker of all time. No dear PTS listener – it is about the pursuit of what inspires, the burden of making visions come alive as well as the reminiscences of a man who worked with and alongside the cream of the Hollywood crop while smiling at the absurdity of it all.

When and wherever you can see this, The Uwe Boll Story, I urge and hasten you. It is filled with insults and hatred but that is always counterbalanced by the friends and collaborators of Dr. Boll, speaking words of praise, constructive criticism, and overall of a man with whom it was always fun to go to work with – and as it is said best, by Brendan Fletcher (a long-time Boll collaborator), and I’m paraphrasing here: but he speaks to the haters of Boll and says . . . “when have they ever risked anything?”

It is a great film about a fascinating artist and I am most excited to present my chats now, not only with the filmmaker responsible for the documentary, but with the filmmaker who inspired him to make the journey . . .

. . . enjoy

UWE BOLL

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As a child, Uwe produced a number of short films on Super 8 and video before beginning his studies as a film director in Munich and Vienna. He also studied literature and economics in Cologne and Siegen. Uwe graduated from university in 1995 with a doctorate in literature. Uwe has since directed, written and produced over 30 movies with such stars as Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman. Uwe also runs and owns the BAUHAUS Restaurant in Vancouver alongside Michelin Star chef Stefan Hartmann.

(Courtesy of:http://uwebollraw.com/)

SEAN PATRICK SHAUL

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Sean is a Canadian Documentary Filmmaker who became aware of Uwe Boll whilst working on the production, Assault on Wall StreetHis first encounter the wild, unchecked hullabaloo of an Uwe Boll movie. Sean would then go back and watch a number of the master’s films before lightning struck – Uwe would be the subject of his next documentary. Boll never one to have a problem with being candid – Shaul received and all access pass to the life behind the great director – enough to construct this, his definite portrait of the man, the myth, the mouth . . . the man named, BOLL!

PLEASE VISIT: http://prairiecoastfilms.com/

 

 

Martin Scorsese’s The Departed

Martin Scorsese’s The Departed is like being at a frat party where you slowly begin to realize that every other person there is an irredeemable asshole, but they’ve somehow strung you along with charm and charisma thus far. Like a nihilistic den of wolves where everyone involved is out to get each other, its quite simply one of the most hellbent, devil may care, narratively self destructive crime flicks out there. I admire that kind of reckless abandon in a huge budget Hollywood picture with a cast so full of pedigree it’s almost like The A list agencies just packed up all their talent in a clown car, drove it to South Boston and turned them loose on the neighbourhood. By now you know the fable: Two roughnecks, one a mobster (Matt Damon) who has infiltrated the state police, the other a deep cover operative (Leonardo DiCaprio) who is posing as a crime figure. Both are are intrinsically connected to Boston’s most fearsome gangster Frank Costello, played by Jack Nicholson in a performance so balls to the wall one almost feels like his 89’ Joker ditched the makeup and left Gotham for Southie. He’s a calculating maniac who openly mocks the veteran sergeant (Martin Sheen) putting in every effort to take him down, and rules over his vicious soldiers (Ray Winstone is a homicidal bulldog and David O’ Hara gets all the best comic relief) like a medieval despot gone mad. At well over two hours, not a single scene feels rushed, drawn out or remotely dawdled, there’s a breathless tank of violent machismo and wicked deception that never runs out, as the artery slashing editing reminds you every time it cuts to a new scene before the soundtrack choice has made it past the intro. The supporting cast has work from the gorgeous Vera Farmiga as a sneaky cop shrink, Anthony Anderson, James Badge Dale, Kevin Corrigan and more. Mark Whalberg also shows up to do the bad cop routine in a role originally meant for Denis Leary, and as solid as he is I kind of wish old Denis took a crack at it because you can obviously see how perfect he would have been, and is the better actor. As much as Jack Nicholson eats up the spotlight and chews more scenery than the T-Rex from Jurassic Park, my favourite performance of the film comes from Alec Baldwin as the head of the police tactical team. Spouting profanity like a fountain, slamming Budweiser as he swings his 9 iron and kicking the shit out of his employees, he’s a mean spirited, violently comical force of nature and I fucking love the guy. Scorsese has clearly set out to not deliver a heady message or lofty themes here as some do with crime epics; the characters all operate from the gut, use animal instinct and never pause to ponder or pontificate. The only message, if any, is the oft spouted ‘snitches get stitches’ as you can clearly see by the film’s final shot, also the only frame containing anything close to a metaphor. I admire a film like that, and certainly enjoyed the hell out of this one.

-Nate Hill

Martin Scorsese’s Cape Fear

Martin Scorsese’s Cape Fear is a harrowing film, one with enough perverse psychosexual energy, dripping southern atmosphere, stalker suspense and domestic trauma to raise the dead from the swamps of North Carolina where it takes place. Technically a remake of an old 60’s black & whiter with Gregory Peck and Robert Mitchum, I have to give Scorsese’s version the edge no matter how controversial that opinion may be, he just had the freedom to take it further and not have to be so tame as films were back then. He also benefits from having star Robert Deniro in the hot seat as Max Cady, a monstrous, homicidal lunatic out to get Nick Nolte’s Sam Bowden, the slick heeled lawyer who put him away for years. Disclaimer: this is a thoroughly fucked up, highly disturbing film that goes to places you don’t even want showing up on the fringes of your nightmares, and doesn’t shy away from showing these atrocities in wild screaming life. Cady is an extremely clever, resourceful southern gentleman when he wants to be, and when the facade comes off he’s an unabashed, mass murdering psychopathic beast who will get at Sam any way he can, including the harassment and abuse of his wife (Jessica Lange) and teenage daughter (Juliette Lewis). It’s a setup for a wild ride of a thriller that seldom lets up once the wheels are rolling, and flies towards a conclusion set on the bayou that will raise hairs. Lewis, in one of her earliest roles, was rightly nominated for an Oscar, her simultaneous terror and mesmerization when Cady eerily seduces her is magnetic. The Mitchum and The Peck have two fun cameos too, the former as a sceptical cop and the latter as a hilarious, bible spouting asshole lawyer who shamelessly defends Cady. Nolte and Lange are charismatic in their scenes, but this is Deniro’s show all the way, and he creates a villain for the ages. Whether he’s beating up the guys Sam hires to beat him up, cackling maniacally in a movie theatre to piss everyone off, giving off violent rapey vibes to both Lewis and Lange or using freaky disguises to follow them all around, he’s a charming, ruthless boogeyman that has since become iconic. This is one of the premier psycho thriller of the 90’s, an intense, evocatively shot southern gothic freak show that has only gotten better with age.

-Nate Hill