Tag: Martin Sheen

David Cronenberg’s The Dead Zone

by natewatchescoolmovies, posted in Film Review

The Dead Zone is the combined efforts of three artists who can only be described overall as a trio of the most extreme storytellers of their day, Stephen King, Christopher Walken and David Cronenberg. It’s a bold, counterintuitive and brilliant move on all parts to then make this a restrained, humane and warm-hearted piece of compassionate thriller filmmaking, despite having the aura of a classic horror film. Christopher Walken gives one of his best, most soulful performances as Johnny Smith, a mild mannered schoolteacher who is blessed/cursed with the powers of spooky clairvoyance after a cataclysmic car wreck leaves him in a coma for five years. He can now sense the future, past and ill fated destiny of others around him based on touch, an ability that can save many lives but also has a draining effect on his own spirit forces. As he helps the local sheriff (Tom Skeritt) track a vicious serial killer, tutors the neurologically challenged young son of a rich businessman (Anthony Zerbe) and has growing suspicions about an overzealous, obviously sinister politician (a smarmy as hell Martin Sheen) running for senate, he tries his best to reconnect with the former girlfriend (Brooke Adams) who remarried during his coma and pick up the pieces of his life. Walken is excellent and reins in his usual eccentricities (apart from one brief, shockingly hilarious outburst) for a subtle, restrained and heartbreaking portrayal akin to his award winning turn in The Deer Hunter. Johnny isn’t a warrior, cop, leader or hero, he’s just a quiet schoolteacher who finds himself thrown into this extraordinary situation and has to deal, and Walken’s shy, awkward and otherworldly presence brings this to life wonderfully. The film is shot in rural Ontario during wintertime and as such there’s an icy, eerie blanket of small town atmosphere over everything, made thicker by a beautiful Michael Kamen score that lays on the orchestral swells and quirky, spine chilling experimental cues in perfect musical symbiosis. This is King at his kindest, with an ending that although is appropriately bleak, still has a sorrowful heart to it and not his often cynical, hollow hearted touch. It’s also Cronenberg at his most character based, ditching the body horror to explore the psychological strain a phenomenon like this would exert and taking a long breath in his otherwise hectic, gooey career to compassionately explore a character alongside Walken who is a dark angel revelation as Smith. Sensational film.

-Nate Hill

“But the ice is slippery”: Remembering THE SHADOW with Russell Mulcahy by Kent Hill

by Kent Hill, posted in Interviews

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What evil lurks in the hearts of men? . . . . The Shadow knows…!

Let’s go back to the heady days of Simon Wincer’s The Phantom, of Beatty’s Dick Tracy, Johnston’s Rocketeer, and my distinguished, returning guest’s The Shadow!

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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…

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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….

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Oliver Stone’s JFK

by natewatchescoolmovies, posted in Film Review

I’m not so much for political films but Oliver Stone’s JFK is an engrossing, obsessive, feverish and altogether brilliant piece of clandestine intrigue and I loved every minute of its impossibly long runtime (the director’s cut runs well over three hours). It might be excessive to take such an indulgent amount of time for one story to play out but Stone is fixated on every single aspect and detail of his narrative, scrutinizing the dark corners of shadowy politics, leaving no stone unturned and the result is a film that draws you in so close that at times the effect is breathless, a surging momentum full of moving parts, characters and secrets all unfolding in a mammoth production.

Stone has taken the real life investigation of New Orleans District Attorney Jim Garrison, used it as a launching pad and blasted off into his own theories, queries and plot turns. Kevin Costner is excellent and uncharacteristically vulnerable as Garrison, an idealistic family man determined to shine a light on the truth until he realizes he and his firm are in over their heads. This thing has one of the most jaw dropping ensemble casts I’ve ever seen assembled, right down to supporting turns, cameos and walk-ons populated by recognizable faces. Costner and his team are the constant, a dogged troupe that includes varied folks like Laurie Metcalf, Wayne Knight, Jay O. Sanders, Gary Grubbs and the always awesome Michael Rooker. We spend the most time with them as they discuss theories at length, argue in roundtable fashion, interview witnesses and it all feels eerily as if every discovery they make leads to ten more even more unnerving ones. Others show up throughout the film and when I say this is a cast for the ages I’m not even kidding. Jack Lemmon does paranoia flawlessly as a nervous informant they visit, Gary Oldman is a super creepy Lee Harvey Oswald, Joe Pesci impossibly rambunctious as oddball David Ferrie, Tommy Lee Jones and his poodle wig are icky as a corrupt US Senator and that’s just the start, there’s great work from everyone under the sun including John Candy, Walter Matthau, Sissy Spacek, Vincent D’onofrio, Kevin Bacon, Martin Sheen, Pruitt Taylor Vince, Edward Asner, Frank Whaley, Brian Doyle Murray, Bob Gunton, Lolita Davidovich, John Larroquette and more. Donald Sutherland is pure showstopper as a mystery man who has an epic, sixteen minute long tinfoil hat monologue that is so well delivered and perfectly pitched that we don’t even really notice what a massive enema of exposition it is simply because he and Stone keep up the energy levels and, in turn, us riveted.

That’s the thing here, I went in expecting perhaps something intriguing but maybe a little dry in places or bits that might lag because it is, after all, a three plus hour film revolving around politics. This is Stone though, and the way he films it is taut and immersive the *entire* way through, which is just so fucking impressive. He plays rogue agent with the facts, using established suspicions to draw one wild conclusion after another until we aren’t sure if everyone we see onscreen perhaps had something to do with JFK’s death. That’s his goal here though, he seeks not to provide concrete answers (how could he) but instil the kind of creeping dread, mounting uncertainty and fear that I imagine gripped the nation for years following this event. Conflicting conspiracy theories, clues that lead to nothing, unexplained and admittedly suspicious witness deaths, it’s all here and it all makes for one damn good mystery film.

-Nate Hill

Spawn 1997

by natewatchescoolmovies, posted in Film Review

With the impending release of a new Spawn film next year that will be written and directed by original comic book artist Todd McFarlane (!), it’s time to take a look back at the eclectic 1997 version. It’s a mixed bag that’s mostly filled with stuff I love, in particular a real nasty comedic edge brought to the table by John Leguizamo’s profane, obese, horrific hell clown The Violator, who lets face it, kind of steals the show. I read that every actor under the sun was considered for the lead role, from Denzel to Samuel L. Jackson to Tony Todd, but I feel like they really lucked out with martial arts legend Michael Jai White, whose sinewy presence lends itself to the dark character and practically radiates pent up rage. Spawn was once Al Simmons, a government assassin who was royally fucked over by the evil mercenary Wynn (Martin Sheen, trying his darnedest to shake the good ol’ Hollywood boy image) and sent to the fiery pit of hell, only to be resurrected as a half demon antihero with more whacked out powers than Beetlejuice and a serious hankering for revenge. That’s this movie anyways, I’m not sure how faithful it is to the comics. Guided by a pseudo Van Helsing looking mentor dude (Nicol Williamson in his final screen role) and pining for the wife (Teresa Randle) he widowed, he embarks on a bloody odyssey to… well to kill Martin Sheen and anyone who gets in his way doing it. Oh yeah, and Leguizamo’s demon clown follows him around making horrifically dark jokes (“I’ve been around since before you were soup in your momma’s crotch) and chewing more scenery than the actor has in the rest of his collective career, which is some fucking achievement. It’s funny because this film simultaneously contains some of the best and worst special effects of the 90’s; Spawn looks, feels and sounds terrific, with tactility and tangibility that should be admired, swooshing reptilian cape, glowing eyes and all manner of slice n’ dice weaponry. However, when we see him visit the devil in hell, the CGI used to bring old Satan to life look absolutely abysmal, like a Starfox final boss they forgot to completely render. I suppose they didn’t have enough budget to make everything slick, but honestly they should have just cut those scenes completely rather than have that embarrassment parade across the screen. Still, it’s hardly a blight on the movie and if anything is part of its scrappy charm, I’ve just been accused of being too much of a critical Pollyanna lately, so I have to throw in the occasional jab at a film I love just for credibilities sake in this snooty community of cinema we live in. Overall this version of Spawn is a blast of beautiful special effects, horrific imagery, vivid performances and Leguizamo mugging the camera like an aggressive dog. I’ve read that he was in that fat suit for so many takes one time that he actually had to deliberately piss himself, which I’m sure only added to the manic energy he has, like how’s that for method acting. I’m not sure what McFarlane has planned for his new one (Jamie Foxx has landed the lead), but I’d advise him to retain the bite and ferocity this one has, as well as its dark humour, weird dream logic and practical effects vs CGI. I’m sure he knows what he’s doing though, it’s not like he’s the original creator of the whole comics series or anything.

-Nate Hill

Martin Scorsese’s The Departed

by natewatchescoolmovies, posted in Film Review

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

Into the OTHERWORLD : An Interview with RICHARD STANLEY by Kent Hill

by Kent Hill, posted in Interviews

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It’s always a fascinating experience to sit down with Richard. The man is such a natural storyteller, with a unique perspective relating not only to cinema, but also to the world around him.

We caught up this time in the midst of bad weather, a troubled connection and, last but not least, a turbulent time in Richard’s beloved Montsegur. While our conversation touched upon this, along with the whys and wherefores of the situation, we eventually turned to movies. At this time it had been documented that Richard was again a part of an attempt to bring Moreau back to the screen – as a TV series. Having been hired by the same people that fired him during the doomed journey of his initial attempt, there seems to be, thanks to David Gregory’s documentary, a renewed interest in Richard’s take on his long-suffering passion project.

I did also bring up The Otherworld, which I had finally seen at the time. Stanley’s absorbing documentary-slash-ghost-story, and the myths and misconceptions surrounding it and ‘The Zone’ which forms the backdrop. Richard is steeped in the history of Montsegur and, flavored with his supernatural encounters, it is indeed a tale of great intrigue.

Also to we touched on, and I must say I highly anticipate, the writing of Richard’s autobiography. A project that was going smoothly until it was insisted, and initially resisted by its author, that a chapter be included on the subject of the collapse of Richard’s vision of Moreau. As thrilling a read as it will be – like I said Richard is a fascinating character – it will be equally riveting to finally have a recounting of the story from the embattled man at the center of the controversy.

Still, the future is full of possibilities, and I for one wait with inordinate eagerness for any and all of Richard’s creative endeavors to finally emerge . . . in whatever form they shall take.

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33rd Santa Barbara International Film Festival Podcast

by Frank Mengarelli, posted in Film Festivals, Podcast, Santa Barbara International Film Festival

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It’s time again for our annual Santa Barbara International Film Festival podcast! Frank and Tim recap Frank’s journey this year at the festival, including seeing Emilio Estevez’s new film, ‘the public’ and Susan Kucera’s LIVING IN FUTURE PAST which was presented and narrated by Santa Barbara’s own Jeff Bridges. This year, Frank’s red carpet interviews included on this podcast are with Executive Director of the festival Roger Durling, Gary Oldman, producer Doug Urbanski, Willem Dafoe, Emilio Estevez, Martin Sheen, Leonard Maltin, Academy Award-nominated editor of I, TONYA Tatiana Riegel, Academy Award-nominated VFX supervisor of BLADE RUNNER 2049 John Nelson, Academy Award-nominated sound editor of THE LAST JEDI Matthew Wood, GET OUT’s Daniel Kaluuya, Jordan Peele, Guillermo del Toro, and lastly Frank talking to Ben Mendelsohn about Podcasting Them Softly’s namesake, KILLING THEM SOFTLY.

33rd Santa Barbara International Film Festival Opening Night: Emilio Estevez’s ‘the public’

by Frank Mengarelli, posted in Film Review

Opening the 33rd Santa Barbara International Film Festival was Emilio Estevez’s new film, ‘the public’ which is set in a library deep in the harsh Midwest winter in the heart of Cincinnati where the local homeless population seeks refuge during the day, stages a sit-in to spend the night after all the local shelters reach their maximum capacity and numerous others had frozen to death.

Estevez, Jena Malone, Alec Baldwin, and Michael K. Williams were among the stars of the film that took to the red carpet along with Martin Sheen who did not appear in the film, but was there to show support for his son.

Introducing the film with an elegant and impassioned speech was dashing Executive Director of the festival, Roger Durling, who spoke about the recent catastrophic mudslides that deeply affected the community.

‘the public’ is a gripping, topical film that is a reflection of the many humanitarian crisis in America, and particularly one; the homeless population. The film is incredibly cunning. The focal point isn’t solely aimed at the social and economic injustice of America’s homeless population, but also the opioid epidemic as well as mental illness and how it is currently viewed by the poisonous symbiotic relationship between window dressing politicians and manufactured news and how that information is then fed to the populous of America.

This film is a lot to absorb.

Estevez wrote, produced, directed, and starred in this feature and he assembled a remarkable cast from those who walked the red carpet premiere to those who did not including Jeffery Wright, Gabrielle Union, Christian Slater, and Taylor Schilling in a film that is a subtle recognition of one of Estevez’s most seminal films, John Hughes’ The Breakfast Club.

‘the public’ asks a plethora of serious and substantial questions whilst also pulling a strong emotional response from its audience. It is a great film that not only reflects present day America, but also exposing a problem that no one is seriously addressing in mainstream America.

Director’s Chair with Julio Quintana

by Frank Mengarelli, posted in Film Review, Horror movies, Podcast

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Frank and Kyle are honored to be joined with filmmaker Julio Quintana to discuss his film, THE VESSEL starring Martin Sheen and produced by Terrence Malick and Sarah Green. Julio is a Malick protege, working as an intern on THE TREE OF LIFE.

THE VESSEL is now available to rent or own on streaming platforms, but please purchase the disc on Amazon that includes the English language and Spanish language version of the film.

 

Julio Quintana’s THE VESSEL

by Frank Mengarelli, posted in Film Review

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For those latter-day Terrence Malick junkies amongst us, THE VESSEL is a film that has mistaken slipped under the radar. It’s a small and very intimate picture that is set in modern-day Puerto Rico where a small town is still deeply affected a tsunami’s wave that wiped out a school, killing all of the children. The dilapidation became suffocating until a series of divine events happened that instilled hope and caution.

From executive producers Terrence Malick and his, partner Sarah Green comes a film that is cut from the Malick cloth;  the film tells an acute tale but has so much more to say than the fragmented events we see on the screen. Quintana keeps a very taut narrative structure, yet with very elusive camerawork and a beautiful score by Hanan Townshed, he creates a film that is a whimsical force of nature.

Martin Sheen anchors the film as the Catholic Priest who has been the town’s shepherd since the tsunami wave that washed the life out of the town. Sheen, like in all his turns, is deeply moving with his performance, straddling the line between apathy and hope. Sheen has rarely been better, and for an actor of his caliber, that’s saying a lot.

THE VESSEL is a deeply spiritual film that breathes life into our cinematic realm that’s being taken over by whatever big budget franchise is set to implode at the nearest theatre. It’s a wonderful film filled with hope, tragedy, and inspiration.

THE VESSEL is now streaming on Starz.