As we sat down to watch Mel Gibson’s latest direct to video flick Force Of Nature, we barely got halfway in before my roommate commented “whoever wrote this movie has serious cognitive issues.” I agree. This is a hurtin’ ass excuse for entertainment. It’s like one of those text posts where someone forces an algorithm bot to watch over fifty hours of any given genre or existing property and have it write its own skewed, bizarre version of said material. Well a bot would have done a better job writing a ‘hurricane heist cop thriller thing’ than whoever penned this. As a category 5 storm descends on Puerto Rico, various random characters with no sense of direction or personality converge around a waterlogged apartment complex, unable to leave, coexist or tell a story that makes sense. The world’s most sarcastic cop (Emile Hirsch) and his partner (Stephanie Cayo) are tasked with evacuating stragglers, including some dude caught trying to buy one hundred pounds of beef from a supermarket to feed a literal jaguar that lives in his closet. Meanwhile a gang of psychotic thieves led by a weirdo who calls himself John The Baptist (David Zayas from Dexter) prowl the building shooting anything that moves and looking for stolen Picasso paintings passed down through a family of nazis. Mel Gibson himself plays a super grumpy, terminally ill ex cop with an exaggerated Chicago accent who refuses to leave his apartment with his nurse daughter (Kate Bosworth). Everyone runs around chaotically from apartment to apartment doing nothing in particular, the rain pours outside but never really escalates beyond intense downpour into legit hurricane weather, and… fuck I dunno man, I don’t even feel like this deserves proper punctuation or attention in a review because it obviously doesn’t give two shits about it’s audience enough to even try. Nothing makes sense, it’s impossible to care about anything going on, all the plot points and characters beats are so off the wall and I found myself just really wondering why this thing was even made at all, much less why respectable folks like Hirsch, Zayas or Mel friggin Gibson would be attached. Bosworth at least has a sheepish excuse because she’s married to the director, but even then she’s pushing her luck. A solid contender for the worst film of the year and not something I recommend you waste ninety minutes of your precious life on. The only Force Of Nature to be found here is this thing’s compelling ability to make the viewer get up off the couch and leave the room.
Three years ago I sat down with Andrew David Barker as his labor of love, A RECKONING, was beginning to emerge. The talented writer/director/novelist told me of the arduous journey, up until and including the making of the movie.
This time, we take a look back at the fates and fortunes of the intervening years; the roads high and low which make up the battlefield any and all face whilst engaged in a quest toward one’s ideal form of creative and personal expression.
The novelist and filmmaker’s directorial debut has finally hit Amazon Prime Video in the United States. Film Regions International (FRI), the production company behind the groundbreaking documentary “My Amityville Horror” has licensed the film for video-on-demand platforms in the American territory. FRI had also been an early supporter of the film after its initial release in 2010 when the film had received a great deal of critical acclaim, however disappointingly, the film ended up being shelved for the better part of the last ten years.
Now that the film has finally received the light of day, it is very fitting and poignant considering the atmosphere with recent world events. The film tells the story of a lone man (featuring a powerful performance by Leslie Simpson, of Dog Soldiers and The Descent), trapped and imprisoned in a barren, desolate landscape. His only companions are a village of straw people with which he converses with as neighbors and friends; he even teaches straw children at the local school. Yet, this anchor, this way of habitual living, is about to become unraveled in frightening and disturbing ways.
“I’ve always been drawn to end of the world stories, right from an early age. The thought that all we’ve achieved, all we’ve created as a species, could go away is something that has never left me. And I’m not alone. The 20th century is littered with post-apocalyptic fiction, from George R. Stewart’s 1949 novel Earth Abides, to I Am Legend, through to Mad Max, visions of what this world will be like once civilization falls, once the power has gone out and the thin veneer of society is torn away, are rich and plentiful. The end of the world has always been a preoccupation of mankind. I wanted to create a film that added to the long list of titles that depicted what life will be like After.”
“A Reckoning is a (post!) modern day Robinson Crusoe, my ode to human spirit and all its dark recesses. This film is as micro-budget as you can get, yet, I had a large vision for it: I wanted the wide open spaces, and the decay and dirt, and the extreme weather to give what is essentially an internal, human story, a large cinematic canvas. This is my lament for our species, a tale of how the fabric of our day to day existence, the trivialities that we take for granted, could (and possibly would) haunt us in a world emptied. This film has had a long, hard road to see the light, but now, in 2020, I think A Reckoning feels more relevant than ever. This truly is the right time for our little film. Worryingly.” – Andrew David Barker, July, 2020.
The film is currently available for rental or purchase on Amazon Prime Video and subsequent VOD platforms will follow soon.
Andy is a great gentlemen and his story is fascinating. We all dream, but not all of us have what it takes to see those dreams realized. Here is one man who did…and one who continues.
Controversy sells right; the more shocking, obscene, the more worthy of the front page? Yet, when it comes to movies, people, it seems, are well defined in relation to their tastes. There are those with high-brows, that believe a spoonful of Marvel ain’t gonna make the medicine go down – and nothing short of complete cinematic opulence will cut the mustard.
Rene Perez makes B-movies. He makes no bones about it. But, that doesn’t mean his stories lack the depth of a celebrated filmmaker’s voice that many cineastes would site with greater reverence. Yes, his politics does hog a large portion of the spotlight in The Insurrection(see my review here), but it always shares the stage with his love and inquisitive nature with regards to character and the human condition. He is a storyteller intrigued by the grandest conflict, which is the one inside us all.
The Insurrection is presently available all over the world via Vimeo, so there is no excuse not to see it. Unlike even the worst entries in his filmography, and as he has personally stated, The Insurrection has failed to find a distributor. One can almost hear the distant echo, carried on the thermals out of the heart of the now silent Dream Factory calling, “Don’t bite the hand that feeds you!” However, when you are such a self-sufficient artist, as is Mr. Perez, you are endowed with the ability to transcend barriers of the style and genre applied to the tale you are piecing together with pictures…and actually say something.
Here with writer/producer/director/editor/composer/cinematographer Rene Perez and his astonishingly talented, beautiful and charismatically magnetic leading lady, Wilma Elles, we look a little deeper at the film Hollywood might not want you to see…but you should.
THE INSURRECTION IS AVAILABLE NOW!!!
CLICK ON THE IMAGE BELOW…
IT’S ALSO AVAILABLE ON AMAZON FOR VIEWERS IN THE USA!!!
James Coburn was an interesting actor for me because he flawlessly jumped the gap between old school silver screen Hollywood and the post mid 90’s Hollywood we know today, so you’re just as likely to spot him in a Turner Classic western flick as you are to hear his deep, comforting voice in a colourful Disney/Pixar film. He had a rumbling intensity that lent itself to alpha tough guy roles early on in his career and later on blossomed into a winking joviality that saw him land many roguish old rascal types. He was one of the greats, and these are my top ten personal favourite performances of his!
10. WitSec Chief Beller in Chuck Russell’s Eraser
He turns a quick extended cameo into something fun and memorable in this underrated Arnold Schwarzenegger SciFi romp. Arnie spends the whole film battling his treacherous former boss (James Caan) and just when Coburn’s big shot CEO shows up we think he’s going to be an even *bigger* bad than Caan but he turns out to be a pretty solid dude, acting as a Deus Ex Machina of sorts to bail the entire situation out.
9. Mr. Waternoose in Disney/Pixar’s Monsters Inc.
Here he explores his playful side as one of the antagonists of this animated classic. Waternoose is CEO of Monsters Inc., a cranky spider-crab thing who only has the company’s interests at heart and acts in a callous, unforgiving manner given blustery gusto by James and his baritone boom.
8. Thunder Jack in Disney’s Snow Dogs
Another Disney one! This is admittedly not the greatest film, a silly city slicker in the Arctic vehicle for Cuba Gooding Jr. James is a curmudgeonly surrogate father who whips him into shape and gives him a good dose of tough love along the way. I have a soft spot for this since it’s one of the first films I ever saw in theatres as a kid, James is terrific fun in it and the squabbling banter he has with Cuba is a treat for kids.
7. Derek Flint in Our Man Flint and In Like Flint
Long before Mike Myers ever spoofed James Bond in Austin Powers, Coburn starred as slick super-spy Derek Flint in these films and they are kind of all over the friggin place. Super 60’s vibe, full of sexy chicks and dastardly villains and James makes a simultaneously klutzy and suave parody of 007.
6. Sedgwick‘The Manufacturer’ in John Sturges’s The Great Escape
This classic WWII flick sees a gigantic ensemble cast full of multiple big names try and get out of a German POW camp with James playing a logistical expert and tools provider with that classic sly glint in his eye.
5. Britt in John Sturges’s The Magnificent Seven
Strong silent type and expert knife thrower, Britt is one of the less show-boaty and understated among this classic band of antiheroes, but definitely one of the most memorable. James looked like he had some First Nations background which adds to the rugged western flavour here. He’s kind of like the Mads Mikkelsen knife throwing character in Antoine Fuqua’s (who also coincidentally directed the Magnificent Seven remake) underrated King Arthur (a film I will always champion) : low key, man of few words, but deadly as all hell and super charismatic.
4. Jack Buchanin Joe Dante’s Second Civil War
Alongside Barry Levinson’s Wag The Dog this is one of THE most criminally overlooked political satires of all time, and I imagine that both films were deliberately buried in terms of marketing because they’re just a *bit* too close to the way things sadly actually work in the world and those in charge didn’t want too many people exposed to such dead-on, accurate material. James plays advisor to the president during a time of ludicrous crisis and his perpetual exasperation at having to rationalize postponing executive decisions because they interrupt POTUS’s favourite soap opera is priceless, as an actor he truly understood comedy and had a gift for it.
3. Justin Fairfax in Brian Helgeland’s Payback
This wry neo noir sees Mel Gibson’s career criminal Porter going on a cynical rampage to get some money he was jewed out of, and Coburn is one of the powerful underworld bosses in his way. Fairfax hilariously seems to have little interest in Porter or the serious situation though, he’s just returned from vacation and is more concerned about his fancy luggage than any intruders with guns. James makes hysterical work of line delivery like “That’s just mean, man!!” When Gibson blows a bullet hole through his suitcases. It’s a juicy, eccentric cameo and brings some comic relief to the table.
2. George Caplan in Michael Lehmann’s Hudson Hawk
Talk about an underrated, misunderstood gem of a film. Bruce Willis is Hawk, the worlds greatest cat burglar on his craziest mission yet and up against all kinds of kooky cartoonish villains. Coburn’s Caplan is an ex military prick with a huge attitude problem, a mercenary for hire who commands a private unit of weirdo operatives named after candy bars like ‘Kit Kat.’ James understands this bizarre material and turns George into a rapscallion of a villain, whether he’s terrorizing local town folk or reminiscing about his Cold War spy days where he was ‘getting laid every night.’
1. Glen Whitehouse in Paul Schrader’s Affliction
This is the role that landed him an Oscar and it’s well earned. Affliction is the bleak, difficult tale of the Whitehouse clan, an ill fated New England family presided over by Coburn’s volcanically abusive, black hearted patriarch, a man who seems to reap poisoned soul food out of terrorizing his own family. He’s a mean, crass, violent old fucking rotten bastard but James is too good of an actor to play him one note. Glen is a monster but there’s shades of humanity when his wife passes, albeit briefly. There’s gnarled self hatred, a booze soaked, misanthropic nature to him and many other carefully calibrated aspects that make this one of the best pieces of acting in film.
DRY BLOOD . . . WOW! What a movie – minimal in construction, but ocean-deep in subtext . . . with a type of gleeful depravity.
The dynamic filmmaker duo of Clint Carney(writer/producer/actor/artist/musician) and Kelton Jones(the man who induced GOD to Mel Gibson/director/actor) have conjured with the combination of immense talents – and with the aid of a rich assortment of family and friends – a film that stays with you as the credits roll.
The film is a tense, slow-boil of a horror picture that, when it explodes, you’re never quite ready. It is a journey into the tormented mind of character gripped by fear and self-loathing which overflows into a gruesome cesspool of vicious insanity, coupled with exciting, delicious, mischievous and frightening portrayals for Messrs Carney and Jones.
DRY BLOOD has recently completed a very successful festival run, having received an astounding thirty award wins (including many for “Best Picture,” “Best Actor,” “Best Director,” and “Best Writer”), with another twenty-three nominations as well. Highlights from this festival run include “Best Feature Film” and “Best Actor” wins from the Bram Stoker International Film Festival in the UK, as well as the top spot at the Indie Film Playoffs, where DRY BLOOD swept the board (Best Picture, Best Actor, Best Actress, and Best Writer) in a competition against numerous films from multiple festivals.
Clint Carney, who wrote, starred, and composed the score, says, “It’s been a long and exciting journey to go from writing the script almost four years ago, to now releasing DRY BLOOD to the world. We are beyond excited to work with Dread Presents. They already have number of great films in their catalog and we couldn’t be happier to be a part of their roster, and to be welcomed into the Dread family.”
DRY BLOOD is directed by Kelton Jones, written by Clint Carney and starring Clint Carney, Jaymie Valentine, Kelton Jones, Robert V. Galluzzo, Graham Sheldon, Rin Ehlers, and Macy Johnson.
“Clint and I set out to make our favorite horror movie,” remarks Kelton Jones, the film’s director. “We wanted to make a film that was true to the genre and lived up to the potential of what a great horror film could be. We knew this would be an ambitious task. We hold such a great love for the genre and the masters of cinema who had shaped our childhoods. We felt the best way to honor them was to pour our hearts and souls into making DRY BLOOD. We knew our toughest audience would be ourselves and we endeavored to make a film that we were truly proud of. I feel very grateful to have been able to be a part of such an amazing project, made with love, by people I love. I am beyond thrilled to be releasing this film with Dread Presents.We set out to make our favorite film; my hope is that it becomes your favorite film as well.”
It’s a great little gem of a horror movie that shows us a glimpse of the evil that lurks within us all, but as a production, it showcases what a group of like-minded, talented, and hungry filmmakers can do when they pool their resources. And it is my pleasure to present them to you now…
Director Kelton Jones’s love of cinema began as a child in the seventies. His mother owned a quaint flower shop that shared a wall with the singular movie theater on the rural main street of Buffalo, Texas. Kelton would spend his afternoons watching and rewatching the afternoon showings as he waited for his mother to finish the day’s work. When the rare feature film would be shot on location in a nearby town, Kelton would find a way to the set so that he could watch from the sidelines, as the filmmakers would spin their magic. Finally, at age 16, Kelton’s first feature in front of the camera gave him the chance to ask the crew if he could join them after he finished his work as an actor. From that very first film, Kelton has permeated the boundaries between actor and filmmaker craftsman. DRY BLOOD is the culmination of a lifetime spent studying film, working on sets, writing scripts, and acting. While on set, it was not unusual to see him in full character wardrobe setting a light, operating a camera or pushing a dolly as he directed the scene. Though this marks his first feature film as director, he has worked every other crew position on set of previous films, ranging from small independent pictures, to huge Hollywood productions. Ultimately, his choice of projects has always been driven by a deep love of the medium, a passion for a great story, and the opportunity to learn and push his own boundaries.
Clint Carney is a well-known Los Angeles-based musician, artist, writer, and filmmaker. His musical work first came into the spotlight in 2004 when he released his first official album under the name SYSTEM SYN. To date, SYSTEM SYN has released seven albums and multiple singles, and performed all over the world. Throughout the years, Clint has also served as a keyboard player and back-up vocalist for the bands Imperative Reaction and God Module. As a fine artist, he is best known for his graphic and disturbing oil paintings. His artwork has been shown in galleries and private collections worldwide and has been featured on magazine covers, clothing lines, and musical albums. His work can also be seen in many major motion pictures, television shows, commercials, and music videos. Clint has created iconic imagery through artwork and props for films by such directors as J.J. Abrams (Star Trek Into Darkness), David Fincher (Gone Girl), Oliver Stone (Savages), Wes Craven (Scream 4), Cameron Crowe (We Bought a Zoo), and more. In recent years, Clint has turned his focus toward film making, working on many different projects as a director, producer, screenwriter, editor, and actor.DRY BLOOD marks his first feature as a producer, writer, and actor. Clint is currently in development on his feature length directorial debut.
Dolly Parton once said, “If your actions create a legacy that inspires others to dream, learn more, do more and become more, then, you are an excellent leader.” I like to muse that this was going through the mind of my distinguished guest and Ozploitation luminary, Hugh Keays-Byrne. And my reason behind this thinking – even though, for all intents and purposes, the characters he has brought to our screens for decades have been seen as pure, cold-hearted villains – turns out, we’ve all been wrong.
Toad (Stone), William Whopper (Secret Valley), Toecutter (Mad Max), and the divine one, all shiny and chrome, Immortan Joe (Mad Max: Fury Road) are not the boogeymen society would have you believe. No folks, they are progressives, forward-thinkers. They see the big picture, they are thinking about future generations, not the pesky problems of the current cloud of mayhem.
But let’s face it people – bad dudes are more fun. And our Hugh is one of cinema history’s ultimate bad (though secretly underappreciated visionary with people’s best interests in mind) dude. Born the same year, in fact two days before my Dad, in India, Hugh returned the homeland of his parents, England, where he not only completed his education but also found his way into The Royal Shakespeare Company, and it was in one of their productions that he found his way here, to the great southern land – and here he stayed.
Continuing as he had also been in Britain, prior to his Shakespearean exodus, he appeared on local television productions till along came the ultimate auteur-ozploitation picture in the form of Sandy Harbutt’s STONE. Keays-Byrne would transform into the iconic Toad. But ladies and boys, this filmography is a little bit like a classic rock radio station, because the hits, just keep on coming. He shared a cab ride and a request for narcotics with the Easy Rider, he’s tasted THE BLOOD OF HEROES (while saluting the Juggers), he’s shared the landscape with FARSCAPE and very nearly was the Martian Manhunter for Dr. George’s Justice League. Sure, sure. It might have been groovy. But he will be remembered in the halls of Valhalla as the electrifying good guy of Miller’s indelible imprint on the art of the motion picture when he became the Toecutter in a little movie headlined by a guy named Mel.
Recently, Mad Max: Fury Road has back in popular discussion. It is topping lists as one, if not the penultimate action film OF ALL TIME! That’s right, I said ALL TIME. Now – these may be mere lists on the internet – no shortage of those right – but truth be told, Miller literally, all these years after THE ROAD WARRIOR (or Mad Max 2, as we like to call it), has reignited the same fire that he started way back when. Fury Road is as much a cultural monolith as it is action-film opus.
It has been a long time between lunches here in my little corner of cinematic nirvana. Last time I had lunch it was with The Equalizer himself, (and another Aussie cinema legend) Richard Norton. So, it is with great pride that I get to enjoy another lunch break with you dear PTS listeners – lunch with the merciful and compassionate Immortan Joe…
Isn’t it always kind of more fun when the protagonist of a film is an utter scumbag? I think so, and Brian Helgeland did too when writing Payback, my favourite Mel Gibson film (outside Mad Max of course, but that’s a high pedestal to breach). There’s something so engaging about Mel’s Porter, a street rat career criminal who’s betrayed by his treacherous partner (Gregg Henry) and junkie wife (Deborah Kara Unger), left for dead in an alley. After a rocky recovery he comes back with vengeance on the mind, hunting down those who fucked him over and anyone who profited from it. The first thing he does to set tone for his character is steal cash from a panhandling hobo, which is just about the starkest way to inform your audience of what’s to come. What does Porter want? He wants his 24k from the job he got shafted on, not a penny less and, hysterically, not a penny more either, which becomes the beloved running joke of the film as he prowls streets, poker rooms, titty bars and all kinds of lowlife establishments to get what’s his. Henry is off the rails as his former partner in crime, taking his usual brand of scenery chewing to new heights and picking fights with anyone who makes eye contact with him. He isn’t even the main villain either, that honour goes to a stone-faced Kris Kristofferson as the sadistic head of a shadowy mega crime syndicate who are soon alerted of Porter’s ongoing rampage. There’s uber corrupt cops (Bill Duke, Jack Conley), a weaselly bookie (David Paymer), a bureaucrat desk jockey villain (William Devane), a high class escort with a heart of gold (Maria Bello) who brings out the faintest of softer sides in Porter, a sneering assassin (the great John Glover) and others who all get caught up in the commotion this guy causes just to get his modest 24 grand. A young Lucy Liu also shows up as a sexy S&M hooker with ties to the Triads and enough scary attitude to either turn me on or freak me out, I’m still not sure. My favourite has to be James Coburn as another organized crime hotshot who seems more interested in his elaborate accessories than putting a step to Porter’s nonsense. “That’s just mean, man” he bawls after Mel puts a bullet in one of his designer alligator skin suitcases. So damn funny. This is the epitome of jet black humour, one of the meanest, gnarliest, bloodiest and most entertaining neo-noirs that Hollywood has ever produced. Mel has played so many heroes and upstanding family men that it’s refreshing to see him go for the contemptible asshole shtick, and I’ll be honest I’ve never rooted for one of his characters harder than I do for Porter and his deranged urban crusade every time I rewatch this, which is a lot. Fucking brilliant film.
Dragged Across Concrete is exploitation auteur S. Craig Zahler’s third feature film, and so far stands as his best. I use the terms auteur and exploitation vaguely here because neither can completely encapsulate what the man is doing with his work, the flavour he strives to bring us is so specifically distilled and perfectly see-sawed a recipe that there are really no pins to drop on the cinematic landscape or existing terms for it, and he may have pioneered something new entirely. He blared onto the scene with primal horror western Bone Tomahawk and followed it up with brutal flick Brawl In Cell Block 99, but Concrete is his most deliberate, suspenseful, heavily charismatic, thoughtful and entertaining piece yet.
Mel Gibson and Vince Vaughn are Ridgeman and Lurasetti, two sinewy older detectives prone to excessive force and bitter attitudes, until a particularly violent arrest lands them on a viral video and an unpaid suspension from their captain (Don Johnson in a delicious extended cameo). Feeling slighted by both the department and the civilians they’ve served for decades, they decide to tap into underworld contacts and win back some currency as they both have family problems that unemployment wouldn’t serve well. “We have the skills and the right to acquire proper compensation” growls Gibson through a muskrat ‘stache and eyes clouded with anger, and it’s easy to see why he’s miffed. The film is under vague fire for showing us two racist asshole antiheroes and while their actions in the opening collar sequence are extreme and not very nice, they’re not as played up, hateful or heinous as I’ve read some whiny reviews claim. These two are hard bitten jerks, but when the anvil comes down and we see the moral core of each laid bare, they are essentially decent guys who won’t stand by when real injustice rears it’s ugly head. It does too, in the form of nasty arch criminal Vogelmann (an icy, evil Thomas Kretschmann) after a tip off from an underworld contact (Udo Kier, all too briefly). They decide to try and score some mob loot just as ex con Johns (Tory Kittles) and his childhood buddy Biscuit (Michael Jai White) gang up with Vogelmann to do some criminal shit.
This film has its action scenes and close encounters but what really enthralled me is the patience it takes to show us stakeouts in real time and set up incident on its own clock. The two cops post up in their car, eat snack food, nap, banter and compare world views as they simply wait for their quarry to make his move. This is the kind of character cultivation and pacing that leads to investment in the story, so that when the payoff comes we are riveted. I’ve already spoiled too much because I just saw this and want to gab about it endlessly but it’s essentially a long, measured surveillance game followed by a chase and one knockout of a confrontation scene that’s insanely suspenseful and ducks many expectations we have given what we’ve seen so far. Gibson and Vaughn are just so great here, they eat up the dialogue like fast food served with fine wine, it’s Mel’s best performance in years and he owns it. Zahler has a way of writing that is like protein for the ears, a poetically rich timbre as if every character has several thesaurus’s on hand and uses rich, offbeat dialogue to place you right in the scene. Some will inevitably find it too purple or pretentious a script, but I love the way this guy writes. Further down the cast lineup we get turns from Zahler regulars Jennifer Carpenter and Fred Melamed as well as Laurie Holden, Cardi Wong, Matthew MacCaull and others.
My only one gripe is the ongoing and blatant use of Vancouver as other cities when it’s very clearly not. It’s supposed to be Bulwark here but they’re sat up there in Don Johnson’s office on like the twentieth floor somewhere in Coal Harbour with the whole Burrard Inlet visible and it’s like… get real, it’d be nice to see things filmed where they’re set for personality instead of just lazily using my city, but oh well. Probably not a gripe for most, but having grown up here it takes me out of the story just a bit when everything under the sun is recognizable. This has to be Zahler’s most complete and streamlined creative vision so far, a nasty gutter-ball genre piece that shows life in the inner city boiling over the pot into street violence, heists gone up in flames and good intentions shot to ribbons by high powered artillery. The best film I’ve seen so far this year.
The future. The polar ice caps have melted covering the earth with water. The Universal logo spins as we watch the world change as the camera descends, through the atmosphere, and eventually we find the ‘new world’ where those who have survived have adapted. We are now in Waterworld.
Then Costner takes a whiz and, after a pass through his handy filtration system, drinks it. Regardless, it was at this point of the movie my Mother checked out. See, in Australia, the term getting on the piss is connected with getting together with mates and drinking an inordinate amounts of cold beers. But it is Waterworld that took the phrase to a whole new level.
I was just about done with my high school years – and whilst on a family vacation – when I first saw Waterworld. And I came to it, as I often did in those days, as an innocent, in a time before the ice caps melted and a media torrent covered the globe. I had no concept of the vortex of negative press that Waterworld carried with it like a cargo hold full of dirt ready for the traders. It was, at that time, the largest theatre I’d been to. This rendered Kevin Reynolds’ epic feat of film-making monolithic in scale. Of course Waterworld really doesn’t need the big screen for you to witness just how incredible the production is. It’s, aside from a few computerized flourishes, real for real. The action, the set pieces – CGI wasn’t quite there yet – so this monumentally impressive picture carries the imposing span of the ocean, which is its stage, and the blinding brilliance of sun, pouring its radiance over this bold new vision of the post-apocalyptic future.
I’m sure by this point dear reader, that there are few that are not acquainted with this out and out classic. But for those for whom the picture is a stranger like Costner’s Mariner, sailing out of the horizon, then you have picked the right time to stop and check it out – the common courtesy extended when two drifters meet. From Arrow, the home of splendid re-release packages of some of the more famous/infamous cult classics of the age, comes the definitive, limited edition Blu-ray extravaganza that is the tale of the search for Dryland. Here at Water’s End you’ll find the three restored versions of the film, a loaded treasure trove of extras; the crown jewel being Maelstrom: The Odyssey of Waterworld, an enthralling documentary feature chronicling the birth, rise, fall and ultimately redemption of one of the truly awesome adventure movies in cinema history. It may be fortuitous that this release surfaces in the wake of another sea-going fantasy – the billion dollar triumph that is Aquaman. And while the DCEU’s latest opus is no Mad Max on water, they share the same enduring quality films of this type have in common. The world building is awe-inspiring, the joy experienced while watching them infectious and they both leave the stage set for voyages of astonishing proportions to be explored.
I love this movie. Think of me how you will. But Waterworld is outstanding in my book and I am thrilled, not only that this release exists, but that its supplementary material finally sets the record straight – as well as allowing fans and first-timers alike to really marvel at what it took to cover the earth with water and allow we, the movie-loving audience, to take a ride that you’ll never see made this way again. Such a magnificent event as this calls for an equally impressive effort on my behalf.
That being the case I have a trio of insightful interviews with my guests David J. Moore (co-author of the supplementary booklet), Daniel Griffith(the filmmaker behind the documentary I’ve waited for, Maelstrom: The Odyssey of Waterworld) and, get ready for it, the man without whom the film would not exist, the film’s creator and initial screenwriter, Peter Rader. So stretch out in your deck hammock with an extra-large cup of hydro and stare at the majesty of the horizon, where the land meets the sea and watch in wonder as Waterworld engulfs you in a wave of splendor; this Everest’s peak of action/adventure cinema you can’t help but sink into.
DAVID J. MOORE
David J. Moore has written articles for Fangoria, Filmfax, Ultra Violent, VideoScope, Lunchmeat, Flickering Myth, and L’Ecran Fantastique. Interviews he’s conducted can be found on OutlawVern.com. He has worked as a freelance film journalist, visiting movie sets around the world. His next book is called The Good, the Tough, and the Deadly: Action Stars and Their Movies, and it will be published in 2015. He lives in Rancho Cucamonga, California.
Daniel Griffith has produced and directed more than 35 bonus feature productions, as well as five feature-length documentaries, including “LET THERE BE LIGHT: THE ODYSSEY OF DARK STAR” and “THE FLESH AND THE FURY: X-POSING TWINS OF EVIL”. He is also the documentarian for Shout! Factory’s “MYSTERY SCIENCE THEATER 3000” DVD boxed sets. Recently, he produced and directed the one hour documentary on the legacy of Rod Serling’s celebrated TV series, “THE TWILIGHT ZONE”, for CBS Films. Griffith won the 2012 Rondo Award for best DVD Bonus Feature for his biography on Universal B-movie actor, Rondo Hatton. He is the owner/founder of Ballyhoo Motion Pictures.
Peter Rader is a director and writer, known for Waterworld (1995), The Last Legion (2007) and Grandmother’s House (1988).
If Robert Rodriguez’s Machete cracked a few beers in the grindhouse exploitation cooler, his follow up Machete Kills taps the entire keg and lets it flow for a sequel that although isn’t as focused or on point as the first, blows it out of the water in terms of cameos, star power and sheer bottom feeding genre madness, it’s a hell of a fun time. Danny Trejo did the journeyman tough guy thing in a long stint throughout the 80’s and 90’s, by the time Rodriguez found him for a smaller role in Desperado he was already long overdue for a starring vehicle as far as I’m concerned, which Robert handed to him and then expanded with this balls out sequel that although is still indisputably Danny’s show, is also peppered with a staggering amount of star power and recognizable faces. That’s the thing about Rodriguez, he’s such a talented, hands on enthusiast of a filmmaker that he attracts actors from all walks of industry life to work with him, and his projects come alive. Trejo’s ex federalé super badass Machete is recruited by the president of the United States himself this time, played by Charlie Sheen in exactly the type of portrayal you’d expect. Mel Gibson’s big bad gun runner Luther Voz is stirring up trouble and it’s up to our antihero to stop him, as well as a whole pack of villains, weirdos, corrupt officials and femme fatales. This one sees a lot more characters running about including Sofia Vargera’s Desdemona, a matriarchal shryke of a contract killer whose daughter (Vanessa Hudgens) also figures into the plot while Machete recruits a lethal government agent (Amber Heard) who doubles as beauty queen Miss San Antonio. Michelle Rodriguez and Jessica Alba also return but are sort of swallowed up in the emerging newer elements. The great character actor William Sadler turns up briefly as a Texas Sheriff with a big gun, as do Rodriguez regulars Julio Mechoso, the Avellan twins, Tom Savini, Demian Bichir and Alexa Vega. Perhaps the best element in either Machete film is an elusive, inspired contract killer called The Chameleon who changes their appearance frequently. Not many films can say they hired Antonio Banderas, Cuba Gooding Jr., Walton Goggins and Lady Gaga to all play the same role, but Rodriguez pulls it off and gives each actor something fun to do. I enjoyed this Machete more in the sense that it didn’t try to be socially conscious or inject a political message like the first, this is straight up action pulp the way it should be, and hopefully we will get to see Machete blast off into space soon as the reliably ridiculous meta fake trailer outlines here.