Tag Archives: monster

Actor’s Spotlight: Nate’s Top Ten Scott Wilson Performances

Scott Wilson was one of those actors who showed up on screen and before you even heard him speak you wondered what thoughts, feelings and history were behind those introspective features. Whether playing cowboy, cop, criminal, family man, mayor, general or anyone else he always brought a measured, contemplative grit and grace equilibrium to his his work and consistently stood out. Here are my top ten favourite performances!

10. Frank Reasoner in FX’s Justified

Amidst a rogues gallery of fantastic character actors playing criminals, creeps and rapscallions, Scott stands out as a senior citizen tethered to an oxygen tank with one last heist in him, do or die. He’s essentially a decent guy whose plan goes pretty disastrously and he’s inevitably collared by Raylan Givens (Timothy Olyphant) after a, shall we say, leisurely chase. He wistfully outlines his intentions, regrets and and eventually concedes to the law in a very memorable one episode guest arc.

9. General George C. Marshall in Michael Bay’s Pearl Harbour

He’s basically here in a cameo delivering military exposition to President Roosevelt (Jon Voight), but it’s one of the first things I remember seeing him in as a kid, his grave demeanour and poised line delivery steals the scene from a room packed with venerable talent.

8. Abel Johnson in Netflix’s The OA

This was his last role before passing on and indeed he can be seen in one last season two episode that aired in 2019 a year after his death, which is a nice touch. He and the great Alice Krige play adoptive parents to protagonist Prairie Johnson (series co-creator Brit Marling). Their journey is a complicated, elliptical and metaphysical one that’s often sad and fraught with suffering but he blesses this character with a gentle paternal energy. I’m still so pissed that they cancelled this after only two seasons but that’s another story.

7. Hershel Greene in AMC’s The Walking Dead

Sometimes you don’t get international acclaim and ComicCon level attention until you’re in the vicinity of like 80 years old but hey better late than never. His stoic, vulnerable yet badass turn as farmer and family man Hershel blew up his career as an actor, prompting him to make many visits to conventions all over the world, including my city of Vancouver. I was able to meet him and he was every bit the gentleman, sage and class act I always knew he’d be.

6. Horton/Last John in Patty Jenkins’ Monster

Another brief cameo but one that speaks volumes. Serial killer Eileen Wuornos murdered many men in her spree, some that probably deserved it and others that were total innocents. Horton is just an old man driving across country to visit family when he has the unfortunate luck to run into her. His tearful pleading and telling her he has children is one of the most haunting, heartbreaking scenes of the film and even brings out a note of chilling complexity in Theron’s performance too.

5. C.O. Salem in Ridley Scott’s G.I. Jane

One of the all time great drill instructors in cinema, Salem is a sassy, back talking prick with a wry sense of humour and an unwillingness to take shit from anyone, even a manipulative bitch senator (Anne Bancroft) who tries to give him the gears. With a snappy comeback for everything and no shortage of attitude, he’s tough but ultimately fair on Demi Moore’s character who has quite the gauntlet of a character arc to get through.

4. Norman in Krzysztof Zanussi’s Year Of The Quiet Sun

This melancholic postwar romance sees an American soldier (Wilson) stationed in a decimated Polish village sometime after WWII where he falls in love with a local woman (Maia Komorowska). They seem destined to meet yet challenged by circumstance and the still felt affect of the war. He approaches this character dutifully, quietly and with care, it’s worth seeing as it was one of his only romantic lead roles.

3. Eugene in Phil Morrison’s Junebug

This small town family drama sees him play a quiet husband and father who exists mainly in his own headspace, and in his secluded woodworking shop. This is during a time when things begin to change for the clan and his son (Alessandro Nivola) brings home his new wife (Embeth Davidtz). The dynamic is fascinating but most so in Wilson’s work, especially when he makes a wood craft for his daughter in law, doesn’t end up giving it to her and leaves us wondering what it’s like for him internally. One girl at the convention I was at asked him about this part of the arc and his response was as astute and intuitive as this perfectly calibrated performance is, an answer which I’ve provided a YouTube link below so that you might hear it from the man himself:

2. Dick Hickock in Richard Brooks’ In Cold Blood

Based on Truman Capote’s infamous true crime novel drawn from knowing these two real life killers for a time, Wilson and Robert Blake have magnetic, chilling chemistry as these two wayward men who commit an unforgivable crime seemingly because they just have nothing else better to fill their time up with. Blake is the intense one while Scott brings a sort of breezy, nonchalant vibe that just barely masks the raging turmoil beneath.

1. Judd Travers in Shiloh, Shiloh 2 and Saving Shiloh

This is the performance I grew up watching and the one that made me such a fan of Scott’s work. Judd is a mean, broken down man with a drinking problem, a violent streak and no end of troublesome behaviour in him. But he’s also an abuse survivor himself and as this surprisingly mature and adept trilogy of children’s films unfold we see the man at his worst and also what’s left of his best, we see how local kid Marty Preston and his dog Shiloh can somehow find some kindness and compassion in Judd by showing him some of their own. It’s a tragic, overlooked performance in American cinema and perhaps the most affecting work he did his whole career.

-Nate Hill

Russell Mulcahy’s Razorback

Russell Mulcahy’s Razorback is a dusty old monster flick set in the doldrums of Australia, and features a gigantic murderous wild boar that terrorizes local townsfolk and carries off infants into the night. It’s silly, it drags on in places and has two of *the most* irritating human antagonists, but there’s some really neat practical effects, an atmospheric dream sequence that is like a brilliant little short film within the whole, and some creaky production design that gives it personality. It’s just the human element that suffers a bit in these type of films, and very much so here. I’ve often wondered how cool it would be if they did a creature feature where the humans are almost entirely without dialogue or forced, unnecessary idiosyncratic scenes that don’t succeed in getting us invested, but rather annoyed with them. The writing is never great in stuff like this, so why have much, or even any at all? Just my two cents. The best to be found here is some gorgeous outback cinematography, moody interludes of dust-bucket scenery and a really great original score that kicks up the synths in aforementioned dream sequence. I’ve heard that they spent 250 grand on the animatronic boar beastie, which we only get to see in full in the last part of the third act, which is of course the tradition here, but they could have benefitted from more schlock and tusk action way earlier on to stir the pot and make it more interesting. On the plus side, I also heard that Steven Spielberg gave Mulcahy a phone call after seeing the film and asked how he managed to achieve the FX in the dream sequence, which is praise enough, as it’s a wickedly tactile little nightmare. While not in the sterling tier of monster films or horror flicks for me, it has its charms in places, and it’s yawn moments in others.

-Nate Hill

Stephen Sommer’s Deep Rising: A Review By Nate Hill

  

Stephen Sommers’s Deep Rising is some of the most fun you’ll have watching an overblown action horror spectacle, if that’s your type of thing. It plays the slimy underwater alien formula to the hilt, an epic and very funny gory swashbuckler that is sadly very underrated and not too talked about these days. It’s ridiculously watchable, insanely gory and punctuated by one liners and quips that work so well in the flippant context of the script. The story concerns a band of nasty sea pirates who plan to hijack the world’s largest ocean liner cruise ship, and all the riches onboard. They arrive to find the vessel empty of any passengers, and full of something they’ll wish they never came across. A massive and very icky underwater predator has eaten everyone onboard and now has turned its attention to the newcomers. They are picked off one by one in deliciously grotesque kills that show director Sommers in his little seen R rated mode. Treat Williams is a hoot as John Finnegan, a sort of cross between Indiana Jones and Bruce Campbell, a soldier of fortune and adventurer with a vernacular chock full of wiseass quotes and idioms that tickle the funny bone no end. He’s got a sidekick named Joey Pantucci (Kevin J. O Connor slays it) and a girlfriend named Trillian St. James (isn’t that the best name ever?) played by Famke Janssen in a fierce, sexy and capable turn as the chick with the gun that everyone loves. The trio make the film dizzyingly entertaining and you find yourself wishing you could hang out with them longer once it’s over. There’s a snivelling villain played by the always smarmy Anthony Heald, and the ragtag group of pirates are brought to life by distinct personalities such as Jason Flemyng, Cliff Curtis, Clifton Powell, Djimon Hounsou and the great Wes Studi. Sommers is a seriously underrated director. He spins loving odes to the adventure films of Old Hollywood with passion, wonder and the spark of imagination in spades. And what does he get? Critically and commercially spat on, time and time again, with some of his films not even getting a proper release (don’t get me started on the masterpiece that is Odd Thomas). Hollywood and the masses don’t deserve him and his toiling, thankless work, and yet he soldiers on. What a guy, and what a stellar filmmaker. This ones a testament, a rollicking, bloody piece of creature feature bliss that never fails to knock my socks right the hell off.
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