Tag Archives: Sean Bean

Film Review

Brandon Cronenberg’s Possessor

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Lord help me, this is how you do filmmaking. I haven’t seen a SciFi horror this good since… who knows since when. Brandon Cronenberg’s Possessor is a sensational, surreal, coldly animalistic, shockingly violent exercise in retro futurism, psychological netherworlds, jarring identity crises, lethal corporate espionage and unnerving body horror. Cronenberg, son of David, isn’t just a chip off the old block but outright surpasses most of his Pops’ work that I’ve seen with this stunningly original, unforgivingly oppressive piece. Andrea Riseborough gives a haunted, waif-like, primordial turn as Tasya Vos, a contract killer whose hunting ground is the mindscape, the price being she begins to lose her own mental footing amidst traversing that of others. She works for a shadowy firm run by spooky handler Girder, played by Jennifer Jason Leigh in another one off her increasingly unsettling, opaque turns. Tasya infiltrates the minds of chosen targets, takes over their cognition and motor function, using them as scapegoats to carry out high profile assassinations. Her newest target is a corporate pretty boy (Christopher Abbott) who is dating the daughter (Tuppence Middleton) of a powerful, mean spirited business magnate played by Sean Bean in some of the liveliest, boorish work I’ve seen from him in some time. This job proves difficult once Tasya’s mind begins to meld with her host’s, the lines blur and things get out of hand pretty quick. This is a punishingly violent film, and there’s a few genuine bury your face in someone’s shoulder moments, even for those with strong stomachs. Cronenberg flaunts the same fetishistic fixation on what practical effects can show in terms of physical decimation to the human body that run in the family, and the results of his creative exploration are nothing short of soul-disturbing. He also shows a flair for the surreal too, as you can see by the poster. There’s some otherworldly imagery, sound and tactility at play here that give this a nightmarish atmosphere that is pure and singular, thanks also given to a wonderful, elemental electronic score by Jim Williams. There are some themes that border on the taboo, or at least notions I’ve ever seen so bravely explored in horror, such as letting go of the familial/societal boundaries established in the modern world and reverting back to a predatory state of existence, I don’t know about you but that kinda makes my skin crawl in this context. I suppose my one issue would be that there are no characters to care about, the only one I felt sorry for was Tuppence Middleton’s unwitting girlfriend, her’s is the only performance with any warmth or genuine humanity in it. But I realize that’s kind of what Cronenberg & Co are going for here: this is a cold, pitiless piece of horror extremism that isn’t here to reinforce the core comforts of human nature, but rather to turn over every stone and dig up the long suppressed aspects of it that no one wants to admit are there. An arresting, darkly beautiful piece of trippy retro SciFi splatter bliss, and the best film of the year so far.

-Nate Hill

Film Review

Michael Bay’s The Island

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I remember the summer of 2005 so clearly: I had just gotten back from a month of summer camp, I had seasons tickets to PlayLand and the big movie event of the summer for me was Michael Bay’s The Island, which was released this week of that year and will always hold a special place in my heart as a formative, nostalgic and utterly ‘summer’ filmgoing experience of my childhood. Reworking a classic ‘clones on the run’ motif and injecting it with his trademark dose of spectacular visual effects and action filmmaking, Bay tells an exciting, thought provoking, rousing and propulsive science fiction saga of clones Lincoln Six Echo (Ewan McGregor) and Jordan Two Delta (Scarlett Johannsson) on the run from the only life they’ve ever known inside a giant utopian society where they are told their one purpose is to go to the fabled ‘Island,’ when in reality the truth is of course far more sinister and morally egregious. They are pursued by conflicted Black Ops mercenary Laurent (Djimon Hounsou, haunted, badass charisma on a terrific low burn) at the behest of pseudoscience guru Dr. Merrick (Sean Bean with quiet malevolence on full blast), an amoral bastard with a bad case of God Complex. Their journey takes them from this holographic underground hive out into the California desert and eventually to a stunning, stylized Los Angeles of the future where they learn the truth about themselves, the state of the world and make attempts to rescue the multitude of clones still stuck in the facility daw away. Bay has his troupe of actors and we see wonderful supporting work from a scrappy Steve Buscemi, Kim Coates, Ethan Phillips, Shawnee Smith, Chris Ellis, Max Baker, Glenn Morshower, Tom Everett and heartbreaking Michael Clarke Duncan as an ill fated clone. One of my favourite aspects is a thundering, soul stirring original score composed by Steve Jablonsky that crescendos in a finale suite reaching heights of emotional overflow and adrenal stimulation I didn’t think possible in the medium of film fused with music until then. I couldn’t care less what you think of Bay or his work, he’s one of the most influential and treasured filmmakers for me, for growing up watching films with my family and exploring what could be done in the realms of action/science fiction storytelling. The Island is an extraordinary piece, one of my most cherished ‘summer at the movies’ memories and one hell of a damn fine film.

-Nate Hill

Film Review

Clio Barnard’s Dark River

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Isn’t Ruth Wilson incredible? I think so, and I haven’t even seen her in all that much but she makes such a vivid impression each time and fills the screen with her presence, like this generation’s s answer to Meg Foster. She stole the show in Gore Verbinski’s underrated Lone Ranger update and made a terrific Marissa Coulter in BBC’s impressive His Dark Materials but her work in the quietly devastating Dark River from filmmaker Clio Bernard is my favourite thing she’s done so far and is an uncommonly good, intuitively calibrated piece of organic acting.

Dark River sees her play Alice, a guarded, introverted woman who returns home to the farm near Yorkshire where she grew up after learning that her father has passed away. There she finds ghosts that linger in the squalid air, the half remembered recollections of sexual abuse at the hands of her own father, events that the homestead seems to somehow hold in the space like memories out of place and time yet still languishing about the place just to haunt her. She clashes with her troubled brother (Mark Stanley) over who will inherit the property as her father seemed to want her to keep it, and they both have different ideas on both how to run it and what to eventually do with it. This film didn’t go over with some people because of how ambient and naturalistic it is but if you need your thematic and narrative sustenance spoon-fed to you in an accessible form you’ve really picked the wrong film. This is a story about the things unsaid, the pauses between words, the feelings that sensory recall evokes and the way a place, so specific in setting and atmosphere, can dredge up memories never thought to be felt again.

Ruth is transcendent and heart wrenching as Alice, who harbours deep trauma from her father’s abuse and confused resentment towards her brother for never intervening. Her path is a tragic one, full of rain soaked sheep pastures, introspective turmoil and dread laced flashbacks. Yet despite all this gloom and sadness there’s a brightness and vitality to her performance, opposite notes found in a sea of woe that provide blooms of hope and retribution if only she can put the past to rest. Her story is an immediate, intimate and deeply affecting one, provided one has the proper attention to invest as it is meditative and not readily spelled out for us, the viewer but rather felt on a deeper level.

Her father is seen fleetingly in fragmented impressions of the past and is for some reason played by none other than Sean Bean in a sombre, cloudy cameo that really could have been played by anyone but I’ll never say no to an appearance from him, however brief and ghostly. Director Clio Barnard shows uncanny skill around the camera, giving us melancholy, sustained pictures of the English countryside resplendent with misty hillsides to mirror the restless mental fog that Alice must wade through on her journey home, a journey taken both inward and external. PJ Harvey’s absolutely gorgeous, elemental song ‘My father left me an acre of land’ plays ethereally in the opening and exodus of the film to appropriate effect. An acre of land unfortunately isn’t the only thing he left her and seeing her grapple, overcome and try her best to move on from it is one of this story’s great gifts. Phenomenal film.

-Nate Hill

Film Review

Actor’s Spotlight: Nate’s Top Ten Brittany Murphy Performances

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Brittany Murphy had a look and a talent that jumped off the screen wherever she was seen. She made an apparent effort to pick edgier, more challenging roles in distinct, darker projects and as such her career is speckled with some truly interesting appearances. That’s not to say she didn’t know how to carry herself in the odd RomCom or straightforward drama, which she did here and there too. But it was that adaptable nature, that obvious magnetism and passion for unconventional films and frequently playing broken, troubled individuals that made her so magical onscreen. She left us far too soon but her work remains, and here are my top ten personal favourite performances!

10. Tai in Amy Heckerling’s Clueless

A surprise 90’s sleeper hit, the trio of Murphy, Stacey Dash and Alicia Silverstone as three teenage girls coming of age is a charmer thanks to all their performances, hers being the standout.

9. Fay Forrester in Penny Marshall’s Riding In Cars With Boys

Everyone is dysfunctional in this off kilter, bittersweet drama showcasing a woman (Drew Barrymore), her family and everything that befalls them. Murphy is bubbly, sweet, neurotic and adorable as her friend Fay who struggles equally as hard and deals with it in hilarious ways, like belting out off key solos at a wedding.

8. Izzy in The Prophecy II

Right as Izzy and her boyfriend deliberately crash their car into a wall and commit suicide, Christopher Walken’s scheming Angel Gabriel shows up to grab her soul and help him out in a few endeavours. She gives the dark situation a comedic touch here, it’s a nice riff on ‘suicides become civil servants in the afterlife,’ plus she has terrific chemistry with Walken.

7. Daisy in James Mangold’s Girl Interrupted

In a powerhouse female cast with people like Angelina Jolie, Winona Ryder and Clea Duvall, Brittany holds her own as an outcast of the group with a sad history of sexual abuse, bulimia and Obsessive Compulsive Disorder. She has a complex relationship with her father who mistreats her and a corrosive one with Jolie’s wild card Lisa that ultimately ends her arc in tragedy. Murphy handles it with maturity and a clear sense of character the whole way.

6. Jody Marken in Cherry Falls

The Scream franchise gets all the slasher spoof accolades but this underrated gem is well worth checking out. Set in a small Virginia town where a serial killer is targeting virgins, you can imagine how it goes. She plays the daughter of the local sheriff here (Michael Biehn) and gives a tough, magnetic turn in a very subversive piece of hysterical genre satire.

5. Veronica in Phoenix

A wayward Arizona teen who crosses paths with a corrupt vice cop (Ray Liotta), its an uncomfortable case of daddy issues run amok in a hot blooded desert film noir. Her mother (Anjelica Huston) knows reprehensible behaviour when she sees it, both on her daughter’s part and Liotta’s. She’s great in scenes with both these acting titans and demonstrated early on her natural talent and ability to control a scene almost effortlessly.

4. Rhonda in Matthew Bright’s Freeway

When Reese Witherspoon’s fearsome protagonist Vanessa finds herself in juvie lockup, Murphy’s Rhonda is her cellmate of sorts, and she’s quite something. Twitchy, off kilter and slightly disassociated, we kind of wanna know why she’s in there too, until we find out and regret it. This is probably the most distinct and oddball character work she has done, replacing her usual bubbly nature with a sly, ever so slightly menacing smirk and creepy mannerisms that bounce hilariously off of Witherspoon’s deadpan acidity.

3. Shellie in Robert Rodriguez’s Sin City

As saloon barmaid with questionable taste in men, Shellie can be forgiven for the simple fact that every single man *in* Sin City is questionable in nature. Embroiled in a sweaty love triangle between hard-ass Dwight (Clive Owen) and nasty corrupt cop Jackie (Benicio Del Toro), she gives her scenes a slinky, nervous yet in control quality and suits this world nicely.

2. Nikki in Jonas Åkerlund’s Spun

Spun is a delirious, heavily stylized and chaotically brilliant look at a day in the life of LA meth junkies, one of whom is Murphy’s Nikki. She’s dating a meth cook twice her age (Mickey Rourke) and can’t seem to figure out why her dog’s fur is green, so needless to say her life is somewhat in shambles. She finds the manic, buzzing energy here alongside a wicked awesome cast, giving Nikki a tragic edge that cuts deep past all the posturing and ditzy fanfare.

1. Elizabeth Burrows in Gary Fleder’s Don’t Say A Word

Psychologist Michael Douglas is called in to evaluate her character here, a highly disturbed teenager who hides behind a shellshocked, twisted facade and guards closely the reason for her damaged mind. Years before she witnessed her father die at the hands of a ruthless killer (Sean Bean) and knows that one day he’ll come back for her. Despite being younger than a good portion of her scene partners throughout her sadly short career she always found energy and potency alongside them and quite often stole scenes. Such is the case in her interplay with Douglas here, a harrowing set of mind games meant to smoke the truth out of her and constant ditch efforts on her part to avoid facing the past. Brilliant performance in a solid thriller.

Thanks for reading and stay tuned for more!

-Nate Hill

Film Review

Phillip Noyce and Harrison Ford’s Jack Ryan: Patriot Games and Clear & Present Danger

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Tom Clancy’s Jack Ryan has had a few iterations over the decades, the last two of which were sadly lukewarm efforts, but for my money Harrison Ford and Philip Noyce gave the best version with the explosive double feature of Patriot Games and Clear & Present Danger. Star studded across the board, gifted with long runtimes, huge budgets and intelligent scripts, these are two enduring espionage films that I always have a place for on my DVD shelf and always tune in to if I come across them on TV. Ford is a heroic presence in cinema, and although his actions as Ryan are violently intrepid, he gives the character an unsure edge and resounding vulnerability that is always compelling and offsets the intrigue as great character work. This guy is an analyst after all, not a field agent and the portrayal should reflect that.

Patriot Games kicks off with Ryan in a brutal personal war against a rogue faction of the IRA, a tense conflict that reaps collateral damage on both sides. The two constant characters who ground both Ford and Ryan are his boss and mentor Greer (James Earl Jones) and his wife Cathy (Anne Archer), they keep him humble, human and sympathetic amongst all the chaos and political intrigue. Sean Bean is scary good here as Miller, renegade Irish operative whose plans are foiled early on by Jack, prompting him to swear bloody revenge on his whole family in a courtroom scene that is as chilling as Bean has ever been. Paranoia sets in as countless attempts are made against his and his families life, and even reassuring words from an IRA honcho (Richard Harris) who denounces Miller can’t set Ryan at ease. Only the eventual confrontation puts an end to it, which we get in a spectacular nocturnal speedboat chase across a Maryland harbour. The talent includes Thora Birch as Jack’s daughter, J.E. Freeman, Patrick Bergin, James Fox, Polly Walker, Bob Gunton and a young Samuel L. Jackson.

Clear & Present Danger sees the headstrong US President (Donald Moffat, never one to not devour dialogue like a good steak) declares war on marauding cartels from South America, another conflict that Ryan gets thrown into headlong both on location and back on the home front. Their leader (Miguel Sandoval) is a hotheaded moron, but the real danger lurks in Felix Cortez (Joaquim De Almeida, a spectacularly nasty villain), advisor, assassin and deadly power behind the throne who has ideas of his own. This entry is slightly more epic and action centric but the homeland espionage is played up too, particularly in the corrupt actions of two impossibly sleazy suits back in Washington played by Henry Czerny and Harris Yulin. They are so good in their roles they almost steal the film, especially Czerny as the ultimate prick and absolute last person you’d want making decisions for their country. Ford is less seething than he was in the very personal conflict of Patriot Games, but no less resourceful and violent when he needs to be. Willem Dafoe fills the boots of John Clark, a Clancy staple character and ruthless tactical agent who sometimes functions as a one man army. Further work is provided by Benjamin Bratt, Raymond Cruz, Dean Jones, Ann Magnuson, Patrick Bauchau and Hope Lange.

These two are not only great action spy films but to me represent an oasis of 90’s filmmaking that has never been replicated. Enormous casts, every dollar of the budget onscreen, timeless original scores (courtesy of James Horner here), vivid action set pieces, equal parts focus on story and action, no CGI in sight, character development and all round consistency in craft and production. I grew up with these two classics, watched them countless times with my dad and will always tune right back in whenever they’re around.

-Nate Hill

Film Review

Ridley Scott’s The Martian

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You know those Sci-Fi movies where someone has a near miss, narrow escape or heroic encounter up in space and everyone down in the NASA control room leaps up, cheers and claps in collective catharsis? It’s a well worn narrative beat and can sometimes be an eye roll moment. Ridley Scott’s The Martian has several of these but because the characters and plot are so well drawn they feel earned, appropriate and exciting. That goes for the film itself as well, it’s a two and a half hour space epic that feels as breezy as a ninety minute quickie, an optimistic, human story of one man’s ultimate quest for survival and everyone else’s daring attempts to rescue him.

Scott is no stranger to darker, more austere stuff particularly in his Sci-Fi exploits, but he shines a bright light on the proceedings here, making a super complicated, science based story with many moving parts somehow seem light and carefree while also making a big emotional landing. Matt Damon is Mark Watney, astronaut, botanist, space pirate and celestial castaway, marooned on the red planet following a mission gone wrong and presumed dead by NASA and his crew, until he’s able to communicate. He grows potatoes using… homemade fertilizer, repairs a satellite and awaits rescue while everyone else faces moral and technical quandaries in their struggle to bring him home. NASA’s director (Jeff Daniels, smarmy but never an outright baddie) is reluctant to go all out and send another mission, the crew’s handler (Sean Bean, fantastically low key and against his usual tough guy image) wants to do right by them and inform their commander (Jessica Chastain). The earthbound commotion is nicely interlaced with Damon’s solo outings up there and somehow they edit the thing to both realistically depict the passing of time but also fly through the proceedings breathlessly. Scott casts his film with ridiculous talent including Kate Mara, Donald Glover, Michael Pena, Aksel Hennie, Sebastian Stan, Benedict Wong, Chiwetel Ejiofor, Kristin Wiig and Mackenzie Davis.

Many people wrote this off as a good film but simply fluff, like an enjoyable but kind of inconsequential ride, or at least that’s the vibe I got from some reviews. I couldn’t disagree more. This type of story is exactly the kind of thing we need more of in this day and age. One could remark on the vast amount of effort, overtime hours and expenditure NASA puts in simply to bring one astronaut home, and whether or not it’s worth it (Jeff Daniels certainly has that thought cross his mind), but the truth is that it’s not about just Mark Watney, or just any one person stranded up there, it’s about what the actions and efforts signify, and how important that is, as well as the notable and extreme resilience on his part. This is a film that shows the best in human beings who are put in impossible situations, and how we might make ourselves, and those around us into better people. It’s a rollicking space flick speckled with incredible talent, hilarious comedy, scientific knowledge and has already aged splendidly since it’s release four years ago. Top tier Ridley Scott for me, and one of the best Sci-Fi films in decades.

-Nate Hill

Film Review

Niki Caro’s North Country

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Charlize Theron can pretty much play any role when she sets her mind to it, and when it comes to embodying the collective injustice and abuse inflicted towards female mine workers in late 80’s Minnesota, she is heartbreaking. Of course many other brilliant actors work hard to bring Niki Caro’s North Country to life, but it’s Theron who gives it the wounded centre and makes us care, not just about the issues at had but her character as well.

She plays a semi fictional character named Josey Aimes, who is loosely based on a real life woman that launched a milestone lawsuit against the corporate mining giant. Josey has escaped her abusive husband and come home to seek refuge with her parents (Sissy Spacek and Richard Jenkins) while trying to provide for her two children. The highest paying wage in the region is at the mines but from the moment she joins up she’s faced with hostility, scorn and rampant sexual harassment from the vast male work force there, and the few other female employees fare the same, unless they keep their head low. Josey and her young coworker Sherry (Michelle Monaghan) have it the worst because they’re, shall we say, easiest on the eyes, while their childhood friend Glory (Frances McDormand) keeps up a tough exterior, but in truth they are all of them fed up. As their treatment gets worse, Josey does the unthinkable and launches a high profile lawsuit against Big Mining for mistreatment and neglect, causing a shit-storm of controversy for both herself and the entire town whose survival depends on that industry. Not only that, but the case dredges up painful events from her past that involve supervisor Jeremy Renner, whose special interest in tormenting her dates back to then and explains why he radiates with guilt.

This is a brave, difficult choice for a woman to make especially when it seems like everyone is against her, but Josey is determined and Theron makes her wounded, charismatic and captivating. Woody Harrelson does a fine job as the lawyer hired to represent her, an idealistic man who isn’t afraid to unleash some hell when delivering statements or interrogating a witness because he believes it will lead to change. Jenkins is always brilliant, the arc he carries out here goes from cynically intoning that his daughter must have cheated on her husband to illicit violence like that to later openly defending his her with his own violence in court when he finds out what she has gone through. The old pro handles it gracefully and I can’t remember if he was nominated for this but he should have been. McDormand is her usual salty self and is excellent, while Sean Bean, an actor who often plays gruff, alpha male badasses is laid back and sensitive as her introvert boyfriend. Watch for great work from Xander Berkeley, Rusty Schwimmer, Corey Stoll, Brad William Henke, Jillian Armenante, Amber Heard and Chris Mulkey too.

Director Caro drew huge acclaim for her film Whale Rider a few years before, another story that dealt with a girl trying to find her place in the world and defying the men in her life. Once again this is a fantastic piece that shows her talent for filmmaking, never coming across as too much of a dramatization or too slack when it needs to cut deep. Theron is a force of nature and you can see the hurt, frustration and will to not back down burning in her eyes. This is a tough film to watch in many instances, but an extremely important one to sit through and the type that Hollywood doesn’t usually jump to green-light, at least back then anyways. Something of a masterpiece.

-Nate Hill

Film Review

Wolfgang Petersen’s Troy

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What’s the first R rated film you ever saw in theatres? For me it was Wolfgang Petersen’s Troy, a gorgeous piece that has since stuck with me not just for the fact that it left a vivid, bloody impression on my young psyche but also because it’s quality filmmaking, no matter what anyone might tell you. Never mind the fact that Brad Pitt doesn’t quite fit the old world aesthetic or is out-acted by almost everyone in the film including the host of classically trained professionals he’s surrounded by. There is a lot to love here, starting with a narrative that is kind of not so common in big budget Hollywood; there are no real good guys or bad guys here, just people making decisions that lead to war. We witness compassion on both sides of the army, and cruelty too, but there are no clear cut heroes or tyrants, it’s all politics or emotion. This makes it pesky choosing who to root for but so much more fascinating once the swords start swinging and you have stock on either side.

Pitt may not have the accent down as mythical warrior Achilles but he sure gets a striking look going, streamlined physicality, epic spear throws and concise, satisfying sword fight choreography that he obviously put a lot of work into. Eric Bana is just as impressive as Trojan prince Hector, a rational, anti-war guy who resents his younger brother Paris (Orlando Bloom, wooden as ever) for basically screwing things up as badly as you possibly could. The romance between him and Helen (Diane Kruger, radiant) never feels authentic and definitely is not developed enough to start a war of this magnitude, but their relationships aren’t where we place out investment here anyways. It’s Hector, his princess (Saffron Burrows will break your heart) and their infant son as well as Achilles’s protectiveness over his cousin Patrocles (Garett Hedlund) that win over our emotions and make us care.

The siege on the beach of Troy is a nervous spectacle set up with anticipation in the air as a single bell rings out, signalling ships on the horizon. As spectacular as the war is cinematically I found myself wishing it wasn’t happening just because of the suffering inflicted on either side. It’s not a pleasant or glorious set of battles and no one really wins but rather comes to a collective bitter end, which is another unique factor here. Look at this cast they’ve assembled too, with bold turns from Sean Bean as Odysseus, Peter O’Toole as King Priam of Troy, Brendan Gleeson as the petulant king of Sparta and a loathsome, fantastic Brian Cox as the greedy warlord Agamemnon. Rose Byrne is soulful as the young Trojan priestess who serves as concubine to Achilles until he actually catches feels, and watch for James Cosmo, Tyler Mane, Julian Glover, Nigel Terry, Vincent Reagan and a quick cameo from the great Julie Christie, still beautiful as ever.

Petersen mounts an impressive production here, full of horses, ships, elaborate sets and gorgeous costumes, brought alive by James Horner’s restless, melancholy score. The set pieces are fantastic too, the best of which involves Pitt and Bana in a ruthless one on one fight to the death, each angry and lunging with sword and spear while their people look on, its well staged and genuinely suspenseful thanks to the hour plus of character building before. I couldn’t give a shit whether this is either historically accurate or follows the literature closely at all, that’s not the point for me in going into something like this. I want to see immersive, brutal battle scenes that thrill and I want an overarching story that makes me care about said battle, so every spear throw and image of carnage holds some weight beyond itself. Actors like Pitt, Bana, O’Toole, Reagan and especially Burrows sold me on it and had me legit worrying what will happen to them so that when the dust settles and the very tragic, depressing outcome is apparent, you are haunted by it after. It sure had that effect on me at age eleven or whenever. Great film.

-Nate Hill

Film Review

Platinum Dunes’ The Hitcher

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I won’t pretend to be a fan of horror remakes other than Rob Zombie’s Halloween, but when they cast Sean Bean as iconic highway madman John Ryder in the inevitable second lap of Robert Harmon’s horror classic The Hitcher, I perked up. Bean, like Rutger Hauer in the original, is one of my favourite actors of all time and I had to to see what he did with the character (he pulled out of another contract and jumped a plane just to accept this gig). The good news is.. he lives up to Hauer’s original asphalt angel of death, and I’ll fight anyone who argues. The bad news? The film doesn’t. It’s one of those dodgy, hit or miss Platinum Dunes horror updates (avoid Jason and Freddy like the plague, but their first Leatherface incarnation is quite good) and really misses out on the atmospheric, haunting pace of the first, where nightmares and reality blend into the mirages appearing on the desert horizon for lone motorist Jim Halsey… the thing is, here Jim isn’t alone at all but travelling with his girlfriend and that takes some of the primal fear out of it. Zachary Knighton fills C. Thomas Howell’s shoes and a surprisingly adept Sofia Bush plays the gal, on a road trip for spring break when they’re suddenly tormented by Bean’s Ryder, an intense creation by the actor that carefully avoids any callbacks or mimicry of Hauer. How could he though? Rutger made that role his own and Bean wisely does the same with a sardonic, smouldering aura all his own, and wins a spot in horror pantheon as a worthy update on this boogeyman of the backroads (he’s also better than Gary Busey’s kid was in that god awful sequel that no one wants to admit was even made). Everything here gets a torqued update, from the infamous body tied between two trucks scene (yuck) to the car chases (that Trans Am tho) to the violence itself, to legendary highway super-cop Lt. Esteridge, trading in cucumber cool Jeffrey DeMunn for hilariously hammy Neal McDonough, who kills it as the only officer who isn’t a bumbling moron. But who needs all that sound and fury when you’re trying to throwback to an atmosphere classic? I guess go your own way, but it really doesn’t do the Hitcher legacy any justice. Aside from Bean who elevates his scenes to horror greatness, it’s a slapdash, needlessly gruesome slice of knockoff cash grab slasher fare that takes everything that was spooky, shadowy and mysterious about the first one, shines a big broad daylight aesthetic on it that shakes off the cobwebs we never wanted gone in the first place, like Bon Jovi trying to cover a song by The Cure. There is, however, one moment that gets it right and rises to a level of quality deserving of the Hitcher brand. It’s right at the end, everything has gone haywire, all the cops are dead, all the cars have been thoroughly blown up, and Ryder makes one last dash to escape. Sofia Bush takes up a dead cop’s shotgun and musters one final confrontation with him, as the score by Steve Jablonsky swells to adrenaline heights and we get an exchange of dialogue between the two, both beautifully delivered, that is the first shred of originality the film displays and almost, *almost* redeems itself. Where was that for the previous eighty five minutes? In any case, this holds a spot in my heart simply because I’ve watched it enough times and has crystallized into something nostalgic, which as we all know sometimes supersedes what we know is quality from that which we know is not. Worth it for Bean, the score and that supersonic final scene.

-Nate Hill

Film Review

Indie Gems with Nate: Far North 

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Far North is like a half whispered tale told round a campfire way out in the tundra, a tale that keeps the fire going while freezing your blood. I’m not sure if it’s based on some Inuit parable or fable, but it certainly has the aura of such. There’s a  whole lot of land up there, and most likely centuries of stories just like this one, witnessed only by the wolves and the winter cold, as well as the few hard bitten inhabitants who call it home. Michelle Yeoh is Saiva, an outcast from her tribe after being deemed cursed by her shaman at birth, left to wander the expanse alone. Her only companion is a young girl (Michelle Krusiec) who she rescued from marauding soldiers as a baby, and has raised somewhat as a daughter. The two live an isolated existence, until Saiva finds half dead soldier Loki (Sean Bean) wandering the tundra, and reluctantly takes him in. That’s where trouble begins, as he takes a liking to the young girl, a bond is formed, and another is soured and broken. There’s a third act shocker that will have your skin crawling, a jarring act of violence, deception and betrayal that leaves us feeling as cold and cast out as Saiva, an existence which probably foretold such horrors years ago when the shaman gazed upon her face. It doesn’t quite fit with the lyrical beauty and ambient pace that came before, but it’s definitely an unforgettable way to end the story, and a reminder of humans and their capacity for darkness. Roaming caribou, miles of ice, wandering wolves, and the few humans who survive out there, perhaps affected by something deeper, something elemental that lives in the very air. Not a perfect film, but fascinating and quite unlike any other. Oh, and a warning: ther are some graphic and suspiciously realistic scenes of animal violence.