I’m not sure why the general reception to Mathieu Kassovitz’s Gothika was bad bordering on hostile and I have nothing to say to people who hate this film other than I love it and really don’t see what the huge issues with it are. This is an atmospheric, expressionistic horror film made by a European director who favours image, sound, stylistic viscera, trippy nightmare logic and frightening tonal discordance over plot mechanisms, which is just fine by me. Halle Berry plays an expert psychiatrist at a scary Arkham Asylum looking facility where a disturbed patient (Penelope Cruz) whispers of unseen terrors that haunt her. One day Berry wakes up as a patient in her own ward, told by her colleague (Robert Downey Jr) that she’s guilty of killing her husband (Charles S. Dutton). She has no memory of the night in question except meeting a mysterious, ghostlike girl (Kathleen Mackey) on the road right before the alleged crime. Others including the local sheriff (John Carroll Lynch) and the facility’s director (Bernard Hill, always fantastic) try to get to the bottom of this supernaturally drenched murder mystery while Berry struggles to keep her sanity as she’s plagued by terrifying visions, waking nightmares and the ominous presence of the ghost girl. Look, not everything in this film’s plot makes the most sense, but it’s clear enough to serve as narrative framework for one of the most darkly evocative, visually eerie and audibly menacing auras in a horror film. It’s essentially a haunted house flick with a very real (and very horrific) murder/rape conspiracy playing alongside, as Berry wanders the stylized grounds of the asylum pursued by noises, grotesque deformations, tactile hallucinations and that persistent ghost girl who demonstrates the most effective and chilling use of the “jerky, otherworldly backwards ghost walk” I’ve probably ever seen. Berry and Downey Jr are terrific while Cruz does some very scary, against type work as the extremely disturbed trauma victim who holds secrets to the mystery she guards cryptically. I love this film, I love its weird, borderline surreal vibes, I love how lurid and gruesome the murder mystery is, how the production and sound design stimulate every sense and the film draws me into its world spectacularly every time.
Los Angeles is a place of bright sunny daydreams, hopeful aspirations of fame and fortune and the ever present hum of the Hollywood industry. It’s a fascinating arena to watch a film noir unfold but between the palms, roaming the hilly outskirts and permeating the cityscape is often a deep, sleazy corruption and sense of danger at every turn, apparent in many films that explore the dark, noirish side of town. Vice cops on the take, starlets on the run from powerfully evil forces, mobsters running the show from behind the scenes and grisly serial murderers that inspire films of their own, it’s all there and more. Here are my top ten in this sexy, beautiful and often hilarious sub-genre.. Oh one more thing! Please keep in mind I’m still a young’in and haven’t seen pretty much any of the old LA crime films dating back to black and white days of the 40’s and 50’s.. one day we’ll get to those, but for now these are my favourite one from a more contemporary scope of vision.. Enjoy!
10. Carl Franklin’s Devil In A Blue Dress
Denzel Washington sniffs out corruption most foul in this sweaty potboiler that includes a mysterious femme fatale (Jennifer Beals), a politician (the late Maury Chaykin) with some disturbing skeletons in his closet and a scary rogue cop (Tom Sizemore). The narrative is reliably serpentine, Denzel pulls off a smooth performance and the atmosphere is all grit, shadows and smoked out jazz clubs.
9. Lee Tamahori’s Mulholland Falls
In this vision of 40’s LA, corruption has to stand up to Nick Nolte’s Max Hoover, an off the book vigilante cop who doles out brutal frontier style justice on gangsters along with his equally ruthless crew (Michael Madsen, Chris Penn and Chazz Palminteri). This one has a bad rep but it’s fantastic, the scope of the central mystery spans to the outskirts of town and includes a mysterious songbird (Jennifer Connolly), a weirdo Air Force colonel (John Malkovich) and more. It’s a positively star studded piece of work with cameos buried like hidden treasure throughout, a spectacular sense of time and place thanks to lavish production design and a hard edged, angry lead performance from Nolte at his most battered and distraught.
8. Shane Black’s The Nice Guys
The buddy comedy gets a royal workout in this balls out pairing between Russell Crowe’s aloof thug for hire and Ryan Gosling’s moronic private eye. The plot here is almost impenetrable but it’s no matter, most of the fun is in the colourful, detailed 1970’s production design and Black’s trademark deadpan dialogue which we get in spades. Ooo, and an icily sexy turn from Kim Basinger as the city’s most corrupt government official, a deliberate callback to another film later on this list.
7. Robert Zemeckis’s Who Framed Roger Rabbit?
Combining elements of classic noir with the zany cartoon aesthetic and using stunning technology to do so, this miracle of a film parades around pretty much every animated character you can think of in a tale of humans living alongside ‘Toons’ in an alternate reality Los Angeles. A trip to Toon Town, the sultry femme fatale Jessica Rabbit (Kathleen Turner) a truly terrifying villain (Christopher Lloyd), an intrepid private eye (Bob Hoskins) and so much more can be found in this timeless, visually dazzling classic.
6. Curtis Hanson’s LA Confidential
A sprawling, diabolical tale of police corruption, this brilliant, galvanizing piece of crime cinema launched the international careers of both Russell Crowe and Guy Pearce, both providing solid, brawny tough guy turns. Kim Basinger gives arguably her best performance as a blonde bombshell starlet, Kevin Spacey is splendid as a headline hogging super cop who reeks of self loathing and James Cromwell makes for one terrifying villain as the last guy you want as a Police Commissioner. The real star here is the script, a labyrinthine tale that takes its time imparting revelations and ends with several dark secrets and a bang-up shootout. Oh, and remember Rollo Tomassi.
5. DJ Caruso’s The Salton Sea
Val Kilmer explores the duality of man as both a nocturnal meth-head and a mournful trumpet player in this curious, dreamy and altogether captivating piece of pulp bliss. Populated by eccentric actors like Danny Trejo, R. Lee Ermey, Meat Loaf and Vincent D’Onofrio in a bizarre encore as a drug kingpin called Pooh Bear, this is one of the most distinctive and memorable crime flicks out there. From it’s haunting trumpet solos set against the sunset on the shores of the titular waters to the feverish late night shenanigans of Kilmer and his band of druggie freaks to a slow burn revenge subplot that creeps up from behind, this is a brilliant picture.
4. HBO’s True Detective: Season 2
This might be a controversial pick a) because it’s a season of television and not a feature film and b) because this season isn’t regarded as quality content in some circles. Well… with these lists I envision a world of blogging where film and TV occupy the same realm and also I will defend this incredible story to the grave. Colin Farrell, Rachel McAdams, Taylor Kitsch and Vince Vaughn play lost souls in a fictional California county who begin to uncover a dense, decades old trend of conspiracy and corruption in their midst. It’s bleak, fatalistic and hyper stylized but the truth of each character and the season’s dark themes overall shine through wonderfully. It’s one of my favourite seasons of television ever produced and simply undeserving of any dislike thrown its way.
3. Ethan & Joel Coen’s The Big Lebowski
What do marmots, nihilists, White Russians, bowling, sarsaparilla, interpretive dance, dirty undies and the sheriff of Malibu have in common? It’ll take a couple of viewings to completely string together the Coen’s farcical cult classic and distill it to a point of cohesion, but is that really the point anyways? This film has sort of spawned a subculture and taken on a life all its own. A purebred masterpiece of screwball elements, abstract dream sequences, stoned out tomfoolery and the bad guy from Roadhouse playing a pornographer who likes to draw dicks… what more do we need?
2. Michael Mann’s Collateral
There’s a point in this film where a lone coyote ambles across the LA interstate while Jamie Foxx’s introverted cab driver and Tom Cruise’s philosophical hitman look on in dreamy bemusement to the tune of Groove Armada’s haunting ‘Hands Of Time’ in the background. It’s striking for a few different reasons.. it serves the plot none other than to highlight both the savage, jungle law nature of Los Angeles and to remind us that the colour of this beast’s coat mirrors that of Cruise’s hair and leaves us to wonder if that is deliberate or just us making conjecture. Mann’s brilliant crime thriller is full of moments like these, subtle instances, eerie coincidences and mood setting interludes that make it something more than just your average cat and mouse thriller, something deep, meditative and primal.
1. Shane Black’s Kiss Kiss Bang Bang
As a once aspiring actor I’ve always had this fantasy of becoming casted by accident and catapulted into the LA scene by sheer happenstance, and that’s exactly what happens to hapless Robert Downey Jr in this hilariously meta send up of noir in general. Of course the lucky break isn’t without strings attached, the main one being Val Kilmer’s scene stealing private detective Gay Perry. The two of them bicker their way down a rabbit hole involving an aspiring actress (Michelle Monaghan, luminous), a shady tycoon (Corbin Bernsen) and numerous other lowlifes and weirdos the great city has to offer. Downey and Kilmer win the day with their utterly hilarious and touching characterizations, spurred by Black’s winning dialogue and an overall sense that everyone involved has a deep love for all things Hollywood.
Thanks for reading!! What are some of your favourite LA Noirs?
It’s funny how the fates play their hand. Not long before I hand completed the interviews for this piece, I found I had been gifted the opportunity to interview Phillip Noyce, who happens to have directed BLIND FURY – a film that was both the inspiration behind and the film that came to mind when I first heard about Blindsided: The Game. And what a film! Walter is a seemingly unassuming guy who likes his peace and serenity – and his warm apple pie. His daily life, to the voyeur, would appear idyllic – that is until he decides to visit his local convenience store at the wrong time. A gang of stand-over men are looking for payment on a debt owed by the proprietor, and Walter’s friend. You know something is rotten in Denmark, and Walter looks as though he is the kinda guy to let sleeping dogs lie. No way! Like Josey Wales before him, Walter is the man, the hero who’ll always double back for a friend. That’s when the ACTION begins….
You might find yourself, as I did, waiting for something to happen. When Walter reveals his secret however, you’ll marvel and the grace, fluidity and devastating ability that the film’s hero has been keeping under his hat. The ensuing war which Walter wages with the movie’s antagonists is fierce – with a satisfying resolution.
I think the only thing I wasn’t happy about after watching Blindsided is that it ended – ’cause I, for one, wanted more. So it was an honor and a privilege to sit down with the filmmakers behind this veritable dynamo – this indie action gem waiting in the wings.
Blindsided: The Game pays homage to classic action films like Zatoichi and Blind Fury not only in its protagonist Walter, a blind swordsman, but also in that the film places heavy emphasis on storytelling combined with great action. This is no surprise with Clayton J. Barber in the director’s seat, who comes with over 20 years of experience as a stunt coordinator in Hollywood. Leading man Eric Jacobus plays Walter, a lovable cook who’s an expert gambler and swordsman. The character is the amalgamation of Jacobus’s 18-year career as a comedic action performer in the indie film arena. Director Clayton J. Barber is pushing the boundaries of modern action entertainment by bridging Hollywood with the indie action film world.
Barber notes that, “Eric Jacobus came from the indie action film realm. He was like a punk rocker of the action genre using raw film-making. We’re bridging these worlds together to create a totally new kind of action experience.” Jacobus echoes Barber’s sentiments: “Indie action guys have all the tools they need to showcase their skills, but the element of storytelling still has to be there. Clayton’s that storyteller who knows action. This is our Le Samurai.”
Barber and Jacobus aren’t the only stuntmen involved in Blindsided: The Game. The film features an ensemble of action stars and stunt performers both behind and in front of the camera. Roger Yuan, a veteran action star featured in action films such as Shanghai Noon and this year’s Accident Man, who plays the shopkeeper Gordon, also choreographed one of the film’s major fight scenes. Producer David William No (Altered Carbon from Netflix, and Matrix Reloaded) acts as a knife-wielding card shark and goes toe to toe with Jacobus in the climax. Veteran stunt performer Joe Bucaro (xXx, Iron Man) plays the ruthless gang leader Sal, Nicholas Verdi (Close Range, Agents of S.H.I.E.L.D.) plays Nico and acted as director of photography, and Sal’s enforcer is played by Luke LaFontaine (Savage Dog, Master and Commander) who also served as the sword fight coordinator.
Production company, JB Productions, is dedicated to delivering strong storytelling and first-rate action, created by people who truly understand action. Barber says, “This is a new approach to action film-making. Blindsided: The Game is the perfect collaboration for us, and we hired great stunt performers to play the lead roles and even work behind the camera with us because we wanted to work with folks who knew action. That’s the brand people are buying into, and we’re always looking to build that brand by collaborating with talent both in America and overseas.” Jacobus and Barber previously collaborated on the hit short films Rope A Dope and Rope A Dope 2: Revenge of the Martial Arts Mafia. Blindsided: The Game is an expansion of the 2017 short film Blindsided, which was the first title under the Jacobus / Barber (JB) Productions banner. Blindsided was released to much acclaim, with fans craving a conclusion to the story. Blindsided: The Game replays the entirety of the original Blindsided and carries the story to completion, capping the film off at the length of a TV pilot.
Jacobus and Barber are confident that Blindsided: The Game will fulfil fans’ desires for a complete film. Blindsided: The Game will be free to stream on YouTube NOW!
The films of Paul Kyriazi hold a special place in my cinema-viewing adventures throughout the years. I, naturally, encountered them during the heady days of the era of VHS – I still have my copies in that format of Paul’s work. Then, not unlike Terrence Malick, Paul disappeared, and I lamented his absence having come to admire his film-making style and diversity.
So, rejoice I did, when I learned that he had returned to the director’s chair. Eagerly I sat down to watch Forbidden Power – and I was not disappointed. With his new film, Paul returns with his unique voice, his visual dexterity and his great command of unfolding an exciting thriller that doesn’t release its grip on you till it’s time to fade to black.
Fascinated by his study in the field of personal empowerment, Paul takes us on a journey where the achieving of super-human abilities is contracted via sexual intercourse. The character at the center of the story is a mysterious and provocative woman – who seemingly hypnotizes her partners with a type of mystical persuasion. The character we follow, after his eerie yet passion-fueled encounter with the female antagonist, wakes to find her vanished, but also having left behind for him a gift of sorts.
In this superhero-movie-saturated age we find ourselves, it was refreshing to witness a different spin on the getting of super-powers. Our hero, just like in any superhero origin story, has a delightful time discovering the extent of his new-found abilities. But, as it is with the coming of great power, there comes along with it, great responsibility.
Thus we go along on the adventure, and soon discover that plot is deeper than one might first imagine. I’ve no intention of spoiling it for you here, because I want you to see the movie. What it will say is – this is well crafted film-making that you can definitely become immersed in.
It was a true honor for this fan, not only to talk to Paul, but also to two of the film’s stars – the stunning and talented Nazanin Nuri and the man, the legend, Harry Mok (another exceptional, multi-talented performer whom I too, like Paul, encountered first in the heyday of home video).
I encourage you to seek out Forbidden Power, if you are a fan of Kyriazi cinema or not. I promise you, you will not be disappointed…
At age 8, I see The Making of 20,000 Leagues Under the Sea on Disneyland TV and decided to become a movie director. Age 16, I start filming 20 minute action stories using my father’s 8mm camera. Age 18, my father bought me a used Bolex camera. I film a 30 min color action movie titled Trapped and it wins the Berkeley Film Festival. I start taking karate to be like James Bond. My Sensei introduces me to samurai movies. Seeing that action with great film techniques of the Japanese directors, moves me into martial arts movies, even before the TV show Kung Fu. I transferred to San Francisco State University making more 20 minute karate stories and placing 3rd in the next Berkeley Film Festival. I graduate with a BA in film. I join the Air Force movie department and film space launches for NASA. I take leave to film my first feature Drawn Swords in 35mm black & white Techniscope. It’s about 3 samurai going to England to enter a fencing tournament. I use all my cash and credit cards, loans, and refinancing my car. I get out of the Air Force and return to San Francisco unable to sell my movie. I promise myself if I get another break I will make a color movie that is so commercial the distributors will have to buy it. I meet karate tournament fighter Ron Marchini who has me re-edit and sell his Philippine produced movie Murder in the Orient. Ron then hired me to write and direct Death Machines. To be commercial, we come up with a story of 3 karate killers (white, black, Asian) to cover all markets. Then we add a cop/gangster plot, big fight scenes in a karate dojo, bar, and police station, and we actually blew up a piper cub airplane. The completed movie is immediately picked up by Crown International Pictures with big advertising. It opened in 50 theaters in LA making it a #14 top grosser. However, I still can’t raise the money to produce my own movie, so I direct a sequence for Sesame Street. I pick up a copy of The Million Dollar Secret Hidden in Your Mind by Anthony Norvel. I take his classes for three months in LA, then return to the San Francisco. In 10 days I raise the money to produce and direct Weapons of Death. The panavision film plays all over the USA breaking a house record in a New York theater. I next produce and direct Ninja Busters. This was followed by the cops and gangsters story One Way Out. Next came writing and directing Omega Cop starring: Adam ‘Batman’ West, Troy Donahue, and Stuart Whitman. An actress from Weapons of Death hires me to produce a travelogue in Phuket, Thailand, Thailand Adventure proving you never know what contact will end up getting you movie work. I write two novels in hopes of getting them produced as movies. When many people ask me “How do you survive as a freelance?” I write How to Live the James Bond Lifestyle. In 2003, I produce In the West – a 90 minute travel production for Japan. Appearance by Pat Morita. In 2005, I produce my novel Rock Star Rising as an audio-book narrated by Rod Taylor, performed by Russ Tamblyn, George Chakiris, Robert Culp, James Darren, and Kevin McCarthy. It has full effects and music, making it an “audio movie” of sorts. In 2006, I direct the largest production in audio-book history, McKnight’s Memory. Narrated by Frank Sinatra Jr, it stars Robert Culp, Nancy Kwan, Don Stroud, Henry Silva, Alan Young, David Hedison, and Edd Kookie Byrnes. In 2007, I Direct Edd Byrnes’ My Casino Caper audio-book. It’s Edd’s memoir of being stalked for his 3 million dollar Las Vegas win. With Alan Young, Henry Silva, and David Hedison playing themselves, recreating the incident that happened in 1977. Michael Callen plays the part of criminal that stalked Edd. In 2008, I direct Barbara Leigh’s The King, McQueen, and the Love Machine audio-book. Her memoir of being a top model involved with Elvis, Steve McQueen and MGM president Jim Aubrey. Joe Esposito introduces it and plays himself in the dramatizations. In 2012, I update & expand the James Bond Lifestyle on Kindle, Nook, iTunes & Kobo. In 2013, I write & produce – 3 Wild Thrillers – Three fiction stories on Kindle that includes the audio-book. In 2014, I produce The Mexican Swimmer, a 3 hour audio-book performed by Julian Scott Urena. I also write Wicked Players, a story of gambling and survival in wild Las Vegas
I always imagined moving to New York City, before even really knowing what that meant. As a child, I spoke gibberish, pretending to be American, and constantly begged my family to travel to New York. Somehow, without having ever seen any of it in person, I was fascinated by the skyscrapers, Statue of Liberty, and the opportunity New York City had to offer. For as long as I can remember, I had this recurring dream, where I was swimming for so long, exhausted and not sure where I was going, until finally I’d look up and realize I’d swam all the way to New York City. I’d wake up screaming, “I made it! I made it!” I finally left everything in Switzerland behind and made my way to US as an Au Pair. In 2012, with just two suitcases, I moved to San Francisco and lived with a host family. After a year in the states, I began to feel comfortable communicating and expressing myself in English. I extended my job for another year and moved to Long Island, New York. After working for two years as an Au Pair, I was ready to pursue my dream. I moved to New York City and signed up for ESL classes to master my English. As fate would have it, I stumbled upon The William Esper Studio, an acting school that changed my life forever. I was honored to be accepted in Bill Esper’s acting class and enrolled in the two year full-time program. As cheesy as it sounds, acting found me! As I studied the art and spent time learning the craft in my classes, I increasingly realized that my entire journey led me to what I really love. Acting is my calling and all I want to do in my life. At the end of my first year of acting school, I spent the summer of 2016 in Switzerland. I wrote and starred in my first short film entitled “Where Am I”. The film was very well received at the Wellington Film Festival with an honorable mention as it won the “Best Narration” category. I graduated from The William Esper Studio in summer 2017 and was right away cast as the lead – playing Veronica Hawthorn – in Paul Kyriazi’s feature film “Forbidden Power”. After we were done shooting “Forbidden Power” in Seattle I traveled to Utah to film an experimental short film that I wrote, produced and starred in. That untitled short film is in the editing phase and expected to be released in 2018
Harry Mok’s career in the entertainment industry is attributed to his well-known expertise in the martial arts field. His career began as an actor and stuntman, performing and or starring in such films as Rambo II, Uncommon Valor, TC 2000, Talons of the Eagle, Femme Fontaine, For Life or Death, College Kickboxers, The Vineyard, Tiger Claws II, Ninja Busters, and more. In 1987, Harry produced and wrote his first feature film, The Vineyard, which was released by New World Pictures. Shortly after, he began producing, creating, and designing action games for Atari/Time Warner Interactive. During this period, Harry invented a new filming technology, a 180 degree five camera blue/green screen system that would revolutionize digitization of 2D characters. He filed a patent for this technology. In August of 2005 Harry was honored with induction into the prestigious GSKA Black Belt Hall of Fame. In January 2007, he was inducted into the World Martial Arts Masters Hall of Fame. He is currently based in Northern California. He is one of the founders of 10+ Entertainment and is currently involved with producing a new reality show, New Hollywood Stars.
Ron Underwood’s Heart & Souls is a lovely forgotten gem from the early 90’s, a metaphysical comedy drama with an all star cast and a heartwarming storyline with just the right amount of tear jerking moments, one of which is really affecting. They say that some people become civil servants in the afterlife, but in this movies case they are social workers, or rather guardian angels. Young boy Thomas thinks he has four imaginary friends who accompany him everywhere, but they’re really the ghosts of four wayward souls whose unfinished business on earth has caused them to linger and provide their service to the living. Shy would be singer Harrison (Charles Grodin), grieving mother Penny (Alfre Woodward), regret filled waitress Julia (Kyra Sedgwick) and guilt ridden petty thief Milo (Tom Sizemore) hang out with young Thomas for years until he grows a bit older, their debt to heavenly society is apparently paid and they move on from him, which is truly a heart wrenching scene to watch the poor kid go through. They seem to have forgotten the most important thing though: resolving their own unfinished issues in this plane, and return some thirty years later to find a now grown up Thomas (Robert Downey Jr.) and get his help in putting their troubles to rest. Seeing very grounded, down to earth Downey as a stern businessman in the midst of stormy issues with his girlfriend (Elizabeth Shue) suddenly be faced with the four childhood chums he thought were figments is hysterical and played for all the laughs one would hope. It’s also played for emotional resonance too though, as he learns about the childlike nature he left behind and regains his dormant sense of wonder, and humour. Each of the four of his friends is played brilliantly by these actors, all with their own important story and part to play in the lives of each other, as well as Downey’s. Director Underwood gives it the lighthearted, cloudy sentiment and humour it needs, but still let’s the moments of sorrow land effectively too, finding that balance between joy and heartache nicely. This one is lost a bit to the ages, but always holds up as a timeless romantic fable, well acted and perfect to brighten up the mood of any TV room.
Ever been mistaken for somebody famous? Someone ever come up to you sayin’, “Hey you know, you look a hell-of-lot-like (insert famous actor here). You could be his stunt double.”
Peter wasn’t in Hollywood long before he heard about a little film being made called The Terminator. He went down and met with the film’s director, this young guy named James Cameron. Then, he met the film’s star, a chap named Arnold Schwarzenegger. Peter bore a striking resemblance to the man who would ever be Conan. It was after this encounter that would secure Peter a gig for the next 13 years as guy who made Arnie look as though all the rough stuff he endured on screen looked like a cakewalk.
Of course, along the way, Peter became a star in his own right; not only playing small roles in Schwarzenegger movies, but amassing an impressive list of credits in both film and television alongside his stunt work.
Nowadays however, Peter is a contented family man and is equally as dedicated to training the next generation of stunt performers. And who better to learn from than one of the best. This was a great interview with tales of life with Arnold, fighting over the channel changer with Jesse Ventura and having a beer with Charlton Heston.
So dear PTS listeners I give you a chat between two Kents. And no, I’ve never been mistaken for Peter.
When the credits rolled it all made perfect sense. The film had six screenwriters. Six. SPIDER-MAN: HOMECOMING is two films. The first story is an incredibly engaging story of class warfare; an examination of how the assembly of the Avengers created an even greater economic divide between the ruling class and the common people. The second story tries to play it smart. It forgoes the origin story, it ignores Uncle Ben’s lore, yet it is the coming of age/teen angst/generic internal struggle. The film tries so hard but the two narratives never fully fuse together.
The film looks great. Salvatore Totino’s cinematography is sharp and shot with authority. Michael Giacchino delivers the best score of the MCU and director Jon Watts does a very good job juggling a film that acts as a slight follow up to CIVIL WAR whilst staying true to who Peter Parker is.
Tom Holland is great as Spider-Man/Peter Parker, but he and the film are overshadowed by the command performance of Michael Keaton. Keaton completely owns the film. He ranks at the top tier of Marvel’s cinematic villains, joining the likes of Jeff Bridges’ Iron Mongerer and James Spacer’s Ultron.
The problem is Keaton is too good a villain in the film. Not only is his storyline of a salt of the earth scrapper turned big bad supremely rich, he outweighs an untested Spider-Man. It’s apparent in their first altercation, and by the final showdown when Spider-Man doesn’t have his Tony Stark super suit it is literally a showdown that is near impossible to accept.
Keaton doesn’t pull any punches. He’s cashing in on his star power with a big paycheck from Marvel, and good for him, he’s more than earned it with his phenomenal filmography. He doesn’t go through the motions with his performance, he’s frightening yet he’s a sympathetic man pushed to the brink to provide the life that his family deserves. The best scene of the film is a brief car ride, where Keaton figures out the true identity of Spider-Man that is cued up to Traffic’s THE LOW SPARK OF HIGH-HEELED BOYS. That scene is more than worth the price of admission alone.
Marvel makes solids films. They always have. You know exactly what you’re going to get. They may change the ethnicity of a character, they may try and sex up a character (heyyyy Aunt May), but they always serve a conventional fan service. They have yet to strike the balance of giving the diehard herd of fanboys what they want while at the same time formulating an emotionally dynamic story for those who after sitting through nine years of the Marvel machine expect a little bit more.
Neil Jordan’s In Dreams will blow you away as far as the style department goes, if being a little short up in terms of story. It’s your serial killer chiller given a supernatural twist a lá The Cell: Annette Bening plays a relatively innocuous woman who shares a sort of psychic bond with a murderer out there somewhere, his motives and actions related to her in atmospheric dream sequences that use specific imagery and sound to provide vague clues. The danger hits closer to home, however, when her own daughter is kidnapped by this killer. Her dreams are dismissed by her shrink (Stephen Rea) and a detective (Paul Guilfoyle), but when her pilot husband (Aiden Quinn) is also put in the crosshairs, she’s forced to use what scant, surreal information she has to track down the source and stop him. He’s played by Robert Downey Jr. of all people, who is already an odd enough choice before you take into account the mop of dreadlocks he’s adorned in once he does show up. He’s menacing enough in his own Downey way, but I can’t help feel it was a bit of a stunt cast on Jordan’s part. The main draw and enjoyment I got out of it is the hyper stylized, meticulously lit dream sequences that could be lifted right off the screen and put on canvas, they’re simply gorgeous. The story just can’t seem to keep up with the visuals though, it’s a retread we’ve seen many a time without much deviation from the path. Still, the colour palette and stark imagery hold enough power to deem this a winner in that respect.
The idea of offering up a defence for David Fincher’s Zodiac seems rather silly given that ten years later it’s widely regarded as perhaps Fincher’s greatest film, often revered as one of the finer films released over the past decade. We all know it’s great, though admittedly, I didn’t know that for several years.
I avoided Zodiac like it was coated in radioactive slime until 2014. I had heard a great deal of positive things about the movie, and had been greatly intrigued by the marketing behind it, but the knowledge that not only was it was a long, slow paced movie, but also a rather unsettling one too kept me away for so long. When I did finally give it a chance late September 2014, my mind immediately gravitated toward Google, scouring through page after page of information about the investigation in an attempt to better understand the finer details of the case, and come to my own conclusions about who the Zodiac killer may have been. My gut however, felt like I’d eaten a bad take out meal, disturbed, shaken, and stupidly hungry for more. I felt like how I imagined Robert Graysmith felt all those years ago, minus the fear, paranoia, and impending danger of course.
That David Fincher populated Zodiac with such a great cast is a marking of a great director who knows how to compile actors who will treat the characters as individuals and not just caricatures. I find it intriguing and perhaps even ironic, or merely coincidental, that Jake Gyllenhaal starred in last year’s underrated thriller Nocturnal Animals, given that in Zodiac he is essentially one. His Robert Graysmith is a nocturnal animal, an increasingly gaunt, wide eyed mouse sniffing around for a piece of cheese, in this case the next tangible clue or lead worth obsessively investigating. And it’s all thanks to his unshakeable love for puzzles, a factor that helps decode the first Zodiac letter. As he digs deeper into the case, we come to fear for his safety, in particular during a genuinely white knuckling scene in which the unarmed and unimposing Graysmith ventures into the basement of someone we begin to assume might put an abrupt end to Graysmith’s life.
Before the blockbuster splash that was Iron Man in 2008 thundered into the film scene, one could have argued that Robert Downey Jr.’s performance as the San Francisco Chronicle reporter Paul Avery was the best he’d ever given. An argument can be made that while he was seemingly born to play the billionaire tycoon and saviour of the planet Tony Stark, his best work still resides in the fractured Avery. The deeper the investigation gets the further Avery seems to slip from cool as a cucumber journalist to a paranoid, spineless slob.
Prior to his self induced exile on a houseboat, I got a kick out of the scene where he joins Graysmith (Jake Gyllenhaal) for drinks at a populated watering hole, chugging back those luminous bright blue Aqua Velvas while rambling about the case and their personal lives. There’s a great sense of both humour and humanity in that scene, as Avery lets his guard down and actually engages with someone beyond a superficial relationship, while Graysmith sheds his mouse-like internalized mannerisms in favour of energetic, loud behaviour, though briefly. From this point forward however, Graysmith has a spine, albeit a rather loosely fitting one, and Avery has seemingly lost his, donning “I am not Paul Avery” buttons in the hopes of fending off potential threats. He’d have made a wonderful Doc Sportello.
And of course, there’s San Francisco detective Dave Toschi played with a real sense of respectable authority by Mark Ruffalo. Toschi, an Animal Cracker snacking family man, and the inspiration behind both Steve McQueen’s preferred method of wearing his service revolver in Bullitt, and Dirty Harry’s iconic law breaking detective Harry Callahan, can’t seem to figure out how to put the pieces together in the Zodiac case, understandable in light of the overwhelming amount of contradictory information at hand. Under Fincher’s direction, Ruffalo portrays Toschi as a driven yet logically minded detective. He remains dedicated for years to catching the Zodiac, but lacks the desperation and paranoia Graysmith possesses. Instead, Toschi approaches every aspect of the case with the kind of logical thinking and reasoning every detective should be in possession of, following procedure by the book, and generally doing everything he can to crack the case until the psychological burden becomes far to heavy to bear. You can see how heavy sits in his mind by Ruffalo’s subtle body language in later parts of the movie, and you soon feel sorry for the guy.
Near the end of the film, Graysmith declares “I need to stand there, I need to look him in the eye and I need to know that it’s him.”, desperate to prove that Arthur Leigh Allen (John Carroll Lynch; perfectly unnerving and subtle) is indeed the cold blooded killer. He gets his wish a short time later when he encounters Allen at an Ace Hardware store in Vallejo where Allen works as a clerk. Allen offers his assistance to Graysmith with a polite “Can I help you?”, Graysmith responds with a “No.”, the two men simply staring at one another until Graysmith leaves, Allen thrown off by Graysmith, and Graysmith appearing much more certain that Allens is the man they’re after. The movie moves forward eight years to when Mike Mageau, survivor of the Zodiac killer at the start of the film, meets with authorities to potentially identify the Zodiac killer, positively identifying Arthur Leigh Allen as the man who shot him and killed Darlene Ferrin. While many had their suspicions and some evidence pointed in his direction, Allen died in 1992 before he could be questioned. Not that he would have confessed anyway.
Admittedly, I have intentionally left out many details and characters, with no disrespect intended, and it should be said that every actor involved in this film, from the leading performances to the smallest of cameos (for exmaple, Ione Skye of Say Anything as Kathleen Johns, a woman who was threatened in her car by the Zodiac killer), give world class performances, some even the best of their careers to date. And the script by James Vanderbilt, based on books by Robert Graysmith, is an achievement of impeccable research and respect for the case. And the cinematography by the late Harris Savides is bar none the greatest work the man had ever crafted, richly capturing everything with immaculate detail, from the lush valleys of California and its busy, inviting cities and streets, to the Aqua Vera drinks, to beams of red light emanating from police cars. He painted a gorgeous picture for us to gawk at for years to come.
Ten years later, I find it astonishing that Zodiac never truly ends like other movies do. Most movies tie up every loose thread with a ribbon to go with it, others leave room for potential sequels. You can’t end a movie when their is no resolution in reality, forcing a tacked on Hollywood ending wouldn’t sit right with anyone in possession of a brain. You can only leave the audience with the next best thing, the assurance of a living Zodiac victim that the man in the picture they’re pointing to is indeed the man who shot him. That Fincher was bold enough to choose this manner of ending his film shows us he’s a director capable of unsettling viewers long after the film ends, without needing to manipulate his audience or present alternative facts. Zodiac is a bona fide masterpiece, the crime film equivalent to All The President’s Men, and just as good too.
I was still a boy, and there was no such thing as a multiplex in sight the night I saw Flight of the Navigator.
I remember what was then the Russell Street theatre. A relatively new cinema built as its aged counterpart, The Strand, had slipped into disrepair. I remember the smell of the new carpet mixing with the popcorn, how the place always seemed packed, as two lines of movie-goers had to snake around both sides of the block to line up.
But it was a quiet Friday night when I went with my Mum to see Randal Kleiser’s new movie. From the poster, which was all you had to go on back in those days, it looked like one heck of a ride. Another boy meets an alien movie in the wake of the monumental achievement that was E.T. But let’s not descend into comparisons, such is the way of the industry. Like Dante’s Explorers, Flight of the Navigator is an ingenious blending of many great elements. It begins as a movie about a family, about two brothers. Then we fall into a time travel story that sees our hero transported eight years into a future where he is presumed to be dead. This is further compounded by the fact that he has not aged a day. Thus the testing begins, a search for the heart of the mystery. The testing reveals the hero’s head is filled alien information and that he had been selected as a specimen to study on a far-flung planet in a distant galaxy. The boy is then taken by NASA scientists to be scrutinized further. This is where the boy meets alien story begins and our hero takes off inside a spacecraft in an adventure, not only to help the alien return home, but to once more, travel back in time and get home himself.
That’s a fairly vague overview I know. But I always take into account that there may yet be someone out there that has not seen the movie. That being the chase, I have no desire to spoil it for them.
After I saw the movie I wanted to write Randal Kleiser a letter, which I did, telling him what a marvelous movie I thought he’d made. I did not know where to send it, so my Dad looked up the address of Walt Disney Pictures and we mailed it together.
I know now Mr. Kleiser never got my letter, because thirty years later I got to call him on the phone and tell him just that – what a marvelous movie I thought and still think Flight of the Navigator is.
I hope you’ll enjoy our interview you dumb dork! Buttface! Scuz-bucket! Ha-ha!