Tag Archives: ray Stevenson

Adam McKay’s The Other Guys

I don’t know what it is about Adam McKay’s The Other Guys but it’s one of those comedies I’ve seen literally over fifty times and it’s never not funny, in fact it gets even more fucking hilarious with each new viewing. It’s essentially a sendup of the buddy cop genre starring a perpetually cranky Mark Wahlberg and a half mad Will Ferrell, but it’s also so much more than that in ways you don’t initially see coming. I think it’s the lack of script and encouragement from everyone involved to rely on loopy improvisation that works so well for me here.. it’s like for every scene they tossed away all the scripted takes, kept all the ‘end of the shooting day giggles’ material and deranged bloopers and just loaded that shit up into the final cut, which is a stroke of mad scientist genius. Wahlberg and Ferrell are Allen and Terry, two hapless NYPD detectives constantly living under the shadow of a couple hotshot alpha badasses played briefly by Samuel L. Jackson and Dwayne Johnson until.. well let’s just say they get their moment to shine, as Ice-T dryly narrates the action when he feels the need to pipe in. They get involved in an impossibly intricate conspiracy involving diamond heists, a corrupt hedge fund guru (Steve Coogan almost walks off with the film), an Aussie private security prick (Ray Stevenson, priceless), the power-ball lottery and so much convolution that it’s taken me this many viewings to get that yes, it indeed does have a plot that makes sense when you work it all out but that’s besides the point anyways. It’s almost like Naked Gun level shenanigans where it doesn’t quite take place in the real world but an almost surreal comedic version of it. Just beholding Allen and Terry play ‘Bad Cop Bad Cop,’ get their car hijacked by a coven of perverted homeless dudes called ‘Dirty Mike & The Boys,’ recount Allen’s life as a college pimp, the precinct goons convincing Allen to do a ‘Desk Pop’ and so much more is enough to realize that you’re not in Buddy Comedy Kansas anymore and you’re gonna see some shit that defies genre expectations. I love when Steve Coogan is like “I’ll give you each a million dollars to let me go, and it’s not a bribe.” Ferrell retorts: “Of course it’s a bribe, you’re offering us money to not do our jobs”. Coogan looks him dead in the eye and sincerely reiterates: “It’s not a bribe.” Fucking gets me every time man. The cast is peppered with so many effective oddball performances I couldn’t mention them all here but be on the lookout for Eva Mandes, Rob Riggle, Josef Sommer, Brett Gelman, Derek Jeter, Damon Wayans, Bobby Cannavale, Anne Heche, Andy Buckley, Natalie Zea, Brooke Shields, Rosie Perez and more. Best of all has to be Michael Keaton as their police captain, a loopy fellow who also works at Bed, Bath & Beyond for some reason and quotes TLC songs multiple times throughout the film but pretends he has no idea who they are, it’s a brilliant bit of knowingly subtle supporting work that also gets me every time, as does the film overall. This one just exists outside the box and does it’s own thing, getting abstract, bizarre and frequently ‘WTF’ to the point it feels like something by SNL at their absolute weirdest or… I don’t even know what to compare McKay’s aesthetic to, but I’ll say that this is likely in the top ten funniest comedies I’ve ever seen. Aim for the bushes!

-Nate Hill

Xavier Gens’ Cold Skin

Xavier Gens’ Cold Skin is a tough one to pin down. A chilling, dark maritime horror yarn, a weird interspecies romantic triangle and a creature feature all in one, it starts off with a young man (David Oakes) and an older man (Ray Stevenson) alone on a rocky Antarctic island tending to a remote lighthouse (remind you of anything this year?). Stevenson is half mad, lives in a pulverized mess under a mountain of beard and perpetually looks like he just emerged from a week long bender, and we soon see why. Every night after darkness falls, weird sub-humanoid creatures scurry out of the ocean’s depths and lay siege to the rock, particularly the lighthouse where he lives and picks a them off ruthlessly one by one as they climb the exterior. Soon the young man is swept up in this feverish nocturnal routine until he begins to question the motives, history and morality of his colleague, or whoever this dude is. There’s also a female creature he names Aneris (Aura Garrido) who lives with them periodically and… uh…. does other stuff with them too.

I liked this film a lot because it doesn’t reveal everything, even up to the final few frames. Why does Aneris forsake her kin in the sea to live with this sorry drunken prick? Why do the creatures attack in the same way every night when they, presumably somewhat sentient, know full well that these dudes have a sizeably advantageous perch? These aren’t plot holes at all by the way because you get the gnawing sense that the answers are right there in the ether, just not spelled out by the narrative, a tactic that almost always pays off nicely. Stevenson plays against his square jawed, strong n’ silent type as essentially a raving lunatic who has gotten on the wrong side of this race of beings and will not be dissuaded that they are anything more than vicious beasts, even when it becomes apparent that this is probably not the case and he has been going about the situation all wrong. Gens doesn’t fuck around when it comes to horror (check out his absolutely savage Frontiers and The Divide) and as such this has a brutal, tragic edge to it but there’s lyrical beauty as well, especially in Garrido’s remarkably physical, disarmingly soulful performance as Aneris, who seems like a strange hybrid of human girl, fallen angel, space alien and mermaid. Also effective is a very cinematic musical score by Víctor Reyes that swells and falls, ebbs and flows throughout the story like sea does against this stark, forgotten corner of the world. This film is like a strange tale told to you in a sailor’s pub one night by a drunken old captain; it’s at once ridiculous and sensational but there’s some kind of sad, eerie truth to it that hangs over you like a cloud after that final wave crashes. A film well worth seeing.

-Nate Hill

Kenneth Branagh’s Thor

People get a little aghast when I say that Kenneth Branagh’s Thor is my favourite Marvel Cinematic Universe movie, but there’s something about the operatic, orchestral grandeur of Asgard contrasted with Thor’s deadpan, hilarious arrival on earth that is an irresistible flavour and calls back to classic adventure films of the 90’s that saw fish-out-of-water protagonists up to the same shenanigans (think the sea and feeling of Spielberg’s Hook, or the like). The world-building up there in the cosmic realm is still just some of the best eye candy the studio ever put out in their superhero romps, and no one blasted into the leading man scene quite like Chris Hemsworth did with his broad, knowingly silly and very heartfelt performance. The Avengers entries seem to earn all the love and they’re fun, but I like the solo outings that leave breathing room to focus on one of these heroes at a time, and really get to know them. Thor’s transformation from a proud, boorish and naive strongman who knows but one form of diplomacy (hit em with his hammer) into a wise, compassionate being worthy of the crown is just a great arc to see unfold. Throw in Natalie Portman, Stellan Skarsgard and priceless Kat Dennings as the most utterly charming human ‘sidekick brigade’ the universe has to offer and the whole thing becomes an almost instant classic. Branagh is a Shakespearean veteran, and every hint of that instinct is on display in the theatrical showmanship of Asgard, in the performances of Hemsworth, Tom Hiddleston as scheming Loki, Anthony Hopkins as godly Odin and terrific Idris Elba as celestial gatekeeper Heimdall, who steals every scene. On earth-side Natalie Portman is adorable and blooms with both romantic yearning and genuine smarts, Kat Dennings takes the concept of comic relief and runs with it so deftly she almost walks away with that portion of the film. Clark Gregg fleshes out his glib Agent Coulson character, Jeremy Renner does his first badass turn as Hawkeye, Colm Feore is icily menacing as Laufi, king of the fearsome Ice Giants, while Ray Stevenson, Tadanobu Asano, Josh Dallas and Jaime Alexander fill in as Thor’s rowdy warrior entourage, mistaken for Robin Hood, Jackie Chan and Xena when they stroll down Main Street after arriving nonchalantly on earth to help the god of thunder do battle with a giant fire-stuffed tin man sent by spiteful Loki. There’s something so thrilling about this picture though, from the chemistry between Thor and Portman’s Jane to the camaraderie he has with Skarsgard’s Professor Selvig to the larger than life, tripped out and gorgeous visuals of Asgard set to a banger of a score by Patrick Doyle, it all just works so damn well and is the one chapter in the MCU canon that works best as a stand-alone film all its own. Another!!

-Nate Hill

Antoine Fuqua’s King Arthur

I’ve been singing the praises for Antoine Fuqua’s King Arthur for years, but here’s the thing: you simply have to watch the extended director’s cut, it’s a different film entirely than the theatrical. Expanding both on complex moral quandary and lethal, bloody carnage, it allows ideas, expression and extreme violence to play out in a cut free of time and rating constraints, and as such is one of the best sword/battle flicks I’ve ever seen. The main buzz surrounding this one was how much of a departure it is from the usual Arthur lore we’re used to.. darker, grittier, more tied in with Ancient Rome and bereft of any lighthearted fantasy, it may as well be its own thing untethered of any Arthurian scope, because who can really say how it all went down back then anyways. Here Arthur is a restless, stormy Sarmatian knight played by a hot blooded Clive Owen, a fearless, jaded warrior who is steward to a rowdy troop of loyal swordsman forced by the empire to serve out fifteen years of service in exchange for freedom at the end of it all. Each of his troupe is played by a stellar actor, and each blessed with their own distinct, fully formed personality. Headstrong Bors (The always awesome Ray Winstone), dysfunctional Lancelot (Ioan Gryffud), lethal Tristan (Mads Mikkelsen, probably the coolest of the bunch), stalwart Galahad (Hugh Dancy), mischievous Gawain (Joel Edgerton) and strong, silent Dagonet (Ray Stevenson). They’re a wickedly diverse bunch of warriors, lovers, brothers and each has their own carefully carved out view on freedom, the Romans, life on the battlefield and ancestry, just a few of the themes explored deeply by the consistently surprising script. This film is notorious for its portrayal of Keira Knightley’s Guinevere, a bikini clad warrior whose appearance in the third act eclipses what is actually a really well written character, is unfairly panned based on a few brazen costume choices. Arthur and gang are up against a fearsome Saxon army led by Cerdic (stellar Stellan Skarsgard), a bloodthirsty maniac restlessly looking for his equal on the battlefield, which he finds in Arthur once they duke it out. Merlin is a tree dwelling mystic played by an unrecognizable Stephen Dillane, the round table in a dilapidated version of the glory found in books, and the knights resemble rough n’ tumble mercenaries more than the glowing reputation they’re given in classic lore. Sure, it’s a different take, but I for one really like the gritty, hellish aura surrounding the whole thing, it’s a brutal and risky departure from anything close to Disney and I applaud them for it. Better still is the way morality and philosophy are explored through the character’s actions, until we have a clear picture of Arthur as a realistic, hands on hero who isn’t afraid to get violent to prove points. The set pieces and swordplay are breathtaking, from a tense stand-off set on a deadly frozen lake to the final spectacular battle, each knight getting their chance to nail some superb fight choreography and draw gallons of blood. Hans Zimmer provides one of his most surging, palpitating thunderclap original scores, it’s up there with his best work and rides right next to the knights into battle with symphonic glory that just begs for a surround sound system to play on. I think this got so shit on because critics are usually only privy to the theatrical version right out of the gate, and first impressions cement reputation for years to come. Once again, the director’s cut is really the only way to go. It’s bolder, longer, more violent and sensual, and just tells the best version of the film’s story that it can.

-Nate Hill