Actor’s Spotlight: Nate interviews Louis Herthum

I’m pleased to bring you my first interview in some time, with the incredibly talented Louis Herthum! Louis is a dedicated actor who has recently gained worldwide acclaim for his galvanizing, scene stealing portrayal of Peter Abernathy on HBO’s Westworld, and he has an epic career that includes appearances in films like City Of Lies opposite Johnny Depp, The Possession Of Hannah Grace, Truth, The Curious Case Of Benjamin Button and more. He also has many memorable television roles including Longmire, What/If, Breaking Bad, True Detective, True Blood, Revenge, Sleepy Hollow, Narcos and more. Enjoy and thanks for reading!

Nate: What is your background, and how did you find your way into acting/the industry? Was it something you always knew you wanted to do or did you fall into it unexpectedly?

Louis: I wanted to be a stuntman since the age of 12 when my father took me to see the Steve McQueen film, BULLITT. It was the chase scene in that film that was the inspiration. I was somewhat of a stunt-kid, always doing things that would see me getting a few stitches (or worse) at the doctors office but stunt driving was what I wanted to do the most. I made no bones about it all through the rest of elementary school, high school and the little bit of college (LSU) that I attended. In the mid 70’s I was working for a men’s fine clothing store and they asked me to model for their adds. I did, which led to more modeling jobs with an agency, which led to some on camera commercial gigs, which led finally to working on stage. Once I got on stage, my fate was sealed. I played the lead role of “Starbuck” in the N. Richard Nash play, THE RAIN MAKER. I won an award for the performance and that was it. I stayed in my home town Baton Rouge, did a couple more plays, playing “Will Parker” in OKLAHOMA and “Kenickie” in GREASE, then in January of 1982 I move to L.A.

Nate: Who were some of your influences growing up, favourite actors you’d watch in film and admire?

Louis: I never really had a favorite actor because I was never really that interested in acting. But of course, McQueen was an influence but I didn’t even realize it since it wasn’t his acting that inspired me. But I will have to say that believe it or not, John Travolta’s meteoric rise to fame did make an impression on me. Mainly in Saturday Night Fever. It may be strange to say it this way but I just felt like I could do what he was doing. I think that was very possibly Travolta’s best role ever by the way. And then Grease came along and I felt like… Hey, I can do that! So his rise to fame is what I was more inspired by, not to take anything away from his talent and abilities of course.

Nate: Westworld: such a brilliant performance in one of the best shows out there. Were you approached for the role or did you audition? How was your process in bringing that intense scene to life, basically staring down both Jeffrey Wright and Anthony Hopkins and giving a tour de force in under five minutes. How did you prepare to play Peter?

Louis: Well, first of all thank you for that comment. I had to audition for the role, if was not offered to me. I went in for the initial audition with the assistant casing director and was asked to return to read for the producers. I had several days between the two and I was told to come in and that the door was wide open (what door? ha!) to go as far as I wanted to with the physicality of the character. The scene that I read in the audition was the one you are referring to with Tony and Jeffrey however it was three different characters and different dialogue of course. It was simply a scene they wrote for the audition and every male actor who was playing a robot had to do it. Then you also read for the part you were called in to read for. For me it was the Sheriff. I did pretty much what you see in the show in the audition. Lisa Joy was the only producer in the room and she liked what I did and made comments that let me know that. Then she asked if there was anything else I would like to show them. I answered, “No thanks. I think I will quit while I’m ahead.” They laughed, I left the room and in about 5 or 6 weeks I got the word that I had booked “Peter Abernathy” and of course, I had no idea who that was because I had not read that part. Then my manager said to me, you know that part you read for the audition, that is Peter Abernathy. It was then that I realized I would be doing the scene with Mr. Hopkins because every the audition script named him as Dr. Ford and I had read that he was playing that role. As far as how I prepared for the scene; as I say I did pretty much what you see in the audition so I already had the blueprint if you will for the scene. I did rehearse with Lisa and Jonah one day, running through the entire scene, full tilt, twice. They liked what I was doing and in fact, three days before we filmed the scene, which was five pages long, they added three more pages to it. Most of that was not in the final cut but I think they simply wanted to give me a chance to do more with the character and see what happened. I think it was the better more than not enough scenario. But I think it was edited beautifully.

Nate: True Detective: a very memorable scene and your performance adds to the overall vibe of haunting unease in that area. How did you get involved and what was your experience shooting that scene with Matthew McConaughey? You yourself are from Louisiana and your involvement has an authentic feel. Are you a fan of the show overall?

Louis: I auditioned for that role as well. But I have to say, I went in to that audition daring them not to cast me. I knew that one was mine. I knew I could bring a more authentic Louisiana character to life, especially using a Cajun accent for the character. As for shooting the scene, it was pretty fast really. When I got to the set, Matthew and the director Cary where sitting on the porch of that house. Matthew introduced himself, then Cary and we shot the scene with me holding the shot gun, which was longer than in the final cut. Then we went inside and banged that one out. I didn’t take long at all and it went very smoothly. And I was a huge fan of Season one. Not so much two, and still have yet to watch S3.

Nate: Longmire: very memorable character you got to play here, what was the experience working on this show?

Louis: Omar was a great, fun character to play. Great cast, lots of fun to work with. And shooting in Santa Fe, NM was great. Great locations and lovely place to be for work. As for the role of Omar, I only wish there had been more of him. That role was supposed to be a “strong recurring” character in the series. Omar is very prominent in the books and was so in season’s 1 & 2 but after that, he was hardly seen at all. I found that odd but I guess someone thought that they only needed one “jack of all trades” and found other places for the comic relief, which I felt Omar provided.

Nate: City Of Lies: this film seems to have slipped through the cracks and never got a proper release, how was your experience on it? I was very excited to see it as it has you alongside many other actors I also admire (Peter Greene, Xander Berkeley, Toby Huss etc)

Louis: Oh man. First of all, the film is locked in some kind of legal issue. That is why it has fallen through the cracks. I don’t know if it will ever be seen by the public in the States. But working with Johnny Depp was absolutely delightful. He’s a very sweet, kind person and I think gets a bad wrap. And very funny. He was a pleasure to work with, as was Shea Whigham. And while I didn’t work directly with him, it was nice to see and old friend and magnificent actor, Dayton Callie on set. I had a wonderful closing argument scene as the City Attorney but the director told me he hated to, but that he had to cut it. That was devastating because while filming, jokingly, Johnny asked me, “can you do it worse?” He and Shea said they thought it would make the trailer to the film. I knew it never would but that was nice of them to say. Anyway, I was so hoping to get that piece of footage but alas, I may never see it. Nor anyone else for that matter.

Nate: Of the roles you have played so far in your career, which are some of your favourites?

Louis: Certainly Peter Abernathy is at the top of the list. A close second has to be “Foster” in WHAT/IF with Renee Zellweger. Not only because Renee and the entire producer team were such a wonderful group of people to know and work with, but the role itself was one that I had never been given the opportunity to play. And I thank Mike Kelly (creator) for believing in me enough to give me a character no one had ever seen me play. Stoic, strong, loyal, brave and a forceful character. And like I say, not to hard to come to work when you are playing opposite Ms. Zellweger. She is a delight. Omar was great but too little, and another favorite character was “Ness” in a little indie film I produced in 2004 called RED RIDGE. He was a despicable character but sometimes they are the most fun. You get to do things you would never do in real life. Very few people have seen that film, but with all the streaming services, maybe they will one day.

Nate: How is your life aside from the job, what else do you like to do in terms of hobbies, interests etc?

Louis: I have a great life. I cannot complain. I love art and antiques and have a great collection of both. Love to search for treasures at estate sales and swap meets. I have two classic cars, a 1968 Mustang Fastback which is my homage to “Bullitt” and a 1971 Corvette Stingray. I love to camp, hike, ride my bike, walk on the beach, boxing workout, which I have been doing since long before it was the cool thing to do (1978 to be exact) and of course visiting and hanging with friends, though I have not been able to do enough of that of late but I look forward to getting back to it once the apocalypse subsides, haha!

Nate: Do you have any upcoming projects (film related or otherwise) that you are excited for and would like to mention?

Louis: I recently appeared in an episode of FBI: MOST WANTED and the second season of DIRTY JOHN but that was before he shutdown and they have already aired. But since production has come back, I have started a recurring role on the CBS show, ALL RISE and should be doing more of those in 2021. I have just completed my part in the Apple TV show, HOME BEFORE DARK season 2 (was in season 1 as well). But with the shut down, work was non existent for many months, lets hope things can continue to get better from here. Fingers crossed!!

Nate: Thank you so much for you time Louis, it means a whole lot to myself, our team and all our readers that you took this time to share with us. Cheers to you and your family and best of luck in the future!!

Harmony Korine’s The Beach Bum

“I mean fuck, we’re here to have a good time.. I just wanna have a good time until this shit’s over, man. This life gig is a fucking rodeo and I’m gonna suck the nectar and fucking rawdog it till the wheels come off.”

Watching Matthew McConaughey stumble around swilling tall cans of Pabst Blue Ribbon holding a kitten is probably one of the more relatable things I’ve seen in cinema recently. Harmony Korine’s The Beach Bum is a film I loved with all my heart and got tremendous, serotonin laced enjoyment out of, a raucous party of a film that celebrates drinking in excess, deliberately poor life choices, reckless and immature behaviour and just taking life as it comes wave by wave, committed to having a good time regardless of the consequences and turning a purposeful blind eye to any responsibilities one might have as an adult human being. I can’t say that Matthew McConaughey’s brilliant performance as perennial party animal Moondog and all he represents which I’ve just outlined above is any constructive way to approach life or a conducive fashion to behave in, but I also can’t promise you that it hasn’t been my go-to mantra many times over the course of my own life for many reasons, and I felt connected with this film on a level I can’t even put into words. This is interesting because as much as I love (and I mean LOVE) this film is about as much as I HATED Korine’s previous and much celebrated effort, Spring Breakers. Everything that was shrill, crass and fucking irritatingly hollow about the hedonistic lifestyle in that film rings eternally truer in Beach Bum, it’s like Korine hit the dirt jump hard and busted up his bike with Breakers and then went for one more go with Bum, and this time he soars up over the crest of the jump into a Miami sunset in glorious triumph. McConaughey is pure intoxicated eccentric gold as Moondog, a brilliant writer of poetry who seems to want nothing more in life than to drink beer, smoke a ton of weed, have sweaty sun soaked sex with anything that moves, cause endless mischief and fuck around, and who can blame him. He’s got a rich wife (Isla Fisher) who passes away and leaves him a fortune on the condition that he publishes his very long awaited novel, a simple task that becomes a cosmic obstacle for him, as does going to rehab or simply walking in a straight line. He smokes up with his wife’s boyfriend Lingerie (Snoop Dogg playing himself and loving it) and Jimmy Buffett (also pretty much playing himself), engages in vandalism with fellow rehab escapee Flicker (Zac Efron in Joker mode) and just keeps up this lifestyle that few could walk out the other side of alive but he seems to swagger through with all the wanton aplomb of Jack Sparrow mixed with The Dude Lebowski and Charles Bukowski. He comes across other characters in his travels played by the likes of Jonah Hill and commands an army of cackling homeless dudes but my favourite of these cartoonish individuals has to be Martin Lawrence as Captain Wack, a deranged dolphin obsessed weirdo who suits Lawrence’s maniacal brand of comedy beautifully. So what does it all mean and what is Korine trying to say with all this colourful hoo-hah? That’s what I struggled with in Spring Breakers and still believe that film to be an ugly, grotesque piece of non-entertainment, but I think he’s trying to say more or less the same thing in both films, it’s just that with Beach Bum he actually succeeds. Moondog puts it better than anyone could when he imparts a monologue, an excerpt from which I’ve opened this review with. He just wants to have fun, isn’t concerned about money, day to day hustle, success, what anyone thinks of him or making anything of himself, he just wants to have a fucking good time. And write the occasional passage of poetry when the mood strikes. The film is more about kicking back, relaxing with Jim and observing someone of his outlook balls deep in enjoying themselves like a creature who lives moment to moment with little regard for anything else. Don’t even get me started on the breathtaking cinematography, 10/10 soundtrack or any technical aspects because we’ll be here all day. This worked for me on a deep level, and is now one of my favourite films of all time.

-Nate Hill

Guy Ritchie’s The Gentlemen

It’s nice to see that Guy Ritchie still has it in terms of his personally patented, now iconic British gangster arena. Experimented with in Lock Stock & Two Smoking Barrels, cultivated further in Snatch (my personal favourite of his) and tooled around with in other directions for his extremely underrated RocknRolla, here he returns to that drawing board for The Gentlemen and although this isn’t a film that breaks the mould or comes up with anything bright n’ shiny new, I had way more fun than I thought I was going to and it’s a winner for me. Carrying on the nice culture clash element we have a ferocious Matthew McConaughey as Mickey Pearson, a self made marijuana billionaire looking to sell his lucrative empire to a cunning Jewish businessman (Jeremy Strong) while the young hothead boss (the dude from Crazy Rich Asians, who is way richer and actually crazy here) of a London based Asian syndicate seeks to muscle in on both of them. Pearson’s cool cucumber left hand lieutenant Ray (Charlie Hunnam in the first performance I’ve believed and enjoyed his work) tries to keep all the pieces on the board where they should be instead of running amok and causing havoc, which they inevitably do and would it really be a Ritchie film without wanton chaos and a string of hysterical fuck-ups? Hugh Grant looks up the Oxford definition of ‘fucking scene stealer’ and proceeds to steal the fucking scene every minute he’s onscreen as Fletcher, a super fabulous, highly sleazy wild card tabloid reporter looking to line his own pockets via blackmail most foul. Add in perennial oddball Eddie Marsan, Sting’s visually striking daughter Coco Sumner, an informant named ‘Phuc’ (snigger), Michelle Dockery as Mickey’s leggy and disarmingly badass cockney wife/partner in crime and Colin Farrell in character actor mode as a rough n’ tumble Irish boxing coach with a heart of gold and you’ve got one solid roster. Ritchie has a way with dialogue that might not be lifelike but never fails to have me hanging on every syllable, it’s like musical protein for me ears and he didn’t disappoint here. I mean it’s probably bottom of the list in terms of the other gangster stuff but his career so far is kind of tough to top and this one struck me as a ‘hangout movie’ of sorts with some action and trademark visceral violence peppered in here and there. Terrific costume work too, I saw at least five suits I would love to get my hands on. Easy, breezy, vividly characterized, laidback, refreshingly and deliberately anti-politically correct humour (always a plus), banging soundtrack, this one rocks! Oh and it’s not the first Ritchie film to promise us a sequel that feels like it’ll never show up, but that may just be a cheeky running joke from the guy.

-Nate Hill

Actor’s Spotlight: Nate’s Top Ten Bill Paxton Performances

Bill Paxton was one of those guys who could be the most affable dude in the room, the friendliest guy on the block and without warning, at the drop of a hat turn the energy of his performance around 180 degrees into something dark and dangerous before the audience even had a chance to react. A boisterous, scene stealing, standup guy and just as talented in the director’s chair as he was in front of the camera, this guy was one of cinema’s greatest treasures. Here are my top ten personal favourites of his many excellent performances!

10. Wayne Caraway in Nathan Morlando’s Mean Dreams

This indie drama was one of his last films before passing and one of the most terrifying, despicable characters he’s ever played. Caraway is a corrupt county sheriff who is running drugs as a side hustle and letting his daughter (Sophie Nélisse) become collateral damage in the process. He’s volcanically unpredictable, heinously abusive and frequently very violent, especially towards the kids around him. It’s an arresting portrayal of renegade small town law gone bad to the bone and he relishes every rotten mannerism and brooding, misanthropic gesture.

9. Bokky in Traveller

This is an obscure little indie focused on the lives of the descendants of Irish Gypsy ‘Travellers’ in the states, making their living as con artists. Paxton’s charming Bokky is a seasoned pro who mentors a young rookie (Mark Wahlberg) with roots in the community, both eventually finding themselves in over their head. It’s a quaint, eccentric caper flick that showcases a niche society you don’t often get to hear too much about.

8. Dale ‘Hurricane’ Dixon in Carl Franklin’s One False Move

Dale lives up to his name, a bull in a china shop of a small town sheriff played expertly by Paxton as extremely warm and welcoming at first, until we see a dangerous core smouldering just under the salt of the earth exterior, brought out by a violent, twist laden crime narrative that lets no character off the hook.

7. Earl in Baltasur Kormákur’s 2 Guns

A spectacularly corrupt CIA agent in a Panama hat, Earl is out to get back a stolen slush fund that somehow ended up in the hands of the cartel and then the film’s two heroes (Denzel Washington and Mark Wahlberg). He isn’t just the pursue and retrieve type of fellow though, he relishes his power and has a nasty sadistic streak that comes out in ruthless Russian roulette torture bouts he puts his captives through. A cheerfully psychotic, scene stealing villain, Bill has a lot of fun and banters around with the rest of the cast nicely.

6. Hank in Sam Raimi’s A Simple Plan

Just a small town dude who finds a whole whack of stolen money, things spiral out of control for him, his girlfriend (Bridget Fonda) and dullard brother (Billy Bob Thornton) in this brutal, icy and brilliant morality play of a thriller. Paxton always excelled at showing the dark side of seemingly harmless characters and this is no exception, giving the old saying ‘money is the root of all evil’ a run for *it’s* money.

5. Jerry Lambert in Stephen Hopkins’ Predator 2

This is a fucking great film and don’t let anyone tell you otherwise. Lambert is the spitfire rookie in Danny Glover’s impossibly badass squad of tactical street cops, which include familiar faces like Ruben Blades and Maria Conchita Alonso. This being an 80’s action flick, Paxton gives his trademark lovably obnoxious and inexhaustibly verbose energy and is a terrific addition to an already packed cast.

4. Brock Lovett in James Cameron’s Titanic

Brock is one of the characters who only exists in the present and sort of anchors the historical facts with his presence. Paxton gives this scruffy treasure hunter a laid back yet determined edge and rocks a pirate hoop earring awesomely.

3. Dad Meiks in Bill Paxton’s Frailty

This was his feature directing debut and what a film it is. A sort of Southern Gothic horror whodunit, he gives an absolutely haunting, harrowing turn as a loving father who gradually begins to lose his marbles and display murderous tendencies. He plays the horrific elements straight and frankly, making his curve into madness hit all the harder.

2. Private William Hudson in James Cameron’s Aliens

“Game over man!!” Paxton made that hilarious line and many others iconic in this portrayal of the ultimate badass who has the ultimate nervous breakdown when danger shows up and ultimately actually fights pretty damn impressively and redeems himself for freaking out like a little bitch earlier on. He’s also riotous comic relief and gets all the best moments.

1. Severen in Kathryn Bigelow’s Near Dark

One in a pack of roving vampires, Severen is undoubtably the most rambunctious and bloodthirsty of the pack, an unpredictable wild card who murders humans on a cheerful whim and always has a quip ready before blasting someone’s face off. In a career full of rowdy behaviour and off the wall performances this one stands out as the most impressive sustainment of energy for a feature length running time I’ve ever seen.

Thanks for reading and stay tuned for more!

-Nate Hill

Joel Schumacher’s A Time To Kill

Many adaptations of John Grisham’s work have shown up in Hollywood, some great and others not so much, but for my money it doesn’t get any better than Joel Schumacher’s A Time To Kill. There’s something fired up about this story, a heartfelt and desperate aura to the high stakes moral maelstrom that Samuel L. Jackson and Matthew McConaughey find themselves in here. Jackson is Carl Lee Hailey, husband and father in America’s Deep South who opens up an AK-47 on the two redneck crackers who raped his eight year old daughter and left her for dead on the side of the road. McConaughey is Jake Brigance, the slick attorney hired to defend him who first seeks the limelight, then wishes he didn’t and finally becomes so morally invested in Carl’s case that it begins to unravel both his own life, not to mention stir up racial tensions all over the county.

Was Carl justified in these murders, given the situation? Should he be set free? Will the trial be a fair, civilized event given the fact that he’s a black man from the south in a time where they were not treated justly or as equals? The answer to that third question is definitely not because soon the Klan gets involved, the entire judiciary system itself gets put on trial and the whole state erupts in hot blooded anger over the situation. Jackson is fierce and vulnerable in the role, Never defaulting to the trademark detached, noisy brimstone that has become his thing but letting the hurt and righteous fury emanate from within organically, it’s probably his best work. McConaughey gets the sweaty desperation right and you begin to feel the uncomfortable nature of the situation creeping up on him until before he knows it there’s a burning cross on his lawn and his wife (Ashley Judd) is ready to leave him. Sandra Bullock does fine work as his legal assistants who, being an idealist, works for free because she believes in the cause rather than money or notoriety, the latter of which she receives whether she likes it or not. Kevin Spacey lays on the sleazy attitude as the loudmouth prosecuting lawyer who, naturally, hits below the belt in his tactics. An unbelievable roster of supporting talent shows up including Chris Cooper, Kiefer Sutherland, Brenda Fricker, Oliver Platt, Kurtwood Smith, M. Emmett Walsh, Anthony Heald, Charles Dutton, Raéven Kelly, Patrick McGoohan, Nicky Katt, Doug Hutchison, Beth Grant, Octavia Spencer and Donald Sutherland as a charismatic old alcoholic lawyer who serves as Jake’s mentor and voice of reason.

This film can sort of be used as a barometer to measure moral dilemmas and see through the weak spots of the justice system, of which there are many. Were Carl’s murders justified? I think so, given the heinous nature of the crimes against his daughter. But the ensuing racial turmoil, petty battle of legal wills and outside-the-courtroom power struggle sort of clouds that until the film reaches a barbaric fever pitch of violence and terror, until Jake calmly and directly cuts through all of that and turns the mirror on a whole community with his heartbreaking final address to the jury, after which it’s so dead silent you could hear a pin drop. It’s a bold, fantastic piece of acting from McConaughey and some of his best work also, in a brilliant film.

-Nate Hill

Steven Knight’s Serenity

I’m not sure why an imaginative, original concept film like Steven Knight’s Serenity got the unanimous critical beatdown it did, but I didn’t find it anywhere close to as bad as I’d heard it was. It’s uneven as all hell, bizarrely staged and written like a soap opera gone postal, but in a sea of sequels and remakes it goes a long way that they even tried something this ‘out there.’ Like a warped bastard child of Black Mirror and the sultriest stuff that Brian DePalma has to offer, this one plays out on a specifically fictitious Florida destination known as Plymouth Island, a place where reality might not quite be as it seems.

Matthew McConaughey gives another intense, haggard turn as Baker Dill, a commercial fisherman reduced to ferrying tourists around to catch tuna with his even more intense second mate Duke (Djimon Hounsou in Cajun mode). Baker spends his days banging local beauty Constance (Diane Lane in yet another role that’s beneath her) and trying to catch a giant rogue tuna he’s nicknamed Justice. Anne Hathaway shows up in a blond dye job, squarely in femme fatale mode as his ex wife who has married one tyrannical, abusive monster played by Jason Clarke in a performance that I genuinely was confused whether to find hilarious or be terrified by. Hathaway wants Baker to take hubbie out fishing and feed him to the sharks, Baker wants nothing to do with either of them and Clarke wants to get hammered, insult everyone and do some other things I dare not repeat here. It’s a lurid, noirish snake-pit of sweaty sex, deception and indecent human behaviour, but there’s something more high concept going on beneath the film of scum on the upper layer of the script. A mysterious suit (Jeremy Strong) pursues Baker around and there’s just this gnawing feeling that what’s happening isn’t quite… real, at least in the traditional sense. That’s all I’ll say in that arena.

McConaughey isn’t doing anything revolutionary here and the hangdog, lady’s man drunk is nothing new for him, but he puts on a good show and is clearly having fun. Hathaway and Lane curl around the dialogue like the pros they are and do fine as well. Clarke is something else though, and has to be seen to be believed. He’s a misogynistic, blustery, abusive, hard drinking lunatic who seems to be channeling Lee Majors, Lee Marvin and The Devil all in the same note. I can’t tell if it’s great character work or more a bull in a china shop scenario, but he certainly makes an impression.

This isn’t a great film and certainly seems at odds with itself, I’ll concede that. The reality bending, the sleazy noir and some surprising sentimental notes later on all seem to be culled from various other sources and sort of clash onscreen in the same film. But there’s something so alluring about the ambition of this thing, the sheer ludicrous dedication to a concept that seems more at home in the Twilight Zone than a big budget theatre release. Nevertheless, I wasn’t bored once during it and it’s well made, scored (unusual, invigorating composition from Benjamin Wallfisch) and acted into oblivion by the ensemble cast, all clearly self aware and having a blast. This thing got royally shredded by everyone and their mother upon release, prompting me to put off watching it for quite a while. Safe to say it was unfairly assessed, I found it to be a good time.

-Nate Hill

Robert Zemeckis’s Contact

Robert Zemeckis’s Contact is a periodically good film that suffers from over-length, clutter and sideshow syndrome, as in it doesn’t trust itself to stick to the effective core story without throwing in all sorts of other hoo-hah just for for the sheer hell of it. At two and a half hours it feels more stretched than Bilbo did before leaving the Shire, and would have been way better off slicing out a good half hour to streamline. What does work is really captivating though, especially a fantastic Jodie Foster in a performance of striking determination as a woman who never loses the sense of wonder she had as a child, and strives to make contact with anyone that may be out there in the vast universe. Of course her efforts meet budget cuts, skepticism and sneers from the government and fellow colleagues like Tom Skeritt’s prestigious researcher, a sadly one note character whose allegiance turns on a dime when she actually receives a message from a faraway galaxy. Speaking of one note characters, get a load of chest puffing James Woods as an obnoxious NSA prick with all the depth a kitchen sink has to offer. John Hurt fares better as an eccentric billionaire who offers Foster funding and support, as does always terrific David Morse as her father. Matthew McConaughey is sorely miscast as a spiritual man and love interest, William Fichtner is excellent as her loyal colleague and friend, Jena Malone great as nine year old Jodie Foster, while Jake Busey, Angela Bassett and a whole armada of unnecessary tabloid celebrity cameos show up too, leading right up to Bill Clinton, who I’m convinced is an alien himself. The thing is, so much of the film is just commotion and nonsense, geared towards wowing audiences instead of trusting the fact that they’ll be at ease with just Foster’s story, which is the connective tissue. The elaborate and drawn construction of a machine based on alien blueprints, pesky religious extremists, theological fanfare that falls flat and incessant faux tv newsreel footage that buzzes around like unwanted house flies and kills the atmosphere, there’s too much in the way. My favourite scene of the film takes place somewhere deep in the universe Foster has travelled to through a wormhole, in which a mysterious being tells her that “human beings are capable of such beautiful dreams, and such terrible nightmares”, a sentiment that parts the clouds and gives the story clarity, as does her arc, relationship with her father and desire to know what’s out there, who we are as a race and where we came from, and it’s in that wonder that the film finds its strength. Much of the rest is just lame earthbound noise.

-Nate Hill

Christopher Nolan’s Interstellar

Many films are ambitious enough to reach for the stars, but Christopher Nolan’s Interstellar reaches for them and then plunges headlong past them into the universe’s vast infinitude to grasp ideas and tell a story that challenges intellect, stirs emotion and dazzles in the way a thinking person’s SciFi film should. I suppose it’s impossible for me to pick a favourite Nolan film as they are all pretty much solidified classics for me, but if you asked me which one stood out without necessarily labelling it as my top pick, I’d point towards this one. There’s a few key areas in which the filmmaker tries to make a deliberate departure from the style he has become known for, chief among them being just how based in emotion this story is. From Rachel and Bruce in The Dark Knight to Cobb and Mal in Inception there’s always been something of a heartfelt element to his work, but here the relationship between intrepid astronaut Cooper (Matthew McConaughey) and his daughter Murphy, played throughout the years by Jessica Chastain, Ellen Burstyn and the fantastic Mackenzie Foy who is the youngest actor in the film but gives the most soulful work, is really something that anchors the film every step of the way. The relationship between father and daughter here is a connection that transcends time, space, the stars and laws of the universe itself or at least in the way we comprehend them, and while many scoffed at these themes from Nolan and rolled their eyes, I found it to be one of the most powerful things in any film he’s done. Interstellar is bursting with ideas, glimmering special effects and dedicated performances, starting with Matt and Mackenzie and going on down through the ranks with supporting star power from Anne Hathaway, Michael Caine, Casey Affleck, David Gyasi, Wes Bentley, William Devane, Matt Damon, Topher Grace, David Oweleyo with standout work from Bill Irwin as the witty, loyal robot TARS and John Lithgow as Cooper’s salty earthbound stepfather. Nolan plumbs the inky vacuum of space for visual grandeur and vast, stunning set pieces including a planet with roaming tidal waves, a breathtaking ice world and a hair raising docking scene as their ship rotated furiously through space, his sense of scope is incredible and the blend of practical effects vs CGI is a seamless ballet amongst the stars, few films feel as tactile and spacious. As much as he is about the fireworks here, ultimately his focus lies on the intimate as well, with love being explored as more than just a biological function and more like a cosmic field of energy that has laws, boundaries and the same strengths as any other element. Cooper travels through a wormhole and to galaxies so far beyond our own that time seems to have no meaning, but that does nothing to shake the bond he has with his daughter, and this is where the film is so effective. He’s out there trying to find new worlds and sustain the human race, no doubt, but to him it’s Murphy, their connection and the forces which hold it together that ultimately keep him going and win the day. All the elements work to reinforce this throughout the film, with Hathaway’s yearning for the lost astronaut she loves and even Damon’s nefarious self love that leads him to acts that although are horrible, come from an emotional place. Hans Zimmer’s totally unique original score also has a heartfelt undercurrent, usually his work, and especially in Nolan’s films, has a heavily punctuated, thunderously orchestral style but here he’s traded that in for a softer, much more melodic piece that legitimately sounds like galaxies unfolding all around the viewer and has a deep longing behind every twinkling electronic tone. A blockbuster with brains, big ideas and plenty of action, but also with heart and feeling to back it up and fuel this voyage to the stars. One of Nolan’s absolute best, and one of the most brilliant science fiction films we will likely ever see on the big screen.

-Nate Hill

Bill Paxton’s Frailty

Bill Paxton’s Frailty, man what a film. It’s like a particularly warped Twilight Zone episode with heaps of southern gothic, a few plot twists that will blindside you, enough subtle hints to keep you coming back for revisits and plenty of chilling horror elements. It’s nice that the late Paxton produced a now iconic cult classic as his director’s debut because it shows that he’s a cinematic renaissance man and had talent in multiple areas, he was something special. On a rainy Texas night, a mysterious man (Matthew

McConaughey) shows up at the FBI headquarters and informs a senior agent (Powers Boothe) he knows who the God’s Hand Killer was, a case that has long gone cold. This sparks an intense, eerie tale of his growing up in midland Texas, how his father (Paxton) seemingly lost his mind and dragged his two sons (Jeremy Sumpter and Matt O’ Leary as young McConaughey) into a delusional practice of kidnapping and murdering people that god has told him are demons. It’s harrowing, blood curdling stuff because the horror is treated so bluntly, without much melodrama or shtick. Paxton was indeed a loving father and he approaches the killing with such an earnest rationality it makes one’s skin crawl. That’s just the start of it though, and watching how the past ties in with the story McConaughey weaves is a deliciously dark pathway of unexpected secrets and uncomfortable revelation. People who rag on about McConaughey’s career pre circa 2012 obviously haven’t explored deep enough. Between stuff like A Time To Kill, Lone Star, Contact, Reign Of Fire, this one and others he had one legend of a career before he even arrived at milestones like Mud or True Detective, and rocks it here. Boothe, who sadly passed the same year as Paxton, was an actor with more than a few tricks up his sleeve and he’s wicked good as the shady agent who gets visibly shook up by the gruesome campfire yarn he has to sit through. Paxton is haunting in front of the camera, turning a loving father into a conflicted killer with burrowing complexity, and in the director’s chair he proves more than competent, making this a horror thriller for the ages with its constant surprises, sickening scares and uneasy atmosphere.

-Nate Hill

The Lincoln Lawyer

The Lincoln Lawyer was the first film in the revival of Matthew McConaughey’s career after a lengthy slump stretching back to the early 2000’s, and what a banger of a pseudo courtroom drama it turned out to be. Based on the series of novels by Michael Connelly which focus on slick, morally untethered defence attorney Mick Haller (played to perfection by Matt), director Brad Furman whips up an enjoyable, razor sharp yet laid back LA crime saga that’s smart, re-watchable and competently staged, not to mention stuffed to the roof with great actors. Haller is something of a renegade lawyer who operates smoothly from the leather interior of his Lincoln town car, driven by trusty chauffeur Earl (the always awesome Lawrence Mason). Mick is ice cool and seldom bothered by the legal atrocities he commits, until one case follows him home and digs up a tormented conscience he never knew he had. Hired to defend a rich brat (Ryan Phillipe) accused of murdering a call girl, events take a turn for the unpredictable as older crimes are dug up, double crosses are laid bare and everyone’s life starts to unravel. It’s a deliciously constructed story with twists and payoffs galore, as well as one hell of an arc for McConaughey to flesh out in the kind of desperate, lone wolf role that mirrors the dark side of his idealistic lawyer in Joel Schumacher’s A Time To Kill. Let’s talk supporting cast: Marisa Tomei is sexy and easygoing as Mick’s ex wife and rival, Bryan Cranston simmers on low burn as a nasty detective, William H. Macy does a lively turn as his PI buddy, plus excellent work from Frances Fisher, Shea Wigham, John Leguizamo, Bob Gunton, Bob Gunton, Pell James, Katherine Moennig and the great Michael Paré as a resentful cop who proves to be quite useful later on. There’s a dark side to the story too that I appreciated, in the fact that not every wrong is righted, or at least fully, a sad fact that can be seen in an unfortunate character played by Michael Pena, but indicative of life’s brutal realities, something Hollywood sometimes tries to smother. One of the great courtroom films out there, a gem in McConaughey’s career and just a damn fine time at the movies.

-Nate Hill