Tag Archives: Mickey Rourke

Actor’s Spotlight: Nate’s Top Ten Brittany Murphy Performances

Brittany Murphy had a look and a talent that jumped off the screen wherever she was seen. She made an apparent effort to pick edgier, more challenging roles in distinct, darker projects and as such her career is speckled with some truly interesting appearances. That’s not to say she didn’t know how to carry herself in the odd RomCom or straightforward drama, which she did here and there too. But it was that adaptable nature, that obvious magnetism and passion for unconventional films and frequently playing broken, troubled individuals that made her so magical onscreen. She left us far too soon but her work remains, and here are my top ten personal favourite performances!

10. Tai in Amy Heckerling’s Clueless

A surprise 90’s sleeper hit, the trio of Murphy, Stacey Dash and Alicia Silverstone as three teenage girls coming of age is a charmer thanks to all their performances, hers being the standout.

9. Fay Forrester in Penny Marshall’s Riding In Cars With Boys

Everyone is dysfunctional in this off kilter, bittersweet drama showcasing a woman (Drew Barrymore), her family and everything that befalls them. Murphy is bubbly, sweet, neurotic and adorable as her friend Fay who struggles equally as hard and deals with it in hilarious ways, like belting out off key solos at a wedding.

8. Izzy in The Prophecy II

Right as Izzy and her boyfriend deliberately crash their car into a wall and commit suicide, Christopher Walken’s scheming Angel Gabriel shows up to grab her soul and help him out in a few endeavours. She gives the dark situation a comedic touch here, it’s a nice riff on ‘suicides become civil servants in the afterlife,’ plus she has terrific chemistry with Walken.

7. Daisy in James Mangold’s Girl Interrupted

In a powerhouse female cast with people like Angelina Jolie, Winona Ryder and Clea Duvall, Brittany holds her own as an outcast of the group with a sad history of sexual abuse, bulimia and Obsessive Compulsive Disorder. She has a complex relationship with her father who mistreats her and a corrosive one with Jolie’s wild card Lisa that ultimately ends her arc in tragedy. Murphy handles it with maturity and a clear sense of character the whole way.

6. Jody Marken in Cherry Falls

The Scream franchise gets all the slasher spoof accolades but this underrated gem is well worth checking out. Set in a small Virginia town where a serial killer is targeting virgins, you can imagine how it goes. She plays the daughter of the local sheriff here (Michael Biehn) and gives a tough, magnetic turn in a very subversive piece of hysterical genre satire.

5. Veronica in Phoenix

A wayward Arizona teen who crosses paths with a corrupt vice cop (Ray Liotta), its an uncomfortable case of daddy issues run amok in a hot blooded desert film noir. Her mother (Anjelica Huston) knows reprehensible behaviour when she sees it, both on her daughter’s part and Liotta’s. She’s great in scenes with both these acting titans and demonstrated early on her natural talent and ability to control a scene almost effortlessly.

4. Rhonda in Matthew Bright’s Freeway

When Reese Witherspoon’s fearsome protagonist Vanessa finds herself in juvie lockup, Murphy’s Rhonda is her cellmate of sorts, and she’s quite something. Twitchy, off kilter and slightly disassociated, we kind of wanna know why she’s in there too, until we find out and regret it. This is probably the most distinct and oddball character work she has done, replacing her usual bubbly nature with a sly, ever so slightly menacing smirk and creepy mannerisms that bounce hilariously off of Witherspoon’s deadpan acidity.

3. Shellie in Robert Rodriguez’s Sin City

As saloon barmaid with questionable taste in men, Shellie can be forgiven for the simple fact that every single man *in* Sin City is questionable in nature. Embroiled in a sweaty love triangle between hard-ass Dwight (Clive Owen) and nasty corrupt cop Jackie (Benicio Del Toro), she gives her scenes a slinky, nervous yet in control quality and suits this world nicely.

2. Nikki in Jonas Åkerlund’s Spun

Spun is a delirious, heavily stylized and chaotically brilliant look at a day in the life of LA meth junkies, one of whom is Murphy’s Nikki. She’s dating a meth cook twice her age (Mickey Rourke) and can’t seem to figure out why her dog’s fur is green, so needless to say her life is somewhat in shambles. She finds the manic, buzzing energy here alongside a wicked awesome cast, giving Nikki a tragic edge that cuts deep past all the posturing and ditzy fanfare.

1. Elizabeth Burrows in Gary Fleder’s Don’t Say A Word

Psychologist Michael Douglas is called in to evaluate her character here, a highly disturbed teenager who hides behind a shellshocked, twisted facade and guards closely the reason for her damaged mind. Years before she witnessed her father die at the hands of a ruthless killer (Sean Bean) and knows that one day he’ll come back for her. Despite being younger than a good portion of her scene partners throughout her sadly short career she always found energy and potency alongside them and quite often stole scenes. Such is the case in her interplay with Douglas here, a harrowing set of mind games meant to smoke the truth out of her and constant ditch efforts on her part to avoid facing the past. Brilliant performance in a solid thriller.

Thanks for reading and stay tuned for more!

-Nate Hill

GLORIOUS FURIOSITY: An Interview with Tamas Nadas by Kent Hill

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In this current climate where blockbusters saturate the public consciousness, it is encouraging indeed to see there is still an independent movement – and not only is it alive, but it is flourishing. One of the brightest stars in our indie cinematic heaven at the moment is the fiercely-driven man of many talents, Mr Tamas Nadas.

Tamas is a three-time world champion and eight-time European Champion – that on top of being a former US National Brazilian Ju-Jitsu Champion. In 2017, he won both a silver and bronze medal at the World Police & Fire Games (the second biggest tournament in the World after the summer Olympic Games). In 2018, he was inducted into the US Martial Arts Hall of Fame, and has since been developing projects for his production companies, Busy Day Productions and Dark Road Pictures

His production titled, FIERCE TARGET, is a lightning-paced, action extravaganza that tells the story of a rebel car thief who helps an imperiled 12-year-old girl. As their two worlds collide they are soon marked for death by a corrupt Senator, who orders his security team to conduct a ruthless campaign to erase them both from existence.

A cross between a couple of vintage offerings from ‘The Stath’ (The Transporter, Snatch), tossed into the blender with intense character driven, innovative, kick-ass action – well ladies and gentlemen – you have yourself all the makings of a bloody grand old time at the movies. Rounding out the luminous talents behind this finely crafted throwback to those beer, buddies and bad food action movie nights we have: Chloe Gunther Chung, Tamas Nadas (Millennium Bugs), Emilio Lavizzi (The Exchange), Bryan Hanna (Mega Shark vs Kolossus), Fabrice Sopoglian, Thom Mulligan (RoboWoman), Don Worley, and more. Written and directed by Emilio Lavizzi.

Tamas Nadas and Emilio Lavizzi both made the journey to the land of the free and the home of the brave for the same reason: to become actors. Meeting in California, they began this journey together, and the fruits of their labors are now pristine examples of how awesome a film can be if its makers are big on passion instead of budget. Fierce Target was written while Emilio lived in South of France. Inspiration lingered in the form of those machismo-dripping action/martial arts flicks that never shone like they did in the 80’s and ’90s. The fight choreography was made spartan, infusing the action with a gritty undercurrent.

Casual fans and aficionados alike of indie action goodness – I urge you most fervently to seek out, and above all enjoy, Fierce Target, and my chat with this kick-ass action-moviemaking maestro on the verge of glory…

FOR MORE VISIT:

https://www.facebook.com/FIERCE-TARGET-122459491923/

 

Harley Davidson & The Marlboro Man

Some action movies are so over the top they sort of become fantasy by accident, so overcharged, chromed up, packed to the brim with bar fights, motorbikes and sexy chicks that they seem to exist on a plane where only those things exist, like they sprung forth from a shared dream that Bon Jovi and Patrick Swayze from Roadhouse are having. Harley Davidson & The Marlboro Man is one such movie and really deserves a legacy of more acclaim than its gotten. It’s a road movie, a biker flick, a high powered ultra violent action palooza, a buddy film and almost a satire of itself at times in its own earnestness.

It opens with Bon Jovi’s Wanted Dead Or Alive as Mickey Rourke’s impossibly cool Harley Davidson hops on his bike and heads up the coast to the city that raised him, intent on bringing hell with him. He reunites with his old buddy the Marlboro Man (Don Johnson) and together they set out save their pal’s bar from an aggressive Big Bank, until one wrong move starts a literal war with them and they’re forced to shoot, stab, bicker and banter their way out of close calls, near misses, hijackings and explosion after explosion. Rourke has publicly talked shit about this film and claims he only did it for the money but it’s his loss to not take credit because Harley is one of the most badass creations of his career. He’s a devil may care urban warrior with a slick outfit and even slicker one liners. Johnson goes scruffy as the sharpshooter of the pair, a rough hewn, world weary old school cowboy who can’t stand Harley’s impulsive decisions but keeps tagging along on the misadventures they cause. Tom Sizemore does his ice cool villain shtick awesomely here as Chance Wilder, the worlds most evil Banking CEO, calmly chewing scenery like a viper and deploying a bulletproof trench coat clad Daniel Baldwin to dispatch our two heroes. This thing is casted to the nines as well with supporting turns from Chelsea Field, Vanessa Williams, Giancarlo Esposito, Big John Studd, Kelly Hu and Tia Carrere as Sizemore’s slinky second in command.

They don’t really make films like this anymore, unless it’s a knowing, tongue in cheek throwback from someone who admires and misses the aesthetic. This thing is built of bourbon, beer, chrome, blood, bullets, sexy chicks, cigarettes and a whole lot of attitude, and I fucking love it to the bones. There’s countless iconic 80’s buddy pair-ups from Nick Nolte/Eddie Murphy to Mel Gibson/Danny Glover and they all rock the house but I feel like Rourke and Johnson in this are not given enough love. Regardless of whether they just did it for the money or whether they got along on set (they didn’t, apparently), they have a macho chemistry and easygoing rapport that is both believable and irresistible. This one gets a bad rap and the reviews have never been kind, but fuck all that. It’s not meant to be taken so seriously and is the very definition of a fun flick, a raucous modern western full of stylized violence, barroom soundtrack picks and all round rough n’ tumble shenanigans. Good times.

-Nate Hill

Gela Babluani’s 13

Many directors remake their own films, with varying results. But some foreign made stuff just doesn’t translate well into Hollywood from its more abstract, Euro-centric sensibilities and unfortunately Gela Babluani’s 13 falls victim to that, and hard. You can gloss it up all you want with studio dollars or cast as many heavy hitter actors to pad the lining, but if you do the shot-for-shot thing and ape what you did the first time around, it can just feel weird, awkward and unbecoming. I’ve never seen the original film (also called 13) but I could just simply tell by the structure and tone here that Babluani tried to literally translate his initial piece and the results are just plain bizarre.

This story tells of a super scary underground Russian roulette competition in which handlers enter mentally unstable rejects into an intense round robin of revolvers to the head, with maniacal sports commentator Michael Shannon playing ringmaster and chewing more scenery than he did in The Shape Of Water, which is really saying a lot. Sam Riley, an actor I’ve always greatly admired and seen as underrated, plays a young dude who’s down on his luck and enters this ordeal not fully knowing what he’s up against. The thing here is that several standalone aspects really do work and are interesting, but they’re too episodic and disjointed to pulley the film together into something that makes sense and doesn’t feel cobbled together from used parts. Mickey Rourke is terrific as a jaded ex-con competitor who’s just looking for a way out, but he classes up anything he’s in as a given. Jason Statham plays a posh handler whose fighter (Ray Winstone, also great) is an unhinged lunatic. 50 Cent is also there because I’m pretty sure there’s some clause in low budget genre films where he has to appear in every third one or something (seriously, look at his IMDb). The great Ben Gazzara turns up, obviously wracked with the illness that would end him a few years later, but you’ve gotta hand it to the guy for showing up at all given his condition. Others are around including Alexander Skarsgard, David Zayas, Wayne Duvall and Emmanuelle Chriqui but they’re mostly lost in the shuffle.

The scenes of Russian roulette are intense enough but not too affecting because we don’t give a shart about the characters, apart from perhaps Rourke. This ain’t no Deer Hunter in terms of scenes like that. Your best bet is to check out the original I suppose, which I still have to do. This one has a fantastic cast who are all just tossed to the wind in a flurry of shoddy editing and suspiciously slapdash storytelling. Shame.

-Nate Hill

Tony Scott’s Man On Fire

Tony Scott’s Man On Fire is one of those films I can watch time and time again and never get tired of, a magnificently melancholy tale of south of the border justice, criminal intrigue and a tequila shot of pulpy, blood soaked style that gets me every time. It’s loosely based on a 1987 film of the same name starring Scott Glenn, Jonathan Pryce, Danny Aiello and Joe Pesci (there’s a random lineup) but Scott intrepidly branches off into new territory, and thank the gods for his vision. This was the first film where he really explored that sketchy smokehouse of an aesthetic that he would later take to angelic heights with Domino. Colors blur and saturate, editing rockets by with the force of a bullet in a storm, subtitles appear arbitrarily and seemingly of their own volition. It’s a jarring tool set that he employs, and many abhor it. I’m as in love with it as he was though, and whether to throw us right into the protagonist’s psyche or simply because he felt the need to paint his pictures this way, the rest of the films in his remaining career carried the DNA, in varying doses. Fire is the key word for this film, in many of it’s forms. There’s a smoldering ember in Denzel Washington’s John Creasy that is fed by the winds of corruption as the film progresses, erupting into a blazing inferno of violence and fury. Creasy is a broken man, haunted by the questionable, never fully revealed actions of his military past. “Do you think God will ever forgive us for what we’ve done” he grimly asks his old war buddy Rayburn (a scene stealing Christopher Walken). “No” Rayburn ushers back curtly. It’s at this heavy nadir we join Creasy, lost in a sea of alcohol and guilt, an unmooored ship with a shattered hull looking for both anchorage and repair. Rayburn hooks him up with a bodyguard gig in Mexico City, keeping the young daughter of a rich businessman (Marc Anthony, terrific) safe from the very real threat of kidnapping. Dakota Fanning is compassionate, precocious and endearing as young Pita, who spies the wounded animal in Creasy right off the bat and tries to make friends. Creasy draws back in reluctance, but eventually warms up. I love the pace of this film to bits. It spends nearly half of its hefty running time simply getting to know these two characters, forging a bond between them before the inciting incident even looms on the horizon. And when the kidnapping occurs, as it must, the stakes are high as can be and our investment level in the situation is paramount. Setting up character is so key, and Scott nails it with scene after scene of quiet and careful interaction. Then he yanks the lid off the pot, as Pita is snatched in broad daylight, Creasy is shot and the kidnappers vanish into thin air. Pita’s mother (a soulful Radha Mitchell) works with the dodgy Mexican authorities and her husband’s lawyer Jordan (a sleazy Mickey Rourke). Creasy has other plans. Once healed, he embarks on a mission of fury and vengeance, knocking down doors, removing limbs, inflicting gratuitous bodily harm and using every technique in his training (believe me, there are some interesting ones) to track down those responsible and get Pita back. Washington does all this with a calm and cool exterior, letting the heat emanate from every calculated syllable and intense glare. The descent into Mexico City’s criminal underworld is a grisly affair, and all sorts of ugliness is exposed, shredded through the caffeinated prism of Scott’s lens. Two cops do what they can to help Creasy, idealistic Guerrero (Rachel Ticotin) and battle hardened Manzano (the always awesome Giancarlo Gianninni). It’s Creasy’s show though, and he blasts through it like a righteous hurricane of blood and bullets. Scott’s films have a knack for ending in over the top, Mexican standoff style shootouts, but the man subverts that here, going for something far more sorrowful and atmospheric, ending an intense tale on notes of sadness and resolute calm, gilded by the aching tones of songstress Lisa Gerrard and composer Harry Gregson Williams. Walken provides both comfort and catharsis, the only beacon of hope for Creasy other than Pita. Unlike John, Rayburn has moved on from the horrors of their past, but one still sees the trauma in his soul when he looks John in the eye and gets hit with what is reflected back. Tough stuff to get right, but hey, it’s Walken we’re looking at here, and he’s brilliant. Rourke has little more than an extended cameo, but his flavor is always appreciated, and he’s great too. I had no idea Anthony had the chops he exhibits here, but I loved his arc as well and he holds his own in a blistering confrontation with Creasy. Washington is an elemental beast, shadowing what’s left of his humanity under a cloak of booze and brooding contemplation, until he’s coaxed out by the life saver Pita is. Then he’s a lion, riding guns out into a ferocious swan song of a sunset that may just hold rays of redemption for him. This is Scott at his best, his unique brand of storytelling at its height, his creative juices a canister of lighter fluid set aflame with genius and innovation. A masterpiece.

-Nate Hill

Roger Donaldson’s White Sands

Somewhere out there in the gypsum dunes of New Mexico there’s White Sands, a long lost, slightly unfinished yet captivating neo-noir about small town law enforcement, big time gun runners and everyone else who gets caught up in between. Willem Dafoe is Ray, a bored rural sheriff who sees a way out of the dusty hum drum when an apparent smuggler turns up dead on his watch out there in the national park, prompting him to steal the guy’s identity and dive headlong into the illicit arms business with no real crash course or idea of what he’s doing. A risky move that propels the film down an exciting, sexy, ambient journey of untrustworthy alliances, atmospheric shootouts and a dangerously charming Mickey Rourke as Lennox, the kind of reptilian criminal who’s so good at seducing you into the lifestyle that you don’t realize you’re in the snake pit until it’s almost too late. Dafoe and Rourke have shared the screen aplenty before and while my favourite team up has to be their cartel duo in Robert Rodriguez’s Once Upon A Time In Mexico, this film certainly takes second place honours. They just work so well on camera together, a shaky bromance built on Ray’s deception and Lennox’s unpredictable penchant for violence that proves electric as the narrative weaves around them. The always phenomenal Mary Elizabeth Mastrantonio plays an underworld connection who Ray unwisely gets steamy with in probably one of the hottest sex scenes of the 90’s and a complete false advertisement for the success rate of getting it on in the shower. Samuel L. Jackson has a fantastic early career villain role as the kind of corrupt FBI agent in whom it’s very unwise to place trust, and watch for others including the great Maura Tierney, M. Emmett Walsh, James Rebhorn, Beth Grant, Miguel Sandoval, Jack Kehler, Mimi Rogers and a sneaky unbilled double cameo from Fred Dalton Thompson and the inimitable John P. Ryan as slick arms dealers. The setting of White Sands park plays such a role in atmosphere here; the ghostly sight of white sand dunes brings about the thought that something is out of place, rare in nature and the same can be said for Dafoe’s affable sheriff thrown into a mixing pot of big city psychos and genuine menace, a fish out of water shtick that pulls you in the more accustomed to this netherworld the man gets. How about that knockout original score from Patrick O’Hearn too, who only composed for a handful of things since, it’s a hazy, melodic set that suggests both the beauty and danger lurking out there in the Sands, especially in the simmering climax where several characters meet poetically grisly fates. I do have a few minor issues with this film, it could have been at least fifteen minutes longer and rounded out the epilogue with Dafoe’s arc clearer, it almost feels like there’s a missing reel or some editing glitch that marred the final product just a tad, but it doesn’t hurt the film too much overall. This is a lost classic for me, a gorgeously specific film noir with some of my favourite actors giving some of their most fun, playful work, the aforementioned score and some cinematography that won’t quit. Great film.

-Nate Hill

Francis Ford Coppola’s Rumble Fish

Francis Ford Coppola’s Rumble Fish is a gorgeous, star studded look at street hoodlums of the 1950’s through a strange, dreamlike prism of off kilter dialogue and mesmerizing characterization. It’s based on a book by S.E. Hinton, who also wrote The Outsiders, which Coppola adapted as well, this one is a bit of a different animal. Where one might expect a grounded, topical, straightforward script and narrative, we’re instead treated to a lyrical, dense and almost experimental tone. Characters exude archetypal charisma that is stunningly thrown off balance by the poetic, otherworldly dialogue that’s at times almost inaccessible, but always feels intuitively… right somehow. It’s as if The Outsiders went to sleep and had a dream, functioning on a similar yet highly unconscious plane. Once you get accustomed to such an aesthetic, it’s a film to draw you in and give you poetic dreams of your own. Young Matt Dillon is Rusty Ryan, a naive upstart with dreams of notoriety in the worn doldrums of his urban sprawl neighbourhood. He lives under the intense reputation of his older brother, known only as The Motorcycle Boy (Mickey Rourke). Rourke is at the peak of his moody blues James Dean phase here, and commands the screen with a laid back abandon and smirking charm. He gets romantically involved with angelic local beauty Patty (young Diane Lane, stunning), and deals with his loveable deadbeat father (Dennis Hopper). The scenes between Hopper, Dillon and Rourke have an easy swing to them, and the three inhabit a lived in dynamic that strengthens their characters, individually and as a group. Rourke is under the suspicious eye of robotic, violent local cop Patterson (William Smith), who is just waiting for him to step out of line. Dillon and his thug pals, including Nicolas Cage, Chris Penn and Vincent Spano, daydream their days away pining for the oft talked about days when gang warfare was commonplace. There’s a splendid supporting cast including Laurence Fishburne, Sofia Coppola, Diana Scarwid and Tom Waits, mumbling sweet existential nothing’s to themselves in the local diner, the silent streets and other beautifully shot locations. The film is shot in wistful black and whites with the vivid exception of the titular rumble fish, who appear in vibrant hues to accent their metaphorical presence. The film exists in a realm of heightened emotions where the characters all seem to be a little larger than life, but nevertheless human. There’s a gorgeous, entrancing surreality to it too, a free flowing, dreamy vibe of chrome on asphalt, lazy afternoons and long glances at pretty girls in windows. An unconventional masterpiece.

-Nate Hill