Tag Archives: pete postlethwaite

Actor’s Spotlight: Nate’s Top Ten Pete Postlethwaite Performances

Who remembers Pete Postlethwaite? I do and always will, for the creative mark he made on both my childhood, teenage years and older formative exploration of cinema is a huge one. This guy was a face you knew and remembered immediately, a slightly eccentric, wily looking dude who could command a scene like no other and had such a way with words, be they written by Shakespeare, Christopher Nolan or Christopher McQuarrie. Just to give you an idea of the character and spirit this guy had within the industry, here’s a direct quote from the man:

“My first agent wanted me to change my name. So I changed him instead. When I made a breakthrough as an actor, people started to say, ‘Who’s that bloke with the funny name?’ They advised me to change it, saying it would never be put up in lights outside theaters because they couldn’t afford the electricity. But I would never contemplate changing it. It’s who I am. It’s my mother and father, my whole family. It’s where everything I am comes from. I couldn’t imagine living my life with another name.”

Pete is no longer with us but his incredible career lives on and here are my top ten personal favourites from his body of work:

10. The Keeper in Aeon Flux

Okay so I feel a bit guilty for putting this on the list because it’s a godawful, stupid ass movie but Pete makes such a surreal impression basically playing the man in the moon. The whole film sees Charlize Theron’s Aeon doing all kinds of SciFi espionage garbage that culminates in a journey to some floating structure far above the city surface, where he waits for her in a tin foil poncho. It’s bizarre and off the wall but the guy could deliver lines like no other and the scene just somehow had a lasting impression on me.

9. Obadiah Hakeswill in BBC’s Sharpe

This adventurous period piece sees him do battle with Sean Bean’s titular Sharpe, a warrior and soldier of fortune who headlined a whole series of made for tv films in the early 90’s. Hakeswill was one of the most dastardly, hateful villains Sharpe ever faced, a rapist deserter with a mile wide mean streak and cunning nature that proved to be quite the adversary.

8. Dr. Lorbeer in Fernando Mereilles’ The Constant Gardener

He’s only onscreen for a brief few scenes in this stunning adaptation of John Le Carré’s political mystery, but as usual he makes a vivid impression. Lorbeer is a mysterious physician embroiled in a deep pharmaceutical conspiracy within the heart of Africa, and his quiet few words of cryptic advice to Ralph Fiennes’ Justin Quayle linger eerily long after the camera has left him out there on the desolate savanna.

7. Father Lawrence in Baz Luhrmann’s Romeo + Juliet

Some actors just have a way with Shakespeare. This is probably the quintessential film version of Romeo & Juliet and he makes the most out of his role as the botany inclined friar, relishing every over elaborate line and closeup adorned gesture.

6. Giuseppe Conlan in Jim Sheridan’s In The Name Of The Father

Pete and Daniel Day Lewis finds themselves in a harrowing situation here as father and son, one of whom is wrongfully accused of a nasty IRA bombing that puts both in prison for like a decade. This causes a horrific, prolonged experience for both as attorneys fight to clear their name, the years wear on and the performances of both Lewis and Pete cut more than deep in their desperation and haunting tragedy.

5. Gilbert Of Glockenspur in Rob Cohen’s Dragonheart

This classic fantasy sees Dennis Quaid’s rogue warrior team up with Sean Connery’s dragon to do battle with an evil sorcerer (David Thewlis). Pete is the intrepid, travelling outcast monk who gets swept up in the adventure and provides both gravitas and comic relief to this tale. One of the most affecting moments of the film is when he takes up bow and arrow during an intense battle and in captivating closeup makes the split second decision to abandon his vow not to take a life. Brilliant work here.

4. Fergie Colm in Ben Affleck’s The Town

One of his final roles and one of his scariest too. Fergie is a Boston flower shop owner who moonlights as a fence and crime boss and is none too happy when Affleck and his gang deviate from the specific heist plans he’s laid out. No one barks out heinous threats with a sidelong glance quite like he could, and he steals his few scenes as an all out psychopath.

3. Roland Tembo in Steven Spielberg’s The Lost World: Jurassic Park 2

One of the most memorable big game hunters in cinema, Tembo is a brittle badass who accompanies a research team as security and with the fierce personal agenda of bringing down a T-Rex. Postlethwaite plays him not as a sadistic or cruel hunter but with a cunning determination that’s respectful of his quarry, disdainful of military idiots around him and possessive of a keen intuitive nature in the field, or in this case the long grass.

2. The Old Man in Henry Selick’s James & The Giant Peach

I grew up reading Roald Dahl’s classic tale and to see Pete embody such a key character in the film version was pure magic. He only has like one and a half quick scenes but imparts such mysterious wisdom and magnetism he makes a huge impression as essentially the catalyst for the fantastical events on display.

1. Kobayashi in The Usual Suspects

There’s a ton of exposition delivered by many different characters in this serpentine crime saga but he makes his portion the most menacing, impactful and memorable. As a devilish lawyer and confidante to the boogeyman of the international criminal underworld, he calmly intimidates the collective protagonists with his even tone, barely veiled threats and promises of woe to come without batting an eyelash, it’s a master class in restrained scenery chewing that always holds the screen.

Thanks for reading and stay tuned for more!

-Nate Hill

Henry Selick’s James & The Giant Peach

Henry Selick’s James & The Giant Peach is one of those films I watched so many times and at such an impressionable age that it’s been sort of seared into my consciousness like an especially vivid dream. It’s also one of the few adaptations of a book by beloved author Roald Dahl that really captures the magic of the source material. I can think of this and maybe one other film version of his stories that have anything close to that demented whimsical aura his writing had, he’s a bit like Dr. Seuss in the sense that what he did was so specific and special that it’s almost futile to even try to faithfully adapt it. The story is unmistakable: young orphan James (Paul Terry) is out in the care of abusive relatives Aunt Spiker (Joanna Lumley) and and Aunt Sponge (Miriam Margoyles), horrible, ugly old cows who mistreat him day and night. One day a mysterious Old Man (Pete Postlethwaite, charismatic and well casted) gives him a little bag of magic radioactive rice kernels, which turn a nearby peach into a gargantuan hideout in which he finds some unlikely friends. Earthworm (David Thewlis), Centipede (a feisty Richard Dreyfus), Spider (Susan Sarandon), Gloworm (Margoyles in a dual role), Grasshopper (Simon Callow) and Ladybug (Jane Leeves) form up the boy’s entomological posse as they roll the giant peach down into the sea and embark on a musically surreal adventure that includes seagulls, undead arctic pirates, a massive storm, musical numbers and one pissed off steam punk mecha-Shark. Selick uses the the same jaw dropping, gorgeous stop motion animation he employed in A Nightmare Before Christmas, and the result is tactile, textured visuals that give all the animated scenes bizarro world realism, I’m not sure if there’s a Blu Ray out there but there really ought to be. This is one visually spectacular piece with a real sense of wonder and playfulness, and although it deviates from the book a fair bit, it still somehow does Dahl proud in terms of style and tone. A treasure .

-Nate Hill

Michael Mann’s The Last Of The Mohicans

Before Terrence Malick lyrically explored the relationship between settlers, natives and nature in The New World, Michael Mann crafted the emotionally gripping, beautifully feral The Last Of The Mohicans. Take Mann out of his comfort groove of big city crime epics and whatever new avenue he explores is going to be incredibly fascinating (his much forgotten, sadly panned The Keep is further evidence). Trading in looming urban skyscrapers for equally imposing trees of the frontier, high powered weaponry for one badass long-shot rifle and the onslaught of rapid fire combat for incendiary cannon fire, the colonial times suit him splendidly and he rocks this period piece for all its worth. Daniel Day Lewis is a force of nature as Nathaniel Hawkeye, the white man raised by his adoptive father (Russell Means) and brother (Eric Schweig) in the wild. Madeleine Stowe is a dark haired candle of radiance and fiercely spirited as the lovely Cora Munro, brought from the prim, lacy traditions of Olde England out to the wild, uncompromising new land, with her impressionable young sister (Jodi May is low key brilliant). Wes Studi gives the bitter hearted warrior Magua a steady grace and brutal resolve. The film is lovingly made, sweeping from thundering battles to cascading waterfalls to meticulously constructed war forts to uneasy treaties to verbose politics to romance that stirs the heart and unlocks the tear ducts. But it’s all about those last twenty minutes, man. Holyyy fuck does this movie have an ending. When the final, white knuckle climax happens atop the scenic yet unforgiving Promentory Ridge, hearts, bones and dreams are broken as all the characters collide in a tragic, inevitable confrontation that leaves fire in your heart and tears in your eyes. James Newton Howard and Trevor Jones provide a legendary, soul stirring musical score that swells for the final act and carries it to transcendent heights. Mann directs with a compassionate, objective eye, never designating anyone as the good or bad guy, but simply showing us human beings fighting for survival, love and revenge in a land only just finding its cultural identity. A real classic and one of the best of the 90’s. Oh, and avoid the director’s cut at all costs. That’s not usually advice I’d give for any film but Mann somehow thought it necessary cut an incredibly important final scene of dialogue between Lewis, Means and Stowe that gives thematic weight to the story and caps off the characters arcs gorgeously. Rookie move, Michael, that’s a key scene and bookends the film beautifully.

-Nate Hill

Fernando Meirelles The Constant Gardener

Fernando Meirelles’s The Constant Gardener is a film you just can’t get enough viewings of, it’s such a dense, sumptuous and emotionally complex piece that each revisit rewards with new angles on story, perspectives on character motivation and comprehension of subtle, hazy moments in the performances that you didn’t pick up the first few times because the visual element just overwhelms you at first. This is a cool flick for me because it’s based on a book by John Le Carré, a spy novelist whose work I often find too dry and lacking in warmth, but not here, I saw this during it’s theatrical run way back when and have loved and felt connected to it ever since. It doesn’t hurt that it stars Ralph Fiennes and Rachel Weisz, two of the most intuitive, brilliant performers of their generation, and if there’s a duo who could do justice to a story like this, it’s them. Fiennes plays Justin, a reserved, introverted diplomat in Africa. Weisz is his wife Tessa, a fiery, outgoing humanitarian worker. They couldn’t be more opposite, as we later learn through fragmented flashbacks, but the film throws us in the deep end by telling us right off the bat that Tessa has been murdered. So begins an elliptical mystery shrouded in a poignant love story, a conspiracy thriller that uncoils patiently, each clue spreading the seeds for ten more. Tessa was working in the field researching the actions of drug companies in this third world region, she may have been having an affair, and she was pregnant. The stakes couldn’t be higher, but so is the risk for Justin to become too entrenched in a quagmire of lies, red herrings and dead end crossroads, and, just like Tessa, lose his way. Who really knows what’s going on in such a chaotic part of the world? Does Pellegrino (Bill Nighy) the mysterious CEO of big pharma? Perhaps Sandy (Danny Huston) Tessa’s friend from the embassy? Or is it Dr. Lorbeer (Pete Postlethwaite, excellent in the haunting third act), an elusive aids worker, who holds the secret to her death? It’s not easy resolution this film is interested in, but rather overturning more stones that lead to more mysteries until one feels wonderfully beguiled, a true sign that script and edit are firing on all cylinders. Many things are hinted at, including whether or not the drug companies are illegally testing non FDA approved prototypes on poverty stricken locals under the guise of medicine, which seems just scary enough to be true. The film dangles answers just out of reach, and even in the eerie eleventh hour where Justin finds himself stranded in a desolate plane of Africa, you get the sense that the resolutions he comes too are only the half of it, if that. Meirelles also directed City Of God, another film set in an unfortunate area of the world, he brings a jagged, splintered perception to the editing and narrative, a perfect garnish to the already impenetrable nature of Le Carré’s literary work. Cinematographer Cesar Charlone (also responsible for City Of God) films with elemental grace and captures the light brilliantly. Weisz and Fiennes bring out humanity in Le Carré’s work that he probably didn’t even know was there, and are beacons in a weathered storm of indifference and injustice. Not an easy film to absorb, but what it withholds in straightforwardness (which is a plus quality in my books anyways) it makes up for in beauty, mystery and nuance. One of the best films of the last few decades.

-Nate Hill

Aeon Flux


Before Ghost In The Shell, Dragonball (fucking shudder) and a host of other attempts at making anime content work as a live action film, there was Aeon Flux, a supremely weird dystopian Sci-Fi palooza that should have just been the first and last of it’s kind, ground zero for moving forward, lesson learned in terms of knowing that such specifically artistic material just *doesn’t* translate at all beyond the original animation versions. You’d think they would have learned with this one, but nope. Charlize Theron can practically carry any material on her own, she’s just that dynamic, and when supported by an impressive vessel of visual effects and a clinical, sleek stylistic palette she’s even better, but this beast has no heart beating at the centre of all that, and it shows. Theron is Aeon, a powerful assassin working for the Handler (Frances Mcdormand), assigned to bring down a dangerous regime in a utopian city where humanity’s last vestige of populace exists following some viral plague decades before. Of course nothing is as it seems and when she gets to the man behind the group (Marton Csokas) she discovers all kinds of secrets. There’s plenty of inventive future-world action, including a neat sequence where Aeon sends in wicked fast micro-bot marbles to blast through a door, and interesting aerobics courtesy of a character played by Sophie Okenodo, who has hands instead of feet, an anomaly the film finds little time to coherently explain. Even less explained is the sudden appearance of Pete Postlethwaite as someone who resides in a giant floating thingy far above the city, kind of like the man in the moon in the midst of chemotherapy. It all makes not a great amount of sense, through no fault of it’s own. That goes back to my thoughts at the beginning of the review though: Sometimes, a specifically drawn or written anime saga is just too much in it’s own abstract, perfectly balanced embryonic harmony, and trying to shunt it along into the very different realm of live action storytelling just isn’t possible. That’s certainly what has happened here, and with pretty much every other attempt I’ve seen to adapt the medium. 

-Nate Hill

The Usual Suspects: A Review by Nate Hill 

No matter how many times I watch The Usual Suspects, and believe me it’s been many, I still get the same diabolical thrill, the same rapturous excitement and the same rush of storytelling and dramatic payoff as I did the very first time I saw it. Every performance from the vast and diverse cast is a devilish creation packed with red herrings, juicy dialogue and bushels of menace, every scene piles on the mysticism of the criminal underworld beat by beat, until the characters begin to pick it apart and the whole thing unravels like a great serpent coiling forth bit by bit, scale by scale, swerving toward the shocking, disarming third act that has since become as legendary as it’s elusive and terrifying antagonist. In the crime/mystery corner of cinema, there’s no arguing that this delicious piece of hard boiled intrigue reigns supreme, and it’s easy to see why. In a seemingly random police lineup, five career criminals are harassed by an unseen hand, pushed into carrying out dangerous heists and violent manouvers by a shadowy campfire tale among the world of organized crime, a Boogeyman called Keyser Soze, if he even exists at all. Slick and sleazy ex cop Dean Keaton (Gabriel Byrne) heads up this dysfunctional crew of vagabonds which includes hothead McManus (Stephen Baldwin in a role originally intended for Michael Biehn, which kills me to this day), weirdo Fenster (Benicio Del Toro, using an indecipherable mishmash of an accent that would be the first of many), spitfire Hockney (Kevin Pollak) and Verbal Kint (Kevin Spacey) the runt of the litter. The lot of them are intimidated into performing risky enterprises by lawyer Kobayashi (Pete Postlethwaite) until the climate of their actions reaches a boiling point and answers emerge from the darkness. This is all told in retrospect by Spacey, to a rabid customs agent (Chazz Palminteri) who has designs on ensnaring Soze. Spacey scored Oscar gold for his heavy work here, spinning a tale whose layers interweave and pull the wool over our eyes time and time again before offering any glimpses of truth. Byrne is a fiercely guarded storm as Keaton, a man with secrets so deep even he doesn’t know who he is anymore, letting the anger set and smoulder in those glacial eyes of his. The supporting cast adds to the class and confusion terrifically, with fine work pouring in from Dan Hedeya, Suzy Amis, Giancarlo Esposito and a wicked cameo from Peter Greene, who provides a moment of inspired improv. The score of the film rarely relies on dips and swells until all is said and done, keeping a tight lid on the orchestra and feeding us nervous little riffs of anxious portent that keeps tension on a tightrope and anticipation on call. A mystery this tantalizing is irrisistable the first time around, but the trick is to make your story rewatchable, and I’ve seen this thing over a dozen times. Every viewing provides some new angle to the story I didn’t see before, or I notice a subtle interaction in the very naturalistic and funny dialogue which escaped me in the past. My favourite thing to do is watch films with someone who hasn’t seen them before, observe their reactions and opinions on every little story beat and cinematic flourish, it’s almost more fun for me than the actual film itself. The Usual Suspects is a showcase piece for that activity, because you get to see this very complex revelation unfold through new eyes as you watch them experience the revelations. Whether your first viewing or your fiftieth, it never loses its power, and the spell it casts just doesn’t dim. Masterpiece.

B Movie Glory with Nate: Split Second

One of the better entries in a long and tedious career of B movies that Rutger Hauer has inexplicably slaved in, Split Second is actually a solid, enjoyable little flick with terrific action, atmosphere to rival any of the big budget films he did and a stoically deadpan performance from the legendary badass. The year is 2008 (lol the future), the place is London, and the sea levels have been rising fpr years, causing a few feet of water everywhere, leading to a stall in infrastructure growth. Hauer plays police detective Harley Stone, a gruff, take no prisoners shit kicker with a big gun who is searching the dank streets and shadowy clubs of London, looking for a killer who dispatched his poor partner a few years before. Only thing is, this ‘killer’ isn’t actually human, as Stone finds out in a series of well staged, murky shootouts in which the muzzle flares and smoke machines combine efforts (with hidden help from the low budget) to ensure we never get a good look at this beast until the bloody finale. Hauer is the perfect lone hero, a physically imposing presence with the laconic wit and unshakable charisma to match it. His Stone is world weary, laid back but dogged, and not without a bleak sense of humour. “I’m a cop” he sarcastically barbs, flashing his badge to a nightclub guard dog who wouldn’t know it from a hole in the ground. Kim Cattrall plays the female counterpart to the fight, and watch for Pete Postlethwaite in an early role as a pesky bureaucratic swine who gets in Stone’s way a few times. If you picture the hard hitting brutality of Predator, combined with the smoky ambience of Blade Runner you’ll have some idea. Admittedly it’s on a far lower budget and as such has to make do with it’s resources, but it does that just fine. Memorable little action creature feature. 

Lasse Hollstrom’s The Shipping News: A Review by Nate Hill 

Lasse Hollstrom’s The Shipping News is two thirds of a great movie, but unfortunately has a first act which introduces it’s main character in the most heavy handed of ways, and sort of shoots itself in the foot. It helps that the rest of the film is lovely, but it takes some time to get the sour taste out of your mouth. Kevin Spacey is Quoyle, a meek milquetoast dude who has spent his entire life moping and whining, constantly being walked all over and never standing up for himself, starting right from his childhood relationship with his father (Jim ‘sippy poo’ Lahey, the glorious bastard). He’s so pathetic and such a loser that one wonders where can you go from here, and why did Spacey choose to start his arc at such a sad extreme, instead of livening it up a bit? By chance (and I mean chance) he marries Petal ( half mad Cate Blanchett), a wayward woman-child with barely an ounce of sanity or sensibility in her, and has a daughter with her. She runs off to a tragic self inflicted end, and he is left to raise the girl. Suddenly he receives news that a relative has passed in a small coastal fishing village his ancestral home of Newfoundland, so he packs it in and the two of them head on out there to begin anew. From there it’s an awakening for him, and bit by bit his character becomes believable and tolerable, two traits that were simply not there up until this point. He meets a long lost relative (a salty Judi Dench), befriends a local gal (Julianne Moore), starts working for the gruff local newspaper magnate (Scott Glenn, wonderful) and essentially finds a self within him that he never had before, a life to fill the pointless void he’s lived in for his whole existence so far. The town is charming, the atmosphere authentic and the acting terrific, including Rhys Ifans and the late great Pete Postlethwaite. I just wish the first act could have measured up to the rest and not stuck out like such a misplaced and noticeable sore thumb. Hallstrom has an ear for intimate, rural set family drama (check out An Unfinished Life with Robert Redford fpr his best work), and for the most part, this one delivers the goods. 

The Constant Gardener: A Review By Nate Hill

Usually, I’m not super hot on adaptations of John Le Carré novels. His style tends to veer towards dense, impenetrable narratives that confuse and confound me, and are further frustrating because they have such wonderful casts and production value (I’m lookin at you, Tinker Tailor Soldier Spy). The Constant Gardener, however, is a breathtaking story that I’ve enjoyed very much since I saw it in theatres at probably too young an age. It fashions a story that although is complex and refuses to be straightforward about what it’s trying to say, contains essential beats and stunning performances from its actors. It’s also set apart from other Le Carré yarns for having the most humanistic, compasionate core to its story, centering it’s focus on the atrocities that humans can commit upon each other in mass, faceless fashion and showing us the sparse, golden good deeds that a few kind people can put forth to counter such madness. An organic, emotional theme is nice compared to the clinical, detached style we usually see from this writer. The film is lucky in the sense that it has deeply gifted leads: Ralph Fiennes and Rachel Weisz, two actors who always resonate with a relatable human kinship in their work, and are both superb here. Fiennes plays Justin Quayle, a British ambassador in a god forsaken African region whose luminous wife Tessa (Weisz) is found dead in a remote area under suspicious circumstances. She was investigating several high profile pharmaceutical companies, under scrutiny for their sociopathic, amoral drug testing trials on the poverty stricken Africans. Intrigue strikes in after this, as shellshocked Justin pieces together what lead to her death, and how he can cripple those responsible using espionage and a level of keenness that’s well above both his pay grade and mental constitution. Flashbacks abound as we see Justin and Tessa’s early years unfold, adding all the more to the lumps in our throats as we know the ultimate outcome which the film frankly showed us in the opening frames. Welcome supporting turns come from other UK geniuses like Bill Nighy as an icy CEO, Richard McCabe as Fiennes’s courageous brother in law, Danny Huston as a shady friend of Tessa’s and Pete Postlethwaite as a mysterious doctor who figures later in the plot. Cinematographer César Charlone makes sweeping work of bringing the chaotic nature of Africa to life, it’s people, landcsape and aura beautifully rendered in shots that evoke the best of Monét and similar artists. Such beauty brought forth from a story filled with unpleasantness is interesting, almost a refusal to present the depressing story in any other fashion than to show us the virtue in tragedy, the cost of lost lives and unchecked corruption present for all to see and wince at, yet somewhat quelled by the undeniable forces of light also in play. Rachel and Ralph’s work is an example of this; They are compassion incarnate, pools of hurt, determination and love for one another in the face of evil, unfair odds. They should both be very proud of their work here. Direct Fernando Meirelles has helmed Blindness and the classic City Of God, and as such is no stranger to infusing pain and sorrow with esoteric, positive qualities. He takes full advantage of the African setting, where suffering is commonplace and along with his entire troupe, throws all the lush, alluring kindness straight into the face of horror in an audacious stylistic set of choices which make The Constant Gardener one of the most achingly well constructed romantic annd political thrillers of the decade.