Tag: movie

Walter Hill’s Tomboy: A Revenger’s Tale

by natewatchescoolmovies, posted in Film Review


Walter Hill’s Tomboy: A Revenger’s tale went through a few different titles, first Tomboy, then (Re)assignment, and has been quietly released this week under the simple and bland ‘The Assignment’, which tells you nothing of how batshit crazy it is. It’s a film I’ve waited to see a long time, partly due to its controversial, bizarre premise (it’s been boycotted already), and partly because it marks the return of action guru of yesteryear, the great Walter Hill. I’m sad to say the final product is somewhat underwhelming, aside from a few key elements that shine through the dour mood, the best being star Michelle Rodriguez, in her first leading role since 2000’s Girlfight. Here she plays Frank Kitchen, a scumbag of an assassin who takes his orders from wiseguy mobster ‘Honest John’ (Anthony Lapaglia, quite fun in the film’s only other decent performance). Frank is a creature of brutal instinct, a street rat and cold blooded killer with a taste for bullets, booze and blonde bimbos, basically the finer things in life. So, Michelle Rodriguez as a man. This could have gone either way, and she herself, always having a somewhat masculine presence anyway, does fairly well. She can only do so much with the makeup and prosthetics she’s given though, and let me tell you, they are horrendous. Sporting a ponytail, goat’s pube beard and plastic looking Ken doll torso, she’s a shining beacon of amateur hour from the effects team, for the first third of the film, impossible to believe as a dude. Anywho, ‘Honest’ John proves to be anything but trustworthy, double-crossing our Frank and delivering him into the hands of a rogue plastic surgeon played laughably by Sigourney Weaver, who has quite the bone to pick with him. Here is where it gets nuts: Weaver forcibly performs a gender reassignment surgery on Frank, turning him into a woman to release him from his ‘macho prison’. Frank wakes up with brand new lady parts, the prosthetics all gone and Michelle in her final form, ready to dole out vengeance on both John and the surgeon. This is all told in retrospect of course, as Weaver sits in a padded cell and blathers on and on to a wormy psychiatrist (Tony Shaloub), about the philosophical nature, the lofty how’s and why’s that fuelled her actions, while the audience is sitting there going, “Nah bitch you just crazy.” It’s all the sleaziest fare, and doesn’t work as well as a premise like this should, but there’s something about the gritty sight of a post surgery Michelle wandering around in a hospital gown, tits loose and waving a gun around that has potential and may have done well in a better film. As far as the concept itself goes, anyone who arches their back or (lol) boycotts this film is expending unnecessary energy; it’s a down n’ dirty B movie throughout, never meant to be taken seriously one bit. It’s just a shame it wasn’t more fun. 
-Nate Hill

James Cameron’s Aliens 

by natewatchescoolmovies, posted in Film Review


Each of the four Alien films has their own distinct and noticeable personalities. Ridley Scott’s original creeping horror show is a tense, streamlined, gracefully vicious film that slinks along at its own pace, not unlike the resident feline Jonesy who wondered about on the spaceship Nostromo back then. If Alien has the qualities of a cat, James Cameron’s Aliens has those of a rambunctious puppy dog, a rip snortin, go get em action backyard barbecue knockout that runs up and gives the audience a big wet slimy kiss. All animal metaphors aside (I’m running out of oh-so-clever ways to open my reviews, ok? Been at this shit for two years now), Cameron’s film is an undisputed classic, still jaw dropping to this day, even after what feels like hundreds of viewings, nostalgic yet fresh in different ways every time, and simply one of the best films ever made. It’s the gold standard for creature feature sci fi too, and while many argue whether or not it in fact outdid Scott’s original white knuckler, I can’t bring myself to be petty and pick favourites out of the quadrilogy, I love them all for a whole bunch of reasons. Aliens picks up quite a while after the catastrophic events of the first, with Ripley floating around in that cryo-pod for way too long, until she happens to cruise past earth, crossing the vision of the Weyland/Yutani corporation once again. Because they always make astute, well thought out choices, they decide to send a research team, accompanied by a very reluctant Ripley and a group of hoo-rah, bull in a China shop colonial marines to far off industrial exomoon LV-426, where they have lost communication with the settlers. After a brief, clammy build up, all hell breaks loose, and we get to see the full impressive extent of Cameron’s skill as a visual storyteller, as well as the oh-so-gooey, inspire practical effects work that brings those gorgeous Xenomorph beauties to snarling life. The cast is the epitome of badass, as we are constantly reminded of by Bill Paxton’s Hudson, the film’s resident squirrel who gets hilariously skittish when things get dicey (“game over, man!” Will never not out a big, Paxton sized grin on my face), but who heroically holds his own once he gets his sillies out. The other side of that coin is Corporal Dwayne Hicks (Michael Biehn, never slicker), cool as ice, shaken by nothing, including an atmosphere entry landing that would make Alfonso Cuaron pee himself, but doesn’t come close to disturbing Hick’s afternoon nap. Every Alien team must have an artificial human, some of which are trustworthy, and some not. Lance Henriksen’s Bishop is as solid as they come, never losing his head (despite being reduced to a puddle of spilt dairy product) and sticking by Ripley’s side until the bitter, hectic end. Ripley herself is a little older, a little wiser and a lot tougher, her intensity calcified into grit after losing her daughter, and given somewhat of a surrogate in the form of Newt (Carrie Henn) an orphaned child who has survived months living like a rodent in the air ducts. “They mostly come at night… mostly” she eerily warns Ripley. Oh boy, do they ever. LV-426 is positively teeming with them, and they show up to provide speaker shattering, pixel scattering action like only Cameron can do. The facehugger in the room sequence is still one of the most terrifying sequences in any film, and serves to make you hate Weyland weasel Burke (Paul Reiser) with that deep loathing reserved for the scummiest traitors in film. The final thirty minutes of the film are a showcase of action cinema, and it’s amazing to think they pulled off the Queen fight without any cgi back then, a slam-bang marvel of a climax that fires on a thousand cylinders, and to this day has never been topped. That goes for the film too. It’s *the* action sci-fi film, and as close to perfection as you can get.  
-Nate Hill

‘Logan’ Review: Hugh Jackman’s final Wolverine film is a bloody, heartfelt farewell to the last X-Man- by Josh Hains

by Josh Hains, posted in Film Review

Before I break into the review portion of this piece, special mention must be made of the alleged cut scene from Deadpool 2 that serves as a preview or teaser of sorts for the upcoming sequel to the R rated smash hit. I greatly enjoyed experiencing the company of the darkly comical Merc With A Mouth once again, to the tune of John Williams’ epic Superman: The Movie score, and the song that closes out the late Tony Scott’s underrated True Romance. What a fun little riot, a pleasant albeit all too brief little tease of the pleasures to come. Cue the music!

deadpool-2-trailer-release-date-800x381

In 2029, the ageing James ‘Logan’ Howlett (Hugh Jackman) is a pale shadow of the once iconic mutant hero he used to be, Wolverine, popularized in comics that both exaggerate and sanitize the truth. Mutants are extinct save for Logan, Professor Charles Xavier (Sir Patrick Stewart), and the albino mutant Caliban (Stephen Merchant). A mutant birth hasn’t been recorded in 25 years either. Logan is an alcoholic, sporting a visible limp and a frequent cough, and a cynical, cantankerous, almost always pissed off demeanor. He’s kind of an asshole now. His body is slowly breaking down thanks to the cancerous adamantium that covers his entire bone structure and trademark claws, his wounds healing slower and leaving big ugly scars. He’s also plagued by nightmares if the brutal acts committed against and by him. At 200 years old, Logan has experienced multiple lifetimes of violence, tragedy, loss, heartbreak, and grief, the result of which coupled with his age, has broken the poor guy’s soul. He lacks the conviction and strength to get through each day, hence his worsening alcoholism and overbearing cynicism. Life has truly beat the hell out of Logan, yet he presses onward. If an adamantium bullet doesn’t kill him, time, our own worst enemy, surely will. Eventually. By this juncture in Logan’s life, violence isn’t just a way of dealing with other violent beings, it’s become a part of who he is, as if a genetic code for violence is coursing through his veins.

Logan works day and night as a limousine driver in Texas for the kind of drunken party girls who like to flash the driver, and foolhardy guys that dickishly chant jingoistic phrases. His work provides him with just enough cash to afford him the medicine he and Caliban require to help control a neurodegenerative disease that produces seizures Charles is suffering from, the result of which if left untreated renders anyone in the vicinity, save for Logan, temporarily paralyzed, or dead. They live in seclusion in a dingy private smelting plant in Mexico, until their relatively peaceful existence is shattered by the arrival of a merciless cybernetically enhanced assholes called the Reavers. They’re led by Wolverine fanboy and henchman Donald Pierce (Boyd Holbrook), and Zander Rice (Richard E. Grant), a bioengineer and Donald’s boss. They’re seeking the mute Laura aka X-23 (newcomer Dafne Keen), an 11 year old mutant who bears eerie resemblance to Logan. I think we all know why. A brutal encounter sends the trio on their way to Eden, a supposed place of salvation for young mutants in North Dakota, with the Reavers hot on their trail. Yes, this is a road movie but don’t worry, it’s a great one.

I’ve been an X-Men fan since I was a little kid, watching the ’90’s animated series on television, watching every live action movie adaptation, and collecting action figures and comic books along the way. I don’t have anything against PG-13 movies or comic book movies, with the sole exception that the rating limits on-screen violence. I’ll gladly watch jokey, fun superhero flicks any day of the week, a few of which even populate my own favourite films list. But Logan required an R rating to get across the precise tone director James Mangold and Hugh Jackman have been aiming for over the last few years. Just like many other fans, I’ve been waiting 17 years to see Wolverine finally cut loose and tear people to shreds the way I’ve always known he can, because foot-long metal claws from the strongest metal on the planet (in their reality), don’t just poke the bad guy – they dismember, disembowel, and decapitate. Rest assured, he finally does in Logan.

logan-wolverine-3-hugh-jackman

The rumours are true, Logan is packed with plenty of bloody violence, far from tame, and with enough blood soaked carnage to satisfy even the most bloodthirsty gore-hounds. Heads roll, limbs fly off, threats are ripped open wide, and buckets of blood are spilled as Logan finally delivers a whopping heap of berserker rage fuelled killings throughout its 135 minute runtime, especially in two scenes of 100% pure classic Wolverine berserker rage that will blow minds. Two fight scene in particular, one midway through the movie, and the other the bloodstained finale, offer up some of the most intense, brutal, and graphic comic book movie violence committed to film. These two scenes in  particular are stand-out action set pieces due to the physical and dramatic weight the R rating allows them to possess. When Logan becomes physically drained, weakened by multiple gunshots (*spoiler alert* or stabs wounds from an experimental clone of himself *end of spoiler*), we feel his exhaustion through his body language and facial expressions. When he or Laura are dispatching foes left and right, we feel the primal anger and blood lust. A PG-13 movie could never have that dramatic heft to it. Logan also bears a significant amount of profanity, enough to rival last year’s similarly R rated comic book movie hit Deadpool, but unlike that movie, profanity isn’t used like a comedic tool to up the wattage of vulgarity as was needed. Rather, the frequent uses of the f-bomb accentuate the anger and frustration the characters (Logan in particular), are experiencing at any given moment. Logan isn’t for the faint of heart, but there’s more to Logan than just gory violence.

Hugh Jackman deserves an Oscar for his performance as Logan. I’m not just saying that for the sake of it. Hugh has never given a more layered, meaningful, naturalistic performance in the 17 years I’ve been watching his movies. If Logan is a truly his final outing as the iconic character, I don’t think he could have given a better performance than what you’ll see in Logan. The script by Mangold and co-writers Scott Frank and Michael Green, along with that R rating, affords Jackman the opportunity to work with dialogue and scenes that at ask for more of dramatic work than physical, allowing Hugh to go to places he wouldn’t otherwise be able to reach. It’s the work of an actor who knows this character better than anyone else outside of his creators, who isn’t simply playing a role, but living within the skin of him. He is our Logan, through and through in every way in this subtle, deeply human performance. Sir Patrick Stewart has never been better as Charles Xavier, and acting on the assumption that this is also his final turn as his iconic character, as reported in recent days, I couldn’t have asked for a more fitting end to his reign. Dafne Keen needs an X-23 movie pronto, she’s so good for such a young newcomer. Boyd Holbrook makes for a menacing villain, his smooth talking Texas accented Donald acting as quite the ice cold delight in a sea of CGI, oversized doomsday super villains, and Richard E. Grant gives multiple dimensions to his Zander, bringing a welcomed honesty, tenderness, and sheer cruelty to what could have otherwise been a thinly developed villain.

17097525_1294482667310470_5932397460279918760_o

At first glance, Logan is a comic book movie meant to bring a satisfactory yet heartbreaking end to a 17 year long career and story arc spent on the iconic hero. Peel back the layers and it’s a redemption through justice and revenge western tale, the kind kind of story carried through history books for centuries to come. Logan is right from the get-go, a classic western yarn, and the best kind too. The kind of western where a tired gunfighter has to take up their guns one last time in the name of frontier justice. The western frontier may be gone, but the idea of the stubborn hero who needs persuading still exists, right down to the classic Shane appearing on a hotel television.

That Logan uses a couple of the same tropes seen in westerns decades ago doesn’t mean the film is a slave to those tropes, as Logan firmly stands on its own two feet as a unique amalgamation of comic book fantasy, the classic western, and the modern family road trip drama. Remove the use of mutant powers and you have a modern day western about a tortured soul waiting for death to end his suffering, until his skills are called upon to assist those in need, one last time. Hollywood hasn’t run out of fresh ideas, rather they’ve just found creative ways of reinventing the wheel from time to time. Taking the fantastical world of the X-Men and grounding it in the themes of the classic American western is a brilliant manner of humanizing and personalizing Logan’s story. Logan has more in common with Clint Eastwood’s Unforgiven than any of the X-Men movies that precede it. The presence of X-Men comics in the film (real comic books with newly commissioned art by their original artist Dan Panosian), seems to suggest that the world in which the previous 9 X-Men movies occupied may also have been a sanitized embellishment of the grim world Logan inhabits. I quite enjoy the notion. 

Last year Deadpool proved an R rated comic book movie about a fourth wall breaking, profane, crudely humourous, violent mercenary out to rescue his lover and not look like an avocado had sex with an older more disgusting avocado, could out perform multiple other comic book movies released this past decade, if the correct amount of love and respect are applied to the material. This year, Logan has proven that Deadpool’s success wasn’t just beginner’s luck, but that lightning struck twice because just as much love, passion, and respect were applied in all the right places. That they had the balls to make a commercial comic book movie about a broken man learning to love one last time, proves they broke the mould when they made Logan. That we’ll likely never see another comic book movie that treads these waters again is fine by me. I wouldn’t want it any other way. This final ride was perfect.

logan-final-trailer-image-40

 

Man Down 

by natewatchescoolmovies, posted in Film Review


I’ll say this right off the bat: do not watch Man Down if you’re already in a mood, because it will emotionally lay you the fuck out. I learned that the hard way the other night. Billed as a war film, marketed as such and discreetly snuck onto iTunes without so much as a hint of theatrical release, its easy to see why they’ve tried to bury this one, it’s the bleakest film I’ve seen so far this year, and possibly the previous one. If there’s any doubt still surrounding Shia Labeouf’s acting talent (there shouldn’t be at this point), his work here should solidify greatness. All publicity antics and oddball muckery aside, he’s proven time and again that he’s one hell of a performer, and this is the best work he’s ever done, by a long shot. As Afghan war vet Gabriel Drummer, he’s put through an emotional wringer, sent back to an America ravaged by some vague pandemic, on a hopeless mission to locate his wife (Kate Mara) and young son (Charlie Shotwell). Joined by his best friend and fellow soldier Devin (Jai Courtney), Gabriel’s mission seems hazy and desperate, his family always just out of reach, tormented by the psychological wounds of combat but determined not to give up. This is interspersed with an extended dialogue scene between him and General Peyton (Gary Oldman, restrained, patient and careful), in which he heartbreakingly opens up about the horrors he has seen. This is where Labeouf shines, his tears uncannily genuine, his work visibly shaking up Oldman and tearing at the edges of the screen in it’s implosive intensity. Trust me, this is not the film you are expecting, not even close. By the time the third act rolls around and you see what’s really going on, you’re emotionally sucker punched when least expecting it, and the film’s quiet, devastating anti-war message is hit home with the force of a sledgehammer. I can’t say too much more without ruining it, but it’s one of the most thoughtful, understanding war films I’ve seen, one that gets the reality of what it’s like to have seen such atrocities, and come out of it a different person. Strong, stinging stuff that takes a while to shake off. 

-Nate Hill

Sam Peckinpah’s The Osterman Weekend 

by natewatchescoolmovies, posted in Film Review


-Nate Hill-
Sam Peckinpah’s The Osterman Weekend is so strangely plotted, so illogical and hard to understand, that not even John Hurt providing a play by play from an ever present tv monitor can seem to make sense of it. It’s not that it’s a bad film, parts are very well done and there’s that nostalgic Cold War vibe that 80’s espionage thrillers always have, it’s just that somewhere along the way, whether in the editing room, the shot list or scheduling, someone quite literally lost the plot. It’s enjoyable, well acted and supplies some of that classic Peckinpah grit he’s known for, but it’s just one massive loose thread that no one bothered to pull taut, which is a shame when you look at the talent involved. The film opens with the murder of a beautiful woman, the wife of a CIA spook (Hurt). Now, this inciting incident is what spurs on the rest of the plot, but the how and the why seem to be missing, and the matter of his wife doesn’t come into play again until all is almost said and done, and seems to have not a lot to do with the entire rest of the film. The bulk of it focuses on controversial talk show host John Tanner (Rutger Hauer), a man who lives to rub people the wrong way and put men of power on the spot with provocative, candid questions, all from the safety of his brightly lit studio. He’s forced to get his hands dirty though when Hurt contacts him, informing him that his three friends he’s planned to spend the weekend with (Craig T. Nelson, Dennis Hopper and a sleazy Chris Sarandon) are in fact soviet spies in hiding. Forced to bug his weekend home and play host to Hurt as he watches them all via hidden cameras, tensions arise as they try to smoke the three out and figure out… something. But what? It’s anyone’s guess what three potential traitors have to do with a murdered agent’s wife, and I’m sure the novel by Robert Ludlum on which this is based covers that a little more pointedly, but this film is just all over the place. It drags where it should glide, and skips hurriedly over scenes with potential to be great. Nevertheless, they achieved some level of class at least, with a crackling on-air conclusion that cathartically weeds out some corruption and provides almost a glimmer of an answer to what’s going on. There’s a fight scene between Nelson and Hauer that’s excellently choreographed, the performances are committed and engaging, and I’m always a sucker for cloak and dagger theatrics. But the thing just can’t seem to cohesively pull itself together and present a story that makes sense. It’s not even that it doesn’t make sense in a Tinker, Tailor, Soldier Spy sense, because I’m sure that if I sat down and watched that film like five times in a row, id get it, it has a plot buried under all of it. This one though, it’s like there’s pieces missing, and the ones that are left are either out of order, or from a different puzzle entirely. Close, but no cigar. 

Predator 2

by natewatchescoolmovies, posted in Film Review


-Nate Hill-
Predator 2 is a gem of a film, and don’t let anyone ever try and convince you otherwise. It’s just so different and so much crazier than the first that I think people had a knee jerk ‘wtf’ reaction and panned it. It’s tough to top the sheer bombastic overdrive of the first one, which is considered a classic, but if anything the sequel switched the nitrous dial past maximum and blasts off into the stratosphere of excessive R rated chaos, an impressive feat. It also switches settings, from the sweaty jungles of South America to the equally sweaty and opulent grime of the urban jungle, namely Los Angeles of the future, bursting at the seams with so many over the top criminals and hectic, delirious violence that by the time the Predators show up they not only fit in, but seem relatively sane compared to everyone else. Seriously, every human character in this film is a coked up tornado of cartoonish energy and brashness it’s hard to keep up unless you’ve hoovered up a few rails yourself prior to sitting down and popping in the blu ray (the blu ray of this is wicked by the way, gorgeous transfer). So get this: Danny Glover, before he got too old for this shit, basically serves as a renegade SuperCop in this hellhole of a metropolis, waging all out war on loads of feral gang members and degenerates, constantly leaned on by the obligatory pain in the ass of a police commissioner (Robert Davi, god bless his republican ass) and backed up by a team of state of the art badasses, including Aliens’s Bill Paxton, who gets all the best lines and delivers them with the gusto the material deserves. He’s also backed by Ruben Blades and tough girl Maria Conchita Alonso, whose appearance and scenes with Paxton call to mind him and Jannette Goldstein side by side in Aliens, or is that just the fanboy in me having an aneurysm? Together they achieve 80’s action movie squad goals by messily wiping out as much of the criminal faction in the city as they can, including weird Rastafarian crime lord King Willie (Calvin Lockhart, spooky as all hell), until something else comes along. Something they can’t see, hear, or easily empty clips at whilst cheerfully spewing profanity. The predators have branched out, and this time there’s more than one, giving their inherent tactical nature a whole new twist. So who better to take on these extraterrestrial game wardens? Glover of course, who positively froths at the mouth. You know you’re overacting when Gary Busey has to keep up with you, and he does his loony best as some hush hush Fed who has been keeping tabs on the Preds for sometime, and has big notions of taking them down. It’s all in good fun, with jaw dropping, spectacularly brutal set pieces, violence that would not go over well these days (the 80’s didn’t give a fuck, man) and a seriously chaotic vibe humming through the whole breathless ordeal. I’d even be so bold as to say that this is the better of the two Predator films, upon getting all misty eyed and craving a rewatch after writing this. Go ahead, shame, me. It’s just too great of a flick to be as under appreciated as it is. Oh, and watch for a sly cameo from another otherworldly baddie late in the third act. 

“You got a problem with me?” – A review of Out Of The Furnace by Josh Hains

by Josh Hains, posted in Film Review

Scott Cooper’s sophomore film Out Of The Furnace follows Russell Baze (Christian Bale) through the empty, broken down streets of Braddock Pennsylvania like a lonesome ghost. He works in the local steel mill where his slowly dying father once worked, using what little money he makes to pay off his brother Rodney Jr.’s (Casey Affleck) gambling debts to sleazy local bookie John Petty (Willem Dafoe), all the while trying to maintain a relationship with his girlfriend Lena Taylor (Zoe Saldana). That all comes crashing down when Russell gets into trouble with the law and spends the next four years in prison, getting periodic visits from Rodney with updates on the state of their father’s health, Lena, and Rodney’s own exploits overseas in Iraq. Both men are broken and trying to keep it together for the sake of each other.

In due time Russell is released back into Braddock, the once thriving city on the verge of death with the mill soon to be closed. Things are different now for Russell, the times have changed, people have changed, and he has no other choice but to suck it up and trudge forward into the unforeseeable future. Rodney has picked up a deadly new habit, bare knuckle boxing, his way of violently paying off his debts to Petty before the stack gets too high. Russell tries talking him into a “normal” job to no avail; after multiple horrific tours of duty in Iraq, Rodney has been left shaken, twitchy, and is a mere shell of the man he once was. All that seems to be left is violence, anger, and undying love for Russell. Rodney begs John Petty to get him into bigger fights in backwoods New Jersey, dirtier, bloodier fights held under the watchful eye of local sociopathic hillbilly Harlan DeGroat (Woody Harrelson).

By this point in a standard issue revenge thriller, Rodney would have been long dead, but Cooper wisely makes the decision to give us time to settle into this world, and come to understand characters who feel like people, and not just cardboard cut outs. That the latter half of the movie devolves somewhat predictably into the same kind of movie it was previously avoiding replication of, is a disappointment. However, what does occur is given room to breathe. Cooper might be following the tropes of the genre, but he at least has the sense to let it unfold slowly and organically. Very little feels forced.

Things quickly turn ugly for Rodney and Petty, and when both go missing, the local law led by sheriff Wesley Barnes, exhausts all possible means in an attempt to find the pair, but can only go far because law enforcement lives in fear of DeGroat’s brutal reign of the area, and the fact that it’s outside of Braddock police’s jurisdiction doesn’t help matters either. So Russell and his uncle Red (Sam Shepard) cautiously take matters into their own hands the only way they know how.

Christian Bale delivers his most believable performance to date, fully embodying the heart and soul of Russell Baze, right down to the slightest nuances and subtleties of the man. He’s a truly masterful actor, strutting his stuff in such low-key fashion that because of the deep naturalism, rawness, and intense realism he imbues, within the first few minutes it stops feeling like a performance. It becomes, real, as Russell battles his inner demons and carries the weight of the world on his lean shoulders right up until the final frames fade to black.

Woody Harrelson knocks it out of the ball park as Jersey backwoods hillbilly sociopath Harlan DeGroat, topping his wildly over-the-top performance as Mickey in Oliver Stone’s Natural Born Killers. If you thought Mickey was a bad dude, wait until you watch DeGroat force a hot dog down the throat of a woman at a drive-in movie theatre in the films unnerving opening sequence. Harrelson has an uncanny ability of inhabiting even the most repulsive of villains with some semblance of humanity, and toward the end of the film does so with nothing more than an all-knowing expression upon his face and burning in his eyes as he delivers a couple heartfelt lines.

With this performance, Casey Affleck shed the boyish light his previous performances have always been garnished with, trading it in for a toned body and volatile outbursts of pent-up rage. He gives the more energetic performance of the two brothers, effortlessly capturing Rodney’s broken down mannerisms. Forest Whitaker, Willem Dafoe, Zoe Saldana, and Sam Shepard each provide the right amount of nuance and naturalism to their perfomances that blend evenly with their bleak surroundings and the trio of astounding lead performances.

In a scene near the midsection of the film, Russell and Lena have a conversation on a bridge about their future after Russell has been released from prison. Despite Russell’s plea to make things right between them, Lena cannot commit to him anymore because she’s carrying Barnes’ child. In a moment that ought to shatter even the hardest of hearts into a million pieces, Russell congratulates Lena, assuring her she’ll be a good mom amidst tears from both of them. This scene assuredly carries the finest moments of acting we’ve seen from Bale and Saldana to date. 

The cinematography by Masanobu Takayanagi (The Grey) is impeccable, capturing beautifully and quite often starkly, the dreary and dirty grit of Braddock, the crispness of the violence, the cold bitterness of the dialogue dripping from the tongue of the people inhabiting the film. Scott Cooper directs this film with ease, honestly and authentically capturing the bleak essence of the dying town, the harsh realities of the effects the economy is having on the people, and the brutality that is the violence that twists their worlds upside down in the blink of an eye.

 

“If you ride like lightning, you’re gonna crash like thunder.” – A review of The Place Beyond The Pines by Josh Hains

by Josh Hains, posted in Film Review

As the opening title, “A film by Derek Cianfrance”, dissipates, a breath is drawn followed by the clinking of an angel knife as Ryan Gosling’s Luke Glanton menacingly opens and closes it, his abs glowing in the dimly lit room, his body battered with tattoos as the sounds of people, rides and games emit from outside his small trailer. He’s told it’s showtime by an outside authority, jamming the knife overhand into a wall before picking up his shirt and red jacket and slipping out the door, putting them both on as he traverses the crowd until he reaches a large tent boasting The Globe Of Death. He walks with the swagger of James Dean as he enters the tent to cheers and cries of excitement from fans alike as he and two fellow riders known only as The Heart Throbs gear up on their motorcycles and glide into the deadly spherical cage. Engines roar and fans scream as Handsome Luke and The Heart Throbs dizzyingly ride their motorcycles loop de loop until the screen fades to Luke signing autographs. And to think, that was all done in one take.

The Place Beyond The Pines is a beautifully brooding, tragic, heartbreakingly powerful, and ambitious genre film about fathers and sons, legacy, and consequences. Luke Glanton (Gosling), a daredevil carnival motorcycle rider finds out former fling Romina (Eva Mendes), a local waitress and fan of Luke’s skills, recently had their son, Jason after their last fling. Much to her surprise, he quits his job in the hopes that he can concoct a relationship with the infant and her too, even though she has a new, responsible man in her life by the name of Kofi (Mahershala Ali, in an understated role).

Luke is irresponsible, impulsive, tattooed all to hell and prone to outbursts of violence. Things only get complicated once he meets Robin Van Der Zee (Ben Mendelsohn), a grubby mechanic who hires him after witnessing his outstanding skills on the motorcycle. He suggests that Luke rob banks, Robin himself having robbed banks years earlier, and Luke, in need of quick cash to support his son, opts to do just that. As time marches on the risks get higher and the cash comes thicker during riveting, manic heists and intense and stunningly realistic getaways; until Robin suddenly balks, leaving Luke to sloppily rob a bank and subsequently get chased across town on his motorcycle. The breathtaking chase leads Luke to a violent confrontation with Avery Cross (Bradley Cooper), a young police officer and son of a well respected judge.

After his confrontation with Luke, Avery begins to question his actions during the encounter as fellow officers headed by Pete Deluca (the always intimidating Ray Liotta, in full-on bad cop mode) engage in thuggish, corrupt behaviour which begins to take its toll on Avery and his family life as the father to a newborn son and husband to a fearful wife.

Skip ahead 15 years and Avery is running for public office, as his and Luke’s respective sons Jason (Dane DeHaan) and A.J. (Emory Cohen) begin a tumultuous and troubling friendship. I have to stop there, as any more details about the film will surely spoil what is undoubtedly a surprising film.

Luke’s story takes up the first 45-60 minutes, and is the best of the three stories in this triptych film; a deep, emotional roller-coaster that follows Luke as he struggles to provide for his newborn son. The heists are crisp, increasingly sloppy and volatile, brimming with an underlying intensity and fiery rawness. When he robs, he angrily squeals and shrieks his commands, grabbing the closest person to him as leverage until he has the money. When he rides, it’s as if you’re right there with him; the roar of the engine thundering through the air as he speeds down twisting roads into Robin’s cube truck.

Ryan Gosling as the violent, troubled Luke Glanton is mesmerizing, delivering his best performance since 2010’s Blue Valentine (which marked his first collaboration with this film’s director Derek Cianfrance), and surely one for the Oscar nomination list. He doesn’t say much which draws comparison to his eerie role as The Driver in 2011’s Drive, his eyes and facial expressions exuding Luke’s restrained and ominous personality in the same brooding manner as he did in Drive. He also has a vehicular skill, this time motorcycles and not cars, but that’s about where the comparisons stop. Where Driver felt like a caricature, or a fantastical vigilante ripped from a ludicrous dream, Luke feels, and very much so is, a genuine, authentic and honest portrayal of a man struggling to leave a strong imprint in his son’s life while dealing with his own inner, violent demons. He holds honest intentions, but is far too explosive and violent for the life he quietly yearns for.

Eva Mendes is at her quiet best here as Romina, giving an heartfelt and touching portrayal of a mother trying to do what’s right for her son, which may or may not always be the best of decisions. Ben Mendelsohn (of Animal Kingdom, The Dark Knight Rises and Killing Them Softly fame) yet again find a rhythm for playing the greasy, twitchy mechanic and Luke’s only friend Robin. His ability to slip into these scuzzy roles is fantastic, as he once again delivers a magnetic performance.

The second story that follows Avery post-Luke encounter runs for about the same length as the first section, as does the last section. The film seamlessly weaves between the sections, pausing only for a moment with a black screen as if to let us breathe before it catapults us into Avery’s battle for survival in the world of policing. The story presents itself much like a cop film from the ‘70’s, something the likes of William Friedkin or Francis Ford Coppola would have sunk their teeth deep into. Bradley Cooper is fantastic in this act, quickly taking the reins of the film as the torch gets passed along, proving once again that most audiences have underestimated his acting prowess in the past despite the complexity of his most recent roles. Ray Liotta as Pete Deluca, a corrupt veteran officer, is at his menacing best, and Rose Byrne (Jennifer, Avery’s wife), Harris Yulin (as Avery’s judge father Al) and Bruce Greenwood as slippery lawyer Bill Killcullen all deliver with quiet, small roles with actions that echo a lifetime.

I won’t go too deep into the final act, but I will say that Dane DeHaan is one to watch, one-upping his co-star Emory Cohen as Luke’s estranged son Jason, matching pound for pound the intensity delivered by the more seasoned actors in the film. Emory is convincing as the drug-addled interpretation of MTV styled behaviour infused into Avery’s son A.J.

The latter two stories following Avery post-confrontation, and later their respective sons, are thoroughly engaging, edgy and potent, but are intentionally not as electrifying as Luke’s daredevil lifestyle portion of the film. Luke’s story is one electric scene after another, each as haunting and memorable as the last until his story ends, when the film slows down to give us a deep insight into the lives of police officers and their family, and the ramifications of the violence and corrupt actions committed in the first story; each scene for the 140 minute running time never failing to captivate your eyes and mind. Despite how well acted the last two chapters of the film are, one can’t help but feel underwhelmed by them both after the volatile, quick paced first act.

This is a powerhouse, haunting, Shakespeare-esque cinematic experience of a lifetime. Derek Cianfrance, the director behind Blue Valentine and the largely unseen Brother Tied gives us his best film here, an honest tale of fathers and sons, violence and its impacts, actions and their consequences. He gets the absolute most of of his actors, no matter how big or small the role, with relative ease it seems. As stated in several dozen interviews, many of the scenes are genuine, featuring real actions from his actors during rehearsals, or spontaneous behaviours from them as filing was occurring, which helps push the realistic, honest and authentic nature of this film to greater heights. The violence is quick and bloody, but never stylized or gimmicky, instead remaining true to the speed and ferocity of real violence one would see in a Sunday night instalment of World’s Wildest Police Chases, which Derek himself said inspired the realism of this film. Mike Patton’s thrilling score greatly enhances each scene, never becoming overbearing or underused.

While Blue Valentine was a small scaled romantic tragedy, The Place Beyond The Pines is on a much larger playing field as it spans its 15 plus years, giving us a sweeping genre epic that stands an equal among similar father-son consequential films such as The Godfather. Derek Cianfrance once again shows us he’s a masterclass in filmmaking, delivering what will surely be the year’s best dramatic film. This is filmmaking from the pelvis by Cianfrance that grabs you by the throat and never lets go until the final, heartbreaking frames contrasted with Bon Iver’s ‘The Wolves’; this, is one hell of a film, and among the best of its year of release. As this epic tale of fathers, sons, and consequences rides off into the morning sunrise, its grip will loosen just enough to leave you breathless in its powerful wake.

 

“Don’t be afraid.” – A review of The Grey by Josh Hains

by Josh Hains, posted in Film Review

You’re watching the opening titles click along, Open Road, Scott Free, the works all rolling through their frames in eerie silence. You think for a fraction of a second that maybe something bad will happen, maybe one of those wolves you’ve seen advertised will erupt into the frame and tear someone’s throat out and perhaps scare the hell out of you. It would be a most opportune time for a jump scare. Instead, wolves bay at the moon, their howls long and bone chilling. I think the howling is more frightening.

John Ottway (Liam Neeson) narrates the opening scene, conveying a “I-don’t-give-a-damn” no nonsense, cynical mindset. He drifts through the cold night like the ghost of someone who died with unsettled demons. A hopeless, broken man. So broken is he that Ottway contemplates and nearly commits suicide, his mouth firmly around the barrel of his rifle until the baying of wolves cuts his actions short. This understandably drawn out sequence is juxtaposed with marksman Ottway shooting a lone wolf that charged some oil drillers, a job he seems born to execute. Ottway respects the animal enough to stay with it until death, almost comforting the creature until its final breath.

A plane ride to Anchorage for oil rig workers on leave (Ottway amongst them) reveals seven more characters of worth, each one playing a significant role in the plot of the film. Flannery (Joe Anderson), the young reckless hick, scared out of his mind, nervous, panicky. Diaz (Frank Grillo) the cynical ex con with a penchant for the f-bomb and bar fights, and his pal Hernandez (Ben Bray). Lewenden (James Badge Dale), presumably a family man. Hendrick (Dallas Roberts), the sympathetic and rational religious mind of the group. Talget (Dermot Mulroney), the gutsy father. Burke (Nonso Anozie) the welcomed comedic relief in several key scenes. The plane they’re travelling in crashes, delivering easily one of the most terrifying on-screen plane crashes you’ll ever encounter on film; it’s the stuff of nightmares and fever dreams.

Ottway soon takes charge, seemingly the most experienced man in the group, making the decision to leave the crash site after Hernandez’s mangled body is found the morning after the sudden and brutal wolf attack that led to his death. The forest a few miles away will provide richer shelter against the harsh, unrelenting winter weather, and might work in the group’s favour against the wolves. Superficially,  The Grey is about a group of men the world seems to have discarded, “men unfit for mankind”, struggling against unfathomable odds. It’s a classic action adventure with elements of horror, but there’s more to this movie than just teeth and death.

The surviving men find opportunities for conversations that bring to light their wants and desires in life. Obviously, we learn the most information about our hero John Ottway, some though deep philosophical thoughts he seems to have been holding onto for ages, and some throughout the movie in the form of brief flashbacks with his wife. Though they are depicted as group at nearly all times, director Joe Carnahan (and co-writer Ian MacKenzie Jeffers, who also penned the short story Ghost Walker that The Grey is based on) understand perfectly how to treat each character as an individual guided by their own unique desire to survive this horrific ordeal, and live to tell about it. The performances across the board are all great, though Grillo and Neeson seem the most natural, helping maintain the grounded atmosphere the movie carries. Neeson deserved more praise upon release than he ever received for giving such a moving, raw performance.

At the end of the movie (*spoiler alert* for those who haven’t seen The Grey over the past five years) Ottway is alone, freezing, desperate, and significantly more broken than he was when we first encountered him, reflecting on those who fell before him by looking through their collected wallets (the real wallets of the cast). Soon realizing to his dismay that he has found the den belonging to the wolves that have relentlessly hunted him, he reflects upon the passing of his late wife, told through one last heartbreaking flashback, her final words giving him the strength to press forward and fight for his life. After taping a knife and broken bottles to his hands as the alpha wolf approaches him, he delivers the lines to an anonymous poem he mentioned to the group earlier that sat in his father’s office when he was a boy. The screen cuts to black, and we’re left stunned and profoundly moved.

Our only clue as to what went down between man and beast lies in promotional material, a brief glimpse of which is shown in a nightmare Ottway has and nowhere else, not even on the Blu-Ray’s deleted scenes. A post credits scene shows Ottway is alive, resting on the presumably dying alpha wolf, though it remains unclear if he is mortally wounded or just worn out, exhausted.

While the misrepresentation of the final product in the promotional materials irked many, it didn’t bother me like I thought it would because I still understand that the sequence (as awesome as it likely is) didn’t fit the tone of the rest of the movie. Liam Neeson slashing and stabbing a territorial wolf sounds like an epic fight for the ages, but that makes about as much sense as having Roy Scheider repeatedly stab the behemoth shark in Jaws to death while clinging to its dorsal fin. In a movie built on a foundation of callous logic and reasoning, that ending just wouldn’t have sat right in our stomachs, and I’m content with that.

poem1

 

Edge Of Tomorrow

by natewatchescoolmovies, posted in Film Review


-Nate Hill
Tom Cruise, dare I say, has been making really decent stuff these days, some of which is downright brilliant. Oblivion had its moments, carried on wings of an M83 score that was better than the film itself (hello Tron Legacy syndrome), Jack Reacher was solid badassery all round, but Edge Of Tomorrow is just pure class and could almost be considered an instant classic. I waited a long time to finally see it, because in most cases a pg-13 sci fi blockbuster starring Tom would be cause for me to cruise right on by in the Netflix/on demand lineup and pick something else. The reviews were uncommonly good though, and so I inevitably went for it. I’m sorry I waited, because it’s flat out spectacular. What makes it so? Well, it is everything I described above. A sci fi, blow ’em up blockbuster starring Tom Cruise, packed to the gills with action, aliens and stuffed with more Independence Day fireworks than you can shake a stick at. The catch? It has the plot, script and character development to match. This is one seriously thought out story, with heroes who don’t start off that way, conflict among the ranks of characters and genuine, honest to god arcs. You can hurl all the cash you want at a film and blow up as much shit as you can, but if you don’t have those core elements of story in place, and well so, you’ll end up with a hollow piece of vapid space garbage (like that Independence Day sequel). No, this one earns its stripes, opening up during a chaotic intergalactic war between humans and a formidable alien race, who are winning fast and stamping out any hope for our race. Cruise plays a weaselly military PR puppet who talks shit but has never seen a moment of actual combat, until he’s thrown directly into it by chance, with neither skills nor experience to keep him afloat. Stuck in a Groundhog Day esque time loop (I won’t spoil the how and why, but it’s a wicked smart premise that logically plays out), our coward gradually gains what it takes, day by day, to become a hero and save the planet. It takes a lot of dying and starting over though, each day beginning in the same fashion, the possibilities ripe for him to finally get that perfect round and win the day. Emily Blunt, that adorable badass, plays the most adorable badass thus far in her career, a resilient and vulnerable valkyrie who’s rage at the marauding fiends burns through terrifically, providing moments of grit, warmth and humour as needed. Bill Paxton plays a gung-ho military honcho with the same gee whiz charm that made Pvt. Hudson (Aliens, for you plebs) so memorable, and Brendan Gleeson does a third act encore as another General who takes a fair bit of convincing to get onboard with their plan. It’s so much fun you never want it to end, the high concept used for all it’s worth, supported by truly inspired creature design, detailed steam punk style weaponry and old school Hollywood fanfare rationed out in deliciously measured portions, resulting in that perfect recipe, an effects driven crowd pleaser with the brains to back it up. Who knew they could still make that? It’s a thing of beauty.