Tag Archives: Michael Caine

Gore Verbinski’s The Weather Man

It’s always nice when a film as bizarre, unconventional and downbeat as Gore Verbinski’s The Weather Man gets approved by the big studio system, but the flip side of that is that when it inevitably gets a wide release and considerable marketing, score of reviewers and audiences are going to talk shit about it because it’s ‘different’ and ‘depressing.’ It is definitely those two things, but it’s also a painfully funny, insightful piece with fantastic work from Nicolas Cage, brilliantly placed dark humour, the briefest glimpses of pathos and an offbeat indie pulse. Cage is Chicago TV weatherman Dave Spritz, a guy whose swanky six figure salary and cakewalk career hide a disturbed, dysfunctional family life and a deep, cultivated self loathing that Cage pours out from every anguished glance and hangdog piece of inner monologue. His ex wife (Hope Davis) can’t stand him, his kids (Nicholas Hoult in an early career turn and Gemmenne De Le Pena, a great find) have a laundry list of their own issues and their interaction with him is strained for starters, while his Pulitzer Prize winning author dad (Michael Caine trying an American accent on for size and kind of struggling with it) frequently points out his shortcomings with measured acidity (“You don’t even have a degree in meteorology”). In short, his life has become one big absurdist joke punctuated by awkward altercations, passive aggressive jabs, misdirected anger, frequent instances of fast food being thrown at him by angry passersby and an overall blanket of deadly hilarious, glumly enlightening moodiness that you can’t decide whether to laugh or cry about. So who would want to watch a major movie filled with such rampant, cheekily deliberate unpleasantness? I would, and I for one totally loved this film for what it is. You could say it’s an acquired taste or you have to ‘get it’ or whatever smug, flavour of the month platitude that well travelled cinephiles like myself are peddling this week, but the plain truth of it is that not every Hollywood film can be a traditional ‘Hollywood’ film and there has to be room for off killer, weirdly staged stuff like this or the recipe is just too boring. Roger Ebert understood that, he gave this a glowing review and made particular mention of how slightly inaccessible stuff like this needs to be given a chance more often. In any case it’s an excellent film thanks to Cage’s reliably hilarious work, he almost seems to have been tailored for this role and you can tell he’s having a blast with every tortured mannerism and inappropriate outburst. I love and appreciate every single film that director Verbinski has made in his eclectic, unpredictable dervish of a career, the guy has done everything from Pirates Of The Caribbean to slapstick period piece to Hammer horror throwback to south of the border romance end even an animated film for adults which you don’t see too often. He always approaches us with something different to offer, and with The Weather Man he’s come up a winner again, I love this sad, self aware, pathetic yet touching portrait of a man adrift in his own inadequacy, his frequent attempts to swim serving as our entertainment, however much we pity or feel for the guy and his oddball family. Great film.

-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

Stephen Kay’s Get Carter

As far as the remaking of cult classics, Stephen Kay’s Get Carter is a piss poor effort, so much so that not even a positively stacked cast could do much of anything about it. The original saw fearsome bulldog Michael Caine getting shotgun fuelled revenge and has since become iconic, while this one switches up rainy Britain for rainy Seattle and a sedated Sylvester Stallone in a shiny suit takes over as Carter, a mob enforcer who hails from Vegas but has travelled north both to escape scandal and look into a shady family matter. There he finds all sorts of characters played by a troupe of big names, character actors and even Caine himself in an extended cameo as a bar owner, but it all feels lazy, listless and flung about like a ball of yarn full of loose plot threads and scenes that fizzle. It’s obvious that there were major editing problems here as the pacing is in conniptions and an entire subplot involving a love interest back in Vegas (Gretchen Mol) has been slashed to ribbons. So sloppy was the final product that my college acting teacher, who landed the role of Carter’s gangster boss back in Vegas, although mentioned brazenly in the opening credits, can only be seen briefly from the neck down and heard on the phone, except for whatever reason they decided to dub his voice over with an uncredited Tom Sizemore, which is just so bizarre. Anywho, Stallone sleepwalks his way through a local conspiracy involving his dead brother, the widow (Rachel Leigh Cook), a mysterious femme fatale (Rhona Mitra), a weaselly computer tycoon (Alan Cumming) a sleazy pimp/porn baron (Mickey Rourke) and more. It’s just all so terminally boring though, and none of the clues or twists spring to life or feel organic at all. Rourke provides some of the only life the film has to offer as the villain, a guttural scumbag who has two painful looking nightclub boxing beatdowns with Stallone which are fun. John C. McGinley raises the pulse somewhat as a lively Vegas thug dispatched by Sizemore’s voice to bring Stallone back to face the music. Others show up including Miranda Richardson, Mark Boone Jr., John Cassini, Johnny Strong, Frank Stallone, Tyler Labine and more. None of it amounts to much though and by the time the anticlimactic plot resolutions arrive and Carter jumps a red eye back to Vegas before the credits roll, you wonder what the point of it all was and want your hour and forty minutes back. A thorough bummer.

-Nate Hill

Jan Egleson’s A Shock to the System

Michael Caine is one of cinema’s most renown and prolific actors, and in the 1990 undercard picture, A Shock to the System, Caine gives one of his finest performances in a film that is a dark satire of 80s capitalism and climbing the corporate ladder, but also acts as a companion piece to Joe Dante’s The Burbs as well as a precursor to American Psycho.

 

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Caine plays Graham Marshall, a man whose oversaturation of the American Dream hits its breaking point when he gets passed over for a promotion that he was being groomed for. Caine then slowly begins to unravel and begins to commit a series of outlandish murders, seeking out an exact measure of revenge while at the same time finding his center with a self-indulgent escapade of faux mysticism.

 

The film is an excellent satire that strikes the balance of the political environment in today’s business world, while also acting as a time capsule piece of America’s cultural transition from the 80s into the 90s. The film’s dialogue is airtight, yielding wonderful witty exchanges between hard stereotypical characters where they operate on a level of honesty that would be fundamentally unacceptable in everyday conversation.

 

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Cinematographer Paul Goldsmith constructs a slick looking film that is richly detailed with sweeping cinematic camera movements that blends with handheld shots, that perfectly flows with Caine’s voice-over narration. There are quite a few moments in the film that are stunning to watch and had the film found its rightful audience, would have become iconic shots from an already overwhelming Caine filmography.

 

Director Jan Egleson composes an excellent film with rich production design, costumes, and a rather excellent practical explosion. He also assembles a marvelous cast around Caine including Swoosie Kurtz as Caine’s relentless wife, Peter Riegert as Caine’s ill-fated new boss, Elizabeth McGovern as his secretary turned love interest, and Will Patton as a Colombo esque detective suspicious of Caine. Not enough can be said about Caine’s performance. He is charming, wickedly funny, and menacing all at once. Think of his character as an amalgam of his characters from Mona Lisa and Dirty Rotten Scoundrels. Yes, Caine is that good in the film.

 

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While Patrick Bateman in American Psycho found a kinship with bloodlust, rage, and materialistic vanity; so does Caine in this film, and while his character isn’t propelled by 80s pop culture, yet another colorfully detailed layer of the film is Caine’s affinity for the wizard Merlin and making his problems disappear. A Shock to the System is now available from the Shout Factory, from their boutique label, Shout Select.

Bob Rafelson’s Blood & Wine

Bob Rafelson’s BLOOD & WINE operates as the capstone at the end of a neo-noir resurgence in the 90s. Cut from the same whiskey and blood-soaked cloth as James Foley’s AFTER DARK, MY SWEET and CITY OF INDUSTRY the hard-lined revenge vehicle for Harvey Keitel; BLOOD & WINE is about lust, greed, and revenge set in the smoky backrooms and emptiness of decaying wealth.

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Rafelson assembles a marvelous cast that is able to navigate in and out of the faux royalty and seedy underbelly of Miami. Jack Nicholson, in his fifth and more than likely final collaboration with Rafelson, plays Alex who is a high-end wine salesman with maxed out credit cards and a marriage that is imploding. Nicholson brings gravitas and menace and he transitions it in a very low key way, he’s a stalled out businessman and worn out salesman who is looking for a way out.

Stephen Dorff and Judy Davis are his packaged deal, makeshift family. Dorff as his stepson, and Davis his codeine induced wife who is self-medicating her way through the last rung of their marriage. Jennifer Lopez, in one of her earliest performance, plays the love interest to both Nicholson and Dorff, which creates a rather rich and perverse subplot.

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Michael Caine gives one of his most underappreciated performances as Victor, a tuberculosis-ridden master thief who pairs with Nicholson to rob his most affluent wine client. Caine is remarkable in this picture, playing a man with little left to lose, who springs to life with terrifying intermittent bursts of rage who refuses to die without pulling others down to Hell with him.

Rafelson, whose career never quite rebounded from his landmark 70s pictures, constructs a very moody and treacherous film that lives in a world of double and triple crossing, a film plentiful of smoke absorbed pastels and cutthroat men navigating a world that has left them behind. The film can be frustrating for some because the ax never falls from the shadow, it stays in its place the entire film, even though the final frame. Which is the trick of the film, the ax doesn’t fall, it stays tightly in its place, and allows the story to continue even after it is over.

PHILLIP NOYCE: An Interview with Kent Hill

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One of the great things Phil told me – aside from passing through my hometown to play footy in his youth – was that Queensland had a big part to play in convincing the studio powers that Blind Fury (my personal favorite of Phil’s pictures) could be a hit.

After a regime change – as often is the way in Hollywood – the new brass didn’t have much faith in a film the previous caretakers saw fit to green-light. Phil knew he had a good picture and thus persuaded the powers to let him take it to the far side of the world and release it in the Sunshine State, where, with the help of a publicist, they sold the heck out of Blind Fury and brought in $500,000 buckaroos.

So Phil went back to the blokes in suits and told them if the movie can do that kind of business 7,510 miles from Hollywood, I think we have a shot. See that’s the Phil Noyce touch ladies and gentlemen, remaining Dead Calm in the face of Clear and Present Danger. If you believe that there is even a Sliver of a chance your movie can Catch a Fire, you can’t just sit there like The Quiet American and take it with a grain of Salt. You need to fix your courage to the sticking place, follow the Rabbit Proof Fence all the way home and for your hard work they’ll call you The Saint for being the The Giver of great cinematic entertainment. You can play Patriot Games till the cows come home, but if you attack them on the Newsfront then you’ll be The Bone Collector and bring home the receipts.

I’ve watched many a great interview and read many a great book about the life and career of Phillip Noyce – never thinking that one day I might catch a moment’s grace and be able to have a chat with him. I have to thank (again) a top bloke by the name of Nick Clement for putting in a good word for me – without Nick I’d still be dreamin’.

Phillip Noyce is a marvelous chap of the old school and the maker of some truly wondrous pictures. He really needs no introduction from me for his reputation speaks for itself. Without further adieu . . . the master . . . Phillip Noyce.

Neil Jordan’s MONA LISA

With its dark and seedy narrative, mixed with off beat humor and performances that are as touching as they are ferocious, Neil Jordan’s Mona Lisa is a wonderful deep cut from cinema’s most often overlooked decade, the 1980s.

Bob Hoskins gives a raw and emotionally charged performance as George, a man that time as well as life forgot while he served time in prison for his mob boss Mortwell, played by a sleazy and smarmy Michael Caine. George’s payoff is driving for a high class escort, the exotic Simoe played by Cathy Tyson.

As George’s infatuation for Simone turns into an a love struck obsession, Simoe starts to groom and manipulate George into a graphic and dangerous odyssy to find her friend lost in the rainy streets and swearty backrooms of London.

Neil Jordan pulls a coup de grâce with this film. Hoskins brings his brutish affability to a dangerous and fearsome world that he’s a stranger to; bringing a physicality and soft sensibility to a role that remains his finest on screen performance that boasts his tough guy persona yet yields the floor to his humor and warmth.

Perhaps one of the more underrated aspects of the film is Michael Caine’s turn as the vile and disgusting antagonist who plays in a shade of grey that remains one of Caine’s more unique turns in a career populated with fabulous performances.

The film excels at its bizarre nature, not only using Nat King Cole’s seminal tune of Mona Lisa, but also Genisis’ In Too Deep in an almost jarring montage that works perfectly and quickly becomes one of the most fascinating aspects of the picture.

Mona Lisa is an unsung classic that finds the sweet spot in the canon that is transgressive cinema. It does not compromise a facet of screen time, spending each frame building a brooding and haunting story of how sometimes love can be a wicked game.