Russell Mulcahy’s period stabilization, tour de force of film-making sees its time-honored source material come alive on the big screen…just as it exists on the panels on which it was born. Mulcahy’s Shadow predates the meticulous period recreations and universe building of the modern era with its use of substance, flair, atmosphere and gorgeous little winks to the audience – or as it is more commonly known – fan service…
What makes a comic book film truly saw, is the fact that they shepherded by master visualists, such as my honored guest. Russell’s fluid use of camera, lighting and mood-enhancing trip the light fantastic; working like the perfect partner in a duet with a phenomenal cast lead by Alec ‘in all his glory’ Baldwin, the breathlessly breathtaking Penelope Ann Miller and the most delightfully awesome assortment of some the finest character-actors ever to grace the silver screen such as, James Hong, Sir Ian McKellen and the sweetest transvestite of them all…the grand Tim Curry…
The sun is shining and the days are getting sweatier (here in the great southern land, at least), but we pause and are luxuriously seduced away on the musical carpet of Jerry Goldsmith, into a fantasy panel on a comic page crafted out of artistry and light. What evil lurks in the heart of men, come find out with your mate, my mate, our mate and legendary director Russell Mulcahy….
Once upon a midnight dreary, while I pondered, weak and weary, over Men at Work and why can’t they make a sequel. While I feasted on potato chips nearly napping, suddenly there came a rapping, turns out it was Herbert West a-rapping, at my chamber door.
I just want to go on the record and say there are a handful acting dynamos out there that have enjoyed long and industrious careers. But then, there’s Jeffrey Combs. If you’ll forgive the crassness of a STEP BROTHERS fan (and Jeff, I mean this as a compliment mate), Mr Combs is the f#@king Catalina Wine Mixer of genre/character/genius actors. You need only to watch Sir Peter Jackson’s The Frighteners – nothing further your Honor.
But for right now let’s focus on NEVERMORE. The creators of the eleventh episode in the second season of Masters of Horror have brought their act to a literal theatre near you – but if you’re reading this outside of the US – sorry. Directing legend, Stuart Gordon (Space Truckers) and his (frequent) co-writer from “The Black Cat”Dennis Paoli (From Beyond) have created a vehicle which has brought to the stage a critically heralded experience that has delighted audiences for over a decade.
Hailed as “a landmark performance” by the L.A. Times, Combs has thrilled crowds across the country with his dynamic and revelatory portrayal of the legendary Poe.
This marks NEVERMORE’s Westchester County, NY, premiere, an event made extra special by the area’s bicentennial celebration of Washington Irving—a contemporary of Poe who was, from Poe’s perspective, also a rival. As Combs recalled in a recent River Journal article, “I don’t think they ever met. I take dark delight in pointing out that Poe doesn’t have very nice things to say about Irving. Specifically, about Irving’s penchant for always having a moral to his stories while Poe was often criticized for being without morals.”
SHIFF (The Sleepy Hollow Film Festival) celebrates the Hudson Valley’s wellspring of American history, of classic literature, and the continuing legacy of supernatural writings and cinematic works that it has inspired,” says festival co-founder Taylor White. “We’re excited to have NEVERMORE as part of the festival because it encapsulates so many of these ideas—not to mention it’s a fantastic show, at the perfect time of year, in the perfect venue. We can’t wait for the crowd to experience it!”
As Combs added in the River Journal, “Poe was truly one of America’s great writers. I’m honoured every time I step on stage and recite his beautiful words.”
SHIFF, a celebration of outstanding genre cinema in the cradle of the American supernatural, takes place in Sleepy Hollow and Tarrytown, NY, October 10-13, 2019.
Finally, Jeff Combs was an absolute pleasure to chat with, his personality is as vivacious and extraordinary as the multitude of characters he has brought to our screens. If we had more time I would have really delved a great deal deeper – but, never being one to turn down opportunity when he comes a-rapping at my chamber door, I could not in good conscience turn down the chance to talk with one of the world’s most original performers. He’s still batting a thousand, I hope you’ll enjoy…
Dominik Starck is a cool guy who loves and makes movies. That’s a man I’m down for spending some time with – so I did. His new movie, The Hitman Agency, is a complex nest of intrigue, danger, action and redemption. Throw those altogether and you have a great blend that tastes a little like something we’ve had before – yet it’s flavored by Mr. Starck’s unashamed passion for his many cinematic influences as well as the sheer joy he has being a filmmaker.
Most of us, at one time or another, who make fatal decision to go off and pursue a career as an artist, are met with the inevitable speech for our parents which carries the immortal lines like, “You’ll never make any money,” or “Why don’t you get a real job.”
Now Dominik tried that – he tried to deny the fire inside, the voice telling him he wasn’t doing what he was meant to be doing. He wasn’t, as the Bard would say, to thy own self being true. So he started doing what he had to do, and, for my money, what he does well – he started making movies.
“Making an indie film is close to being a hitman; choose your goal, aim and go after it no matter the obstacles. And like assassinations, it’s a hit and miss with movies. I consider our movie the latter but it’s up to the target audience to decide if that’s the truth or not,” says Starck, the writer/director. While the German independent production by Starck Entertainment and R.J. Nier Films is represented by distributor Generation X Group GmbH at the film market in Cannes (May 8th to 17th) for international sales, the US audience is the first to be able to watch THE HITMAN AGENCY on Amazon.com where it’s available for rent and buy.
This movie is the directorial debut of writer/producer Dominik Starck who previously worked on the award winning mercenary action film ATOMIC EDEN, starring Blaxploitation legend Fred ‘The Hammer’ Williamson and Lorenzo Lamas (RENEGADE). While being a deliberately different type of movie, THE HITMAN AGENCY features a special appearance by 11 time kickboxing champion Don ‘The Dragon’ Wilson from BLOODFIST-fame. Starring American-born Erik Hansen (THE COUNTESS) and LA-based Everett Ray Aponte (ATOMIC EDEN) as competing hitmen from different ends of their assassin-careers, THE HITMAN AGENCY is a character-driven conspiracy-thriller with twists and turns, spiced with some martial arts outbreaks and assassinations. Shot on locations in Germany in English with more blood, sweat, and tears than a real budget, this underdog movie is proof to the phrase that nothing can stop you from making a movie when you really want it. Not even in Germany where there’s no platform for genre films at all.
Like I said at the top, Dominik is a cool guy and a cool filmmaker. He was worried about his English before we spoke but I tell you now as I told him then – “his English is as beautiful as his film-making.” Seek out THE HITMAN AGENCY… (follow the link below)
Russell Mulcahy’s Ricochet is a fucking balls out, crazy ass flick. I thought I’d get s routinely hard boiled Denzel cop flick a lá Out Of Time or The Mighty Quinn, but this thing is more aligned to the nasty grindhouse flicks from the 70’s, starting with its terrifying villain played by John Lithgow. Lithgow has always had a flair for playing heinous creeps in everything from Cliffhanger to Raising Cain to Showtime’s Dexter. His character here though would intimidate all of those dudes put together he’s such a monster. Cornered by rookie cop Nick Styles (Washington) at an amusement park, hitman Blake (Lithgow) is captured and put away for life. Styles goes on to become Assistant D.A. Years later Blake hatches an ultra violent plan to bust out of prison that includes killing Jesse Ventura, maiming guards with various power tools, inciting a riot, hijacking an ambulance and shooting the old dude that brings the book trolley around to the inmates. If that sounds bad, you wouldn’t believe the lengths of evil stored in his plan for revenge against Denzel, he’s just a sadist and then some, Lithgow really has fun with the role and it’s the twisted core that powers the film through its dark beats. This thing reaches Abel Ferrara levels of grit and urban mayhem, and maybe even exceeds them. Styles finds himself at a loss when he’s framed for murder by the guy, and turns to his old pal Odessa for help, a gnarly street thug played by Ice T, customary verbal attitude fully intact. One could say that Mulcahy has made a pretty great career out of making lurid, bear exploitation style films. This is definitely the benchmark of how down n’ dirty he’s gotten with a project though, it’s deliciously wicked, cheerfully in bad taste and mean to the bone, and I loved it for that.
Russell Mulcahy’s Talos: Tale Of The Mummy is a fascinating failure of huge proportions, a well casted, unbelievable muck-up that has to be seen to be believed. When your low rent Mummy flick comes out at pretty much the same time as Stephen Sommer’s classic The Mummy, you know you have no shot at getting it out there past a few cable runs, especially when the film has been plagued by one nightmare of an editing fiasco from day one, not to mention low budget and more pacing issues than spastics in a sack race. There’s two apparent versions of it, a 115 minute international cut that was edited down to 88 minutes because of some humour that was in bad taste and aforementioned pacing problems. I saw the shorter version, and I can’t imagine the flow of the film being any worse than what I bore witness too, so maybe they should have just gone with the original cut, but who can really say. The film is essentially just two very cluttered, chaotic prologues jam packed with cameos and creaky special effects, and then one long boring extended horror sequence set in London, so you never get the feeling that they knew what they were doing before the editing process even commenced.
The opening sees archeologist Christopher Lee unearthing some ancient tomb in Egypt with his assistant (Jon Polito), both getting very quickly dispatched by some evil via a flurry of visual effects that are either really cool or really bad, jury is still out on that one for me, they’re just weird more than anything. Skip ahead some years and yet another team falls victim to this Talos Mummy thing, led by Louise Lombard, Brit tough guy Sean Pertwee and Gerard Butler of all people, in what is probably his first movie gig ever. Flash forward to London some months later, we see the Mummy thing roaming around killing people at will, and also seemingly at random. Two detectives played by Jason Scott Lee (looking very out of place in England) and Jack ‘Commodore Norrington’ Davenport investigate and the story just loses itself to nonsensical doldrums and lame ‘scares’ for the rest of the duration. Shelley Duvall bizarrely shows up as a journalist, as well as Honor Blackman and the Sean Pertwee character, now a raving madman who no one will believe when he says the Mummy is out to get them. I’m still aghast at the sheer number and variety of notable actors Mulcahy got to appear in this thing, most of them fleeting or short lived but still making hilarious impressions in a story they had to know was just plain silly. There’s a few things that work; the FX in the Christopher Lee sequence are a neat, schlocky blend of CGI and practical and work on their own scrappy terms. There’s a very brief flashback sequence to Ancient Egypt that shows how Talos became an evil creature that’s visceral and well designed, but doesn’t last long enough to boost the overall quality. Everything in London with the two cops is just laaammee though, and drags it all down the sewer. Talos there resembles a filthy shower curtain that went through a paper shredder and subsequently got carried away by a strong gust of wind, neither remotely scary nor stylish, just your average half assed B flick monster. Worth a watch simply for the odd spectacle of it all, and for research purposes.
Russell Mulcahy’s Razorback is a dusty old monster flick set in the doldrums of Australia, and features a gigantic murderous wild boar that terrorizes local townsfolk and carries off infants into the night. It’s silly, it drags on in places and has two of *the most* irritating human antagonists, but there’s some really neat practical effects, an atmospheric dream sequence that is like a brilliant little short film within the whole, and some creaky production design that gives it personality. It’s just the human element that suffers a bit in these type of films, and very much so here. I’ve often wondered how cool it would be if they did a creature feature where the humans are almost entirely without dialogue or forced, unnecessary idiosyncratic scenes that don’t succeed in getting us invested, but rather annoyed with them. The writing is never great in stuff like this, so why have much, or even any at all? Just my two cents. The best to be found here is some gorgeous outback cinematography, moody interludes of dust-bucket scenery and a really great original score that kicks up the synths in aforementioned dream sequence. I’ve heard that they spent 250 grand on the animatronic boar beastie, which we only get to see in full in the last part of the third act, which is of course the tradition here, but they could have benefitted from more schlock and tusk action way earlier on to stir the pot and make it more interesting. On the plus side, I also heard that Steven Spielberg gave Mulcahy a phone call after seeing the film and asked how he managed to achieve the FX in the dream sequence, which is praise enough, as it’s a wickedly tactile little nightmare. While not in the sterling tier of monster films or horror flicks for me, it has its charms in places, and it’s yawn moments in others.
I have no words for Highlander 2 other than ‘what in the actual fucking fuck.’ I can’t call it Russell Mulcahy’s Highlander 2 because the poor guy tried to have his name removed from the credits, and who could blame him, really. In fact, it’s so thoroughly godawful it shouldn’t even be called Highlander, either. It’s ‘Movie X’, fit only for quarantine and to be blasted off into space so the folks on fictional planet Zeist can keep it. I love the first Highlander, it’s a camp cult rock n’ roll sci-fi sleeper classic, and any sequel would have large shoes to fill. What can be found here? Time travel. Outer space. An artificial ozone layer. Autistic porcupine alien assassins. Michael Ironside ripping off Clancy Brown’s beloved Kurgan villain so blatantly it hurts. Christopher Lambert in old age makeup that looks like it inspired Jackass’s Bad Grandpa. A Sean Connery montage visiting a tailor set to the William Tell Overture. I know all these ingredients could potentially brew up an even zanier cult classic than the original, but nope, no sir. This movie is a badly told story with scant context and zero continuity in both connective tissue to the first film and finding any organic roots of it’s own. Lambert’s Connor McLeod appears to be both old, young and somehow from a different planet, oh and he helped build a synthetic ozone layer to protect earth, a subplot both arbitrarily drawn up and coincidentally concocted around the same time as Total Recall came out, which I’m sure is just one big coincidence, ho ho. Ironside plays some radical called Katana who travels to earth and through time (wat) to kill Connor because there can be only one, a mantra that the film also happily dismantles in its earnest quest to bury the legacy of the first film in confusion and custerfuckery. I won’t even begin to describe Virginia Madsen’s haphazard love interest, a ‘scientist’ who winds up in bed with McLeod like minutes after she’s met him and seen him reverse age randomly and get young again. I’ve heard that Lambert would only do the film if Connery did too, and that the pair formed a bond working on the first film. The studio would have been better off just pitching their bucks in for the two of them to take a fishing trip together, no cameras involved, and save us all the headache.