Tag Archives: Michael pare

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

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

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

. . . all Uwe Boll ever wanted to do.

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

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

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

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

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

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

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

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

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

. . . enjoy

UWE BOLL

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

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

SEAN PATRICK SHAUL

Uwe and Sean

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

PLEASE VISIT: http://prairiecoastfilms.com/

 

 

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B Movie Glory: Uwe Boll’s Bloodrayne

There’s no excuse for films as shitty as Uwe Boll’s Bloodrayne. I know he’s a notoriously slipshod filmmaker and he somehow manages to get the rights to all these awesome video games which he then butchers with kindergarten level gong shows like this, but this one is especially bad. Now, before he goes and reads this and wants to come fight me like those other critics (he owns a restaurant a few blocks from where I work, so I gotta be careful lol), I should say that, contrary to popular opinion, he has in fact made some good films. Attack On Darfur and Assault On Wall Street come to mind as two solid dramas where he actually took his craft seriously and made something worthwhile. But Bloodrayne? Holy shot this movie sucks the big one and doesn’t even have the courtesy to swallow after. It’s loosely based on a pretty cool medieval vampire adventure game from years back, but resembles an episode of Xena Warrior Princess made by preschoolers. The protagonist is hottie vampiress Kristanna Loken, who was the kickass female Terminator in T3, and also gets to kick some ass here, between steamy porno scenes with other vampires. The only cool bit is a stunt sequence where she gets to fight a giant ogre thing and bash its head in with a gigantic war hammer. The cast is absolutely stacked here, as is strangely the case with most of Boll’s films. Michael Madsen and Michelle Rodriguez look hella out of place in Middle Ages garbs playing fellow warriors, Ben Kingsley is rigidly constipated as the big baddie, Meat Loaf has a laughable cameo as some kind of Shakespearean pimp, Billy Zane hilariously shows up as a despot, and the list goes on, including the likes of Udo Kier, Michael Paré and Geraldine Chaplin. I wanna be fair to Boll, as the guy clearly has a lot of passion for trying to get films made and simply being productive, and like I said before, some of his output is actually really decent. It’s just whenever he tries to adapt a video game the resulting product turns out hopelessly disastrous. It’s the same case with Alone In The Dark, House Of The Dead and Far Cry, and the guy keeps going. Bloodrayne is a cartoonish, awkwardly staged, terribly acted EuroTrash dumpster fire, something no one should have to sit through just to see their favourite actors embarrass themselves. I can’t believe he went on to make like three sequels.

-Nate Hill

Gone

I’ve never understood the dislike or lacklustre reception for Gone, a moody, propulsive suspense thriller starring Amanda Seyfried. It’s not especially groundbreaking or crazy in any way but it’s a solid genre piece with a lead performance that proves once again what kind of pure star-power she has, enough to carry a film and then some. She plays a girl that allegedly escaped the clutches of a serial kidnapper/killer who tossed her down a hole somewhere way out in the wilderness. The cops never really believed her as there was no actual proof and their searches turned up fuck all, but she won’t be deterred, especially when her older sister (Emily Wickersham) seems to vanish into thin air one night and she’s convinced the guy has returned. Once again the lead detectives on her case (Daniel Sunjata and Ray Donovan’s Katherine Moennig) give her the skeptics eye and she has no choice but to launch her own solo investigation, a dangerous option but the girl has no shortage of bravery. Inherently creepy looking Wes Bentley plays another cop who is decidedly more helpful for his own reasons, but he exists mainly as a red herring and ultimately doesn’t do much of anything useful. This film is about her journey and not so much her destination, as it’s essentially a heightened Nancy Drew yarn fuelled by a constant vibe of suspense and blanketed in the thick atmosphere of the Pacific Northwest region where it was filmed. When her eventual confrontation with the killer does come, it seems a bit after the fact and even rushed, but it was never the point anyways, as the story’s effectiveness lies in her relentless search and resilient, charismatic tactics to discern each clue along the way. The cast here is full of gems, including Dexter’s Jennifer Carpenter as her waitress boss, Joel David Moore, a very young Sebastian ‘Bucky Barnes’ Stan, Nick Searcy, Socratis Otto and legendary tough guy Michael Paré as the Lieutenant of the local precinct who is helpful but stern and concerned about Seyfried’s seemingly drastic actions. Don’t let any negativity spoil a fun evening in with this one, there’s really nothing to hate about it. Tightly wound, nicely acted by everyone, and shot with the benefit of the Northern locale. Admittedly broad and farfetched in terms of plotting, but what thriller isn’t here and there anyways, get over it. Mainly it worked so well for me because Amanda is such a vivid, present actress who can hold a scene like nobody’s business and really commits to her craft. A diamond of a flick in my books.

-Nate Hill

B Movie Glory: Furnace

A haunted Furnace that starts murdering convicts in the cluttered boiler rooms of a maximum security prison. Who thinks this shit up. It’s actually not as inept as it looks both on paper though, and does in fact get its act together for a few earned scares. It doesn’t hurt to have actors like Danny Trejo, Tom Sizemore and Michael Paré around either, who boost the quality. There really isn’t much to it other than a furnace eating people though, which leaves not much expository filler to pad the review. Ja Rule plays the head honcho convict who realizes something is up pretty quick, Sizemore is the violent, corrupt captain of the guard, Trejo is a short lived inmate who shouldn’t have gone looking down that ominous corridor, and Paré is a detective brought in to investigate the deaths. There’s a backstory to the supernatural aspect involving a pervy Warden from the building’s past and his unfortunate granddaughter (you get the picture there). The real magic with this flick has to do with the DVD though, and it’s extensive behind the scenes interviews. There’s all kinds of stuff with the actors, and you get a sense of just how crazy Sizemore can be in real life sometimes by his incoherent ramblings, gloriously unedited. The film itself is run of the mill grindhouse type stuff, done with enough flair, gore and gusto. But get that DVD and watch the extras, they’re unreal. Plus the cover art is straight out of the 70’s man, fuckin love it.

-Nate Hill

Walter Hill’s Streets Of Fire: A Review by Nate Hill

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Walter Hill’s Streets Of Fire is just too good to be true, and yet it exists. It’s like the type of dream concept for a movie that you and your coolest friend think up after a bunch of beers and wish you had the time, money and resources to make yourself. It’s just cool right down to the bone, a beautiful little opus of 1950’s style gang trouble set to a so-good-it-hurts rock n’ roll soundtrack devised by the legendary Ry Cooper, Hill’s go to music maestro. It’s so 80’s it’s bursting at the seams with the stylistic notes of that decade, and both Hill and the actors stitch up those seams with all the soda jerk, greaser yowls and musical mania of the 50’s. Anyone reading up to this point who isn’t salivating right now and logging onto amazon to order a copy, well there’s just no hope for you. I only say that because for sooommeee reason upon release this one was a financial and critical dud, floundering at the box office and erasing any hope for the sequels which Hill had planned to do. I guess some people just aren’t cool enough to get it (can you tell I’m bitter? Lol). Anywho, there’s nothing quite like it and it deserves a dig up, Blu Ray transfer and many a revisit. In a nocturnal, neon flared part of a nameless town that looks a little like New York, the streets are humming with excitement as everyone prepares for the nightly musical extravaganza. Darling songstress Ellen Aim (young Diane Lane♡♡) is about to belt out an epic rock ballad in a warehouse dance hall for droves of screaming fans. There’s one fan who has plans to do more than just watch, though. Evil biker gang leader Raven Shaddock (Willem Dafoe, looking like Satan crossed with Richard Ramirez) kidnaps her as the last notes of her song drift away, his gang terrorizes the streets and disappears off into the night with poor Ellen as their prisoner. The locals need a hero to go up against Raven and rescue Ellen, and so estranged badass Tom Cody (Michael Paré) is called back to town after leaving years before. He’s a strong and silent hotshot who takes no shit from no one, and is soon on the rampage to Raven’s part of town. He’s got two buddies as well: two fisted, beer guzzling brawler chick McCoy (Amy Madigan), and sniveling event planner Billy Fish (Rick Moranis). That’s as much plot as you get and it’s all you need, a delightful dime store yarn with shades of The Outsiders and a soundtrack that will have your jaw drop two floors down. The two songs which Ellen sings are heart thumping legends. ‘Nowhere Fast’ gives us a huge glam-rock welcome into the story, and ‘Tonight Is What It Means To Be Young’ ushers us out with a monumental bang before the credits roll, and damn if Hill doesn’t know how to stage the two songs with rousing and much welcomed auditory excess that’ll have you humming for days. Paré is great as the brooding hero, and you won’t find too many solid roles like this in his career. He’s a guy who somewhat strayed off the path into questionable waters (he’s in like every Uwe Boll movie) but he pops up now and again I’m some cool stuff, like his scene stealing cameo in The Lincoln Lawyer. Dafoe clocks in right on time for his shift at the creepshow factory, giving Raven a glowering, makeup frosted grimace that’s purely vampiric and altogether unnerving. Him and Paré are great in their street side sledgehammer smackdown in the last act. Bottom line, this is one for the books and it still saddens me how unfavorably it was received… like what were they thinking? A gem in Hill’s career, and a solid pulse punding rock opera fable. Oh, and watch for both an obnoxious turn from Bill Paxton and a bizarre cameo from a homeless looking Ed Begley Jr.

B Movie Glory with Nate: 2103 The Deadly Wake

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2103: The Deadly Wake strives to stand out from the B-movie masses by giving turning it’s straightforward sci-fi concept somewhat on its head. It’s set in the very distant future, in which earth’s oceans have become so contaminated that they have all taken a gaseous form, with corporations sending forth spaceship type vessels that deliver goods and wage warfare. They resemble submarines basically sailing through colored fog, and it’s one of the neatest and adorably ambitious futuristic settings I’ve seen. Malcolm McDowell is damn excellent in a rare hero role as Captain Sean Murdock, a salty old sea dog who lost a ship years before and is somewhat disgraced. Forlorn and fed up, he’s in a slump when hired to transport a massive ship across the ocean, with a mysterious cargo that’s guarded by a sinister mercenary and security expert  (Michael Paré). Usually in this type of thing it’s Paré as the hero and Mcdowell as the villain (which has actually happened in Roland Emmerich’s Moon 44), but here they pull a Tarantino and switch up the type casting which is wonderful to see and makes for a fresh vibe. Paré works for the sultry, sleazy (Heidi Von Palleske), the company CEO who wants an eye kept on the cargo hold. Paré and Mcdowell bit heads, there’s murky conflict and the ship’s Artificial Intelligence engine is called B.A.B.Y. and is quite literally a fetus in a big gooey tank with wires attached to its brain. If that isn’t worthy of a medal in the ambition department I don’t know what is. Theres an odd sort of climactic fight scene that plays like a dream and doesnt involve fighting at all really, more like just a laser show with strange dialogue. Despite it being set in the future there’s a nifty retro style, with soldier uniforms and the darkly poetic tone almost calling forth the sensibility of the 40’s. I was reminded of Titanic in scenes, but that could be my weird cinematic free association. This one’s a keeper for fans of off kilter, under the radar oddities.