A generous portion of modern day movies are what Macbeth was talking about when he uttered the words, “…full of sound and fury. Signifying nothing.” But SURFER from Doug Burke is no tale told by an idiot. No sir. For this writer, director, actor, poet, musician is also a physics professor – so about as far from an idiot as you can get.
When I was gifted the opportunity to watch the film and chat with Doug I thought I’d look into it a little first. Through my trawling I came to an article that spoke of Surfer as the next ‘The Room’. And, with lines like, “God made me out of squid and lightning” – let’s just say I was intrigued.
What I came away with after watching Surfer is two things. Firstly, it is not the next ‘The Room’ – that along with its creator, Tommy Wiseau, are a law unto themselves. Secondly, Surfer is more than a piece of self-expression, more than what an audience might label as absurd. What I saw was Hamlet, trapped in the microcosm of a relationship between father and son. A father passing on his legacy, ideology, faith – all to aid in the strengthening, fortifying if you will, of his son’s character – specifically to aid him, in this case to get back into the ocean which he loves, but also for the journey – the long life he is yet to experience and endure.
This was one of those instances for me where the character and the motivation, indeed the creator of the picture, was just as fascinating as the images on screen. It was a trip to watch the movie (I hope you will seek it out) as it is to present this interview with one of this world’s true originals in the form of Douglas Burke.
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!
From the opening credits, Christopher Nolan assembles a sequence that not only clues us in on what is about to unfold but also tells us there is nothing but darkness and despair in what lies ahead. INSOMNIA may just be Nolan’s most overlooked film, and his most underrated.
Pitting a dreary Al Pacino against an eccentric Robin Williams is brilliant. Pacino’s slow and methodic unraveling is a marvel to witness. His turn as the tainted hero cop, Will Dormer is perhaps his finest performance of the third act of his career. He foregoes the caricature of bug-eyed screaming and gives an incredibly vulnerable performance as a cop who did a bad thing for a righteous cause, only to let that deed pull on the one string that can unravel his entire career.
Robin Williams is wonderful as the antagonist who plays it as if he really isn’t that bad of a guy, he just made a mistake, and then another mistake and then another that leads to a web of lies and the death of a sixteen-year-old girl. Williams is the only character we see on the screen that truly understands and accepts Pacino, and forgives him for his misdeeds. Nolan milks every ounce of affability he can from Williams, allowing the audience to like and sympathize with Williams. It’s a rather brilliant move in a film that is such a taut game of chess, you can almost hear Nolan slam his hand down on the chess clock.
The hook of the film is brilliant, pitting Pacino against his own conscience in an Alaskan town that is so far north, the sun never sets. He makes catastrophic mistakes that lead to even worse mistakes all the while he is trying to solve a crime where suddenly he almost becomes a villain. It is almost as if he and Williams are following the same path, with one immeasurable mistake that leads to a sequence that leads to their respective unraveling.
It’s a brilliant structure that is so complex it becomes maddening. The entire film begins to turn over onto itself, causing the viewer to question there original notions of what morality is; casting complete shades of grey over the black and white of right and wrong.
Tragic. Uplifting. Comical. Bittersweet. One of a kind. Terry Gilliam’s The Fisher King takes on mental illness by way of a fantastical approach, an odd mix on the surface, but totally fitting and really the only way to put the audience inside a psyche belonging to one of these beautiful, broken creatures. Sometimes an unlikely friendship springs from a tragedy, in this case between a scrappy ex radio DJ (Jeff Bridges) and a now homeless, mentally unstable ex professor of medieval history (Robin Williams). Bridges was partly responsible for an unfortunate incident that contributed to William’s condition, and feels kind of responsible, accompanying him on many a nocturnal odyssey and surreal journey through New York City, an unlikely duo brought together by the whimsical cogs of fate that seem to turn in every Gilliam film. Williams is a severely damaged man who sees a symbolic ‘Red Knight’ at every turn, and seeks a holy grail that seems to elude him at every turn. Bridges is down to earth, if a little aimless and untethered, brought back down from the clouds by his stern, peppy wife (Mercedes Ruehl in an Oscar nominated performance). They both strive to help one another in different ways, Williams to help Bridges find some redemption for the single careless act that led to violence, and Bridges assisting him on a dazed quest through the streets to find an object he believes to be the holy grail, and win over the eccentric woman of his dreams (Amanda Plummer). In any other director’s hands but Gilliam’s, this story just wouldn’t have the same fable-esque quality. Straight up drama. Sentimental buddy comedy. Interpersonal character study. There’s elements of all, but the one magic ingredient is Gilliam, who is just amazing at finding the way to truth and essential notes by way of the absurd and the abstract. Watch for fantastic work from Michael Jeter, David Hyde Pierce, Kathy Najimy, Harry Shearer, Dan Futterman and a quick, uncredited Tom Waits as well. The hectic back alleys and silhouetted trellises of NYC provide a sooty canvas for Gilliam and his troupe to paint a theatrical, psychological and very touching tale of minds lost, friendship found and the past reconciled.
Christopher Nolan has a monumental filmography full of lofty cerebral ideas, superheroes mythic in nature, and incredibly complex morality plays. The one time he hit the road in a straight line is Insomnia, a fairly standard cat and mouse thriller given the obvious boost of having Chris at the helm, as well as two actors who get dangerously out of control, in the best possible way. Al Pacino plays Will Dormer, an L.A. cop who treks out to small town Alaska to solve the mystery of a murdered local girl. The twist: they’re in the region where it’s daylight for a month straight, and if that’s something you’re not accustomed to, it’ll throw you way off. It’s fascinating to watch Pacino roll in sharp as a razor and completely in control, then observe his lack of sleep eat away at the frills of his perception and start to play tricks on his weary mind. The film has one of those narratives that gives us a heads up as to who the killer is nearly right off the bat, in this case personified by Stephen King esque novelist Walter Finch, played by a vastly creepy Robin Williams. He and Pacino do an eerie dance through the foggy local geography and small, gaunt townscape, Pacino looking for clues and proof while trying to hold onto his sanity, and Williams unnervingly playing a macabre mind game, perhaps only for his own amusement. There are shades of Vincent Hanna in Pacino’s work here, the extremely stressed out LA detective from Michael Mann’s Heat. One gets a sense of the same world weariness and feral ferocity of that character, especially in a heartbreaking monologue to the local innkeeper, played by underrated Maura Tierney, who is brilliant in the scene that requires her mostly to listen, a much harder task than delivering any page of dialogue. As for Williams, he’s never really done anything this specific before. I mean, he’s played freaks and villains all across the board, but none quite like Walter Finch. He’s detached in a way that still clings to a humanity he may have lost through so many years writing stories that only happened in his head. He’s both dangerous and rational, and when those two are fuelled by emotional trauma… watch out, because there’s damage to be done. There’s further work from Hilary Swank as Will’s partner, Nicky Katt, Emily Perkins, Martin Donovan and edgy Vancouverite Katherine Isabelle, who just excels in anything, here playing the murder victim’s troubled best friend.
Now, this film is based on a chilly Swedish thriller of the same title, starring Stellen Skarsgard in Pacino’s role, and Williams nowhere to be found, naturally. I connected with Nolan’s version far more, the original seeming rather bland and lacking personality, but it’s got a huge following and a Criterion release, so what the hell do I know, go see for yourself. I do know that nothing stands up the hairs on my neck quite like the portentous back and forth between Pacino and Williams here, the icy inaccessibility of the central mystery and the feeling that there’s always something bubbling just below the surface of a seemingly civilized interaction. Barring Memento, which even rose to flights of fancy, this is the most down to earth Nolan has ever been in his exploration of the psychological landscape. Dreams, outer space, damaged memory and morality are for another day here. It strips away any of that, leaves it’s characters stranded in a misty, threatening environment that mirrors their own starkly layered perception, and sits back to observe. Rats in a maze of the human mind, if you will. It’s an important film in Nolan’s career for this very reason; a departure from ambitions grandiose in nature, a vacation from fantasy, and a forceful glimpse at two men with minds holding on by just a thread, like a spider’s web, beaded with dew in perpetual sunlight that refuses to set and give them solace. A masterwork of tension, with few instances of release.
Yes, Patch Adams is a pile of sentimental mush. Yeah, the filmmakers took severe liberties with the source material until their protagonist scarcely resembled the fellow they based him on. Sure, it’s soppy to all hell. My thoughts on all of the above: So freakin what. None of that has stopped me from loving the film growing up as a kid, and continuing to do so these days too. The message it delivers and the values it supports can be relatable to anyone in any walk of life, not just the medical field. Robin Williams had his demons, but he could be the brightest beacon of love and optimism a lot of the time, and he carries that wonderfully throughout the film. Patch Adams is a manic depressive, deeply sad man who finds his calling in the field of medicine following an epiphany involving a fellow patient (Michael Jeter, always great) at the psychiatric facility he is staying in. Upon enrolling in medical school he finds the cold, clinical atmosphere of his field uninviting. Patch is a vibrant soul who wishes to combat illness and despair not just with medicine, but a healthy dose of humour, empathy and the readiness to listen to your patient, think outside the box and have compassion. His methods are seen as unorthodox, especially by the college dean (Bob Gunton), whose ass is so tight that when he farts only dogs hear it. Patch both struggles and triumphs, finding solace and inspiration in daily interaction with patients, and hits walls with his superiors, who neither trust nor understand his ways. It’s always an uphill journey for any sort of pioneer, but he soldiers on, aided by William’s remarkable work. Patch starts his own independent clinic along with fellow student and girlfriend Carin (the lovely and very underrated Monica Potter), and life is good. But it’s never safe from tragedy, as we tearfully bear witness to in a plot turn that will rip out your heart and huck it off a cliff. Patch is undeterred though, adamant in his quest to bring light, levity and love into the lives of the people he works with, regardless of how much time they have left on this earth, or who tells him what he should and shouldn’t do. That’s essentially what the story is about: helping others any way you can. That extends beyond simply trying to cure their disease, remove a tumor, prescribe a medication or diagnose an illness in a dry, detached manner. It’s about alleviating suffering not only with the tools of your practice, but with those of your heart and soul as well. Patch knows this, and won’t back down from the good fight. Bless his heart, and William’s too, for a performance of warmth and affection. Watch for work from Philip Seymour Hoffman, Josef Sommer, Ryan Hurst, Richard Kelly, Harve Presnell, Daniel London, Irma P. Hall, Barry Shabaka Henley, Alan Tudyuk and and excellent Peter Coyote as a stubborn cancer patient. There’s naysayers galore buzzing around this film like gnats. Swat ’em harshly, and don’t let ’em get you down. Those of us who appreciate the film know what’s up.
Snowbound location. Pitch black comedy. A corpse that’s central to the plot. The Big White was obviously influenced by Fargo, the Pulp Fiction of wintry crime comedies, but holds its own fairly well thanks to solid acting and writing. It’s nothing new or incredible, but it’ll get you your perversely humerous noir fix, and who can say no to Robin Williams, playing a pitiable travel agent who spies a risky way to end his financial problems. Discovering a frozen corpse, he has the brilliant idea to pass it off as his deceased brother and collect the insurance money. A few problems lie ahead: a dogged insurance investigator (Giovanni Ribisi), two moronic hitmen (Tim Blake Nelson & W. Earl Brown) and the small detail that his brother isn’t actually dead, and comes waltzing back into his life in the form of a rampaging, unstable Woody Harrelson. William’s spitfire wife (Holly Hunter) looks on in exasperation as her husband turns their lives into disaster, while everyone is somewhat clueless and misinformed, leading to great amounts of hilarity. Sound chaotic? It is, sort of. It’s also kinda laid back and deadpan enough to make the Coen brothers proud. Harrelson and Williams both bring their very different brands of manic, Williams I’m a forlorn desperate sense, and Harrelson just the unhinged wildcard. Alison Lohman is also running about, but it’s been so long since I saw it I can’t remember exactly who she plays. Fans of Fargo will be tickled, those with a weird sense of humour as well. Fun stuff.