Tag Archives: Television

Netflix’s The Haunting Of Bly Manor

Stunning. Sensational. Complex. Deeply heartbreaking. Surprisingly romantic. The creators of The Haunting Of Hill House have done it agin with The Haunting Of Bly Manor, a lush, emotional, Victorian Gothic puzzle box of human drama, tragedy, memories that won’t die and yes, horror too although there’s less of it this time round. As one character remarks, “this is a love story, not a ghost story.” It’s true, and while Netflix hasn’t marketed it as such, if you go in expecting a romantic tragedy instead of full on horror like Hill House (think Guillermo Del Toro’s Crimson Peak) you’ll absorb the material with a clearer, fairer palette.

Our story starts as young American nanny Dani Clayton (Victoria Pedretti) journeys from London to Bly Manor in the countryside, hired by nervous, boozy Henry Wingrave (Henry Thomas, dutifully flaunting a posh dialect he’s clearly worked hard on) to look after his young niece Flora (Amelie Bea Smith) and nephew Miles (Benjamin Evan Ainsworth). Henry keeps well clear of Bly and the two children, content to wallow in his fancy London office, always at the bottom of a bottle for painful reasons we later are privy too. There she meets various complicated and, well written and flawlessly acted characters including tomboy gardener Jamie (Amelia Eve), stoic housekeeper Mrs. Grose (T’Nia Miller), lovable cook Owen (Rahul Kohli) and the black sheep among them, Henry’s shady, maladjusted valet Peter Quint (Oliver Jackson Cohen). Bly Manor itself, referred to in baroquely quaint terms by several characters as “a great good place,” is a world away from the omnipresent shadows, oppressive blue hued austerity of Hill House. Bly is rich, ornate, painted in deep chestnut browns, opulent dollhouse purples (the 80’s setting is proudly reflected in colour here) and the grounds adorned in brilliant green topiary, verdant meadows and beautiful rose gardens.

Now, my favourite part: the story. As told by a mysterious, wistfully mournful narrator played by the always brilliant Carla Gugino, this is a very dense, layered arrangement of interweaving love stories and subsequent tragedies, several ghosts and a host of human beings who all feel real, full of life and vitality and whose pain is shared greatly by the audience because of how excellently character development is cultivated, performance is calibrated and episodes are spun together on a loom of effortlessly fluid storytelling. Pedretti is a wonder as Dani, luminous and charismatic but one can see in her wide, drawn eyes and flighty mannerisms she has a painful past. Past and memory are important themes here, and every character, even the one painted as a flagrant villain, has something in their past that haunts them, causes them pain and dictates the choices they make in our narrative. Thomas is achingly restrained as Uncle Henry, Kohli raw and potent especially in an affecting campfire monologue that encapsulates everything we know, feel and wonder about life and death in one pure utterance. The two children are superb in quite difficult roles that require them to change tone, pitch and mood quite frequently. This story reminded me of those staircases in Harry Potter that continually shift their angles and pitch people out into unfamiliar hallways without warning. This narrative does the same for its characters, trapping them in ‘tucked away’ memories that seem arbitrary at first until you realize it’s for them to come to some realization or epiphany. I love that sort of reality melding, spaced out storytelling that uses memory and the mind in a literal sense and setting, it’s used to fantastic effect here and the story, while structured similarly as Hill House, is its own nesting doll narrative full of complexity and shifting components. Is it scary? Well, aside from a few effectively chilly moments no, not really, and nothing comes close to some of the skin crawling sequences in Hill House. But like I said, it’s more of a human story with life in its veins, and the most disturbing, distressing elements are the emotional rigours these human beings must endure, the torment that memory can inflict, the potent pain of a deep heartbreak, the deep wounds that grief imprints on one’s soul and the ways in which some may find redemption and others… not so much. It’s a tough, emotionally devastating tale and especially so for those who feel deeply and get invested in story and character, it takes its toll. But it’s a gorgeous, challenging, complex, beautifully rewarding experience in the same token, and I’m grateful to Mike Flanagan & Co for doing something equally as spellbinding as Hill House, yet cut from a different sort of cloth altogether. If this were a nine hour film (which is how I recommend you view, it demands to be binged in rapturous immersion) it would be my number one of the year.

-Nate Hill

Dinner with Hercules by Kent Hill

What is it about heroes like Hercules that endure? They come and go throughout the years in so many incarnations; transforming with the times while still remaining timeless. And who among you does not long for the power of a God at your fingertips…or to wield ancient and powerful weapons, to strike with the might of great Zeus’s thunderbolts, into the dark hearts of those angry Gods and vengeful outcasts, mythical colossus’s, woken titans….?

This is the cinema of the legendary Son-of-God, and just like peanut butter he comes in oily and dry, crunchy and smooth. From Reeves to The Rock, the man and his name that has ascended to the heavens, where the stars spell out his glory are always adventures worth going the distance for. So when I first saw Kevin Sorbo take up the mantle, here again came a joyous and wonder-dipped slice of a pie that I had not tasted since that marvelous, though short-lived series, Wizards and Warriors. Here we would trek on the heels of the champion of Olympus on a regular basis, through the ancient worlds and ancient wonders, discovering forgotten realms and the magic that dwelt there.

Through the classics to the contemporaries, from the unintentionally funny to the down-right awesome, Hercules put enough of a hit on me, if I were a bear…I might have been launched into orbit…but seriously, I dig the cat enough to want to write my own private blended drink of a tale, that saw the man loose his strength because of his father’s mortal fornications and thus is forced to take on an attacking other-worldly titan…with a shotgun. But…I stress this was not conceived to mock or denigrate the character. It was written with tremendous affection. Because, for my money, a good Hercules story dances that fine line between the wondrous and the wacky…that just below that surface veneer of cinematic insanity there is in fact…brilliance.

So who better to sit down with for a chat with than one of the longest serving performers to ever carry the role through many a legendary journey. Kevin Sorbo would, as the fates would have it, turn out to become a real life Hercules. He is a man who has been on his own private odyssey, and it was by far, more arduous than anything he ever put on screen. Sorbo , however, in a fashion similar to the hero he portrayed, lived to fight another day and has gone on seemingly possessed with God-like strength and determination and has become not only an endearing screen icon, but a prolific producer, writer and director.

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When the hour cometh the hero shall be tested, and there, at the glorious moment, in that final stillness be found triumphant or wanting. These are the marks of few, the bold…those that will be marked by the lights of distant stars. So it was cool indeed to chat with the Legendary Hercules. Unfortunately, as I had hoped, I can’t present to recording as, because of a technical issue, it is not of sufficient quality. So I have taken the time to go through and transcribe what remains…though I regret that some has been saved only in my memory. Still…the journey continues…

Ladies and Gentleman, boys and girls of all ages…I give you the mighty, Kevin Sorbo…

maxresdefaultKH: You came from Minnesota originally?

KS: Yes.

KH: What was it, during your early days there, that lead on the crazy adventures you’ve been on ever since?

KS: Well…it probably started when I was this eight year old kid, and my Mom would watch the old matinee movies with Katherine Hepburn and Cary grant…just all the people from the golden age era, and I loved those movies, and I went to the Guthrie Theatre, a famous theatre in Minneapolis, and a lot of Hollywood shows come there, or they start there. Then I remember going to a play in New York, The Merchant of Venice by Shakespeare. Now, I don’t know what they were talking about, I was eleven, but I remember being mesmerized by these actors on stage, and it wasn’t long after that I went to my parent and told them I was going to be an actor. But I was a closet thespian because I was also a jock, and we used to make fun of guys in the theatre being jocks ’cause you know I played American football, baseball, basketball…took up golf…love the game of golf and I still play it to this day…so I didn’t really do anything about the acting till I got through college, feeling that peer pressure…but the seed was planted so…I knew that was the road I was gonna take some day.

KH: See if you can tell me where this line comes from…ready?

KS: (laughter) Okay.

KH: This ain’t Jim Beam!

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KS: Arh…I did a Jim Beam commercial back in 1992, down in New Zealand. I get down there and I was in Auckland and got see some of the surrounding beaches and stuff, and thought it would be really cool to come down here to see this country more…of course I got Hercules a year later and I ended up coming back to New Zealand for seven years so…be careful what you wish for (laughter) …no, I love it down there…but that little commercial got me fan mail for like five years…I got more fan mail from that commercial than I did for Hercules. (laughter) But it was interesting they chose do it that spot in new Zealand when there are plenty of places in Texas that would be considered a redneck bar…which they were trying to reproduce. But then the guys from Jim beam told that because of the campaign there sales had gone up 80%, I said you guys owe me a little more more money ’cause I’d rather be paid by percentage…

KH: They thought you’d be happy with a lifetime supply of Jim Beam?

KS: There it is. (laughter)

KH: But we should talk about that briefly because you are a bit of an ANZAC, having spent a number of years in Australia as well as New Zealand, and, as you mentioned in your email prior to our chat…it was like a second home to you…?

KS: I actually was in Australia for two year. Back in 1986…I went to Sydney to shoot a commercial at Bells beach and I ended up staying, and my agent in Los Angeles flipped out, and I said to him, I’ve wanted to come to Australia since I was twelve years old and now I’m here I want to see it. I went to Melbourne as well…I lived at Bondi beach…I’ve been down there for Comic con’s in Brisbane and Townsville, Perth…so I’ve been there a lot and I’m in talks right now with a production company down there to come and shoot another one…so we have a TV series that we could be shooting down there in the future…

KH: Splendid…well done. We’ll it will be nice to have you back…yet again.

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KS: I’m looking forward to it.

KH: Awesome. So, moving right along…are the rumors true, because the internet should always be questioned and never taken for granted, that you were just beat out, by a nose, for Lois and Clark and The X Files?

KS: With the X Files it was more like I was in the final six, not the last three. With playing Superman though, I did test for that. Both Dean and I tested with Teri Hatcher and I go the the part…so I went out, celebrated, next morning I get a phone call and they say, “We’re going with Dean Cain!” So, that’s the nature of the business…but Dean’s a good friend of mine and for him it was meant to be…but…three months later, I got Hercules, so Dean was like, “You got the most watched TV show in the world and I got cancelled after three seasons.” But, it is what it is.

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KH: Exactly. But…do you think you would have liked to have played Superman?

KS: Oh I think I would have enjoyed it…but Dean was right for the part…I think was better at the alter ego part of Superman, rather than the actual Superman. Would I have liked it…sure…but I was pretty happy doing Hercules so…

KH: Well Hercules takes up a massive chunk of your early career. You were in New Zealand doing crossovers with Xena…

KS: Xena didn’t exist when we started. We did five two hour movies, and by the end of that season two, they introduced that character not knowing it would become a spin-off, that’s how that came about, and with the son of Hercules in season five, it would be twenty year old Ryan Gosling playing me so…

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KH: There you go. But in the midst of all this, the dark clouds of tragedy move in, it was between seasons four and five…you were doing press at the time for KULL the Conqueror and you had a series of four strokes?

KS: An aneurysm went to my left sub clavicle, that effected strength in my shoulders, balance, I was getting bumps and bruises…I loved working with the stunt team down there…so I blew it off. I went back to the States, my doctor found a lump, he thought it might be cancer and wanted to do a biopsy, I had the first stroke and then three on the way to the hospital, it affected things like my speech and took a long time to recover but I wrote a book, True Strength, back in 2012, and it allowed me to do things that I wouldn’t have done like public speaking which I still do on the subject. Of course I did return to Hercules, but it was in a limited capacity and then came Andromeda and that was like the third year of recovery and I was starting to feel recovered.

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KH: I was a fan of you as Hercules, but being a life-long aficionado of Robert E. Howard…now…of course Schwarzenegger made Conan his own and brought that character into public consciousness, but Kull never as much, yet, we got a Kull movie…tell us what making that was like?

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KS: Well Kull was the last novel Howard wrote before he blew his brains out so….you know….the original script was very dark, though the rewrites didn’t help. Conan was a brooding anti-hero where Kull was more able to articulate his thoughts. And I fought for him to use the battle axe as opposed to a sword…Conan was all about his sword but if you look at the art work inspired by Howard’s books, a majority of his warrior heroes carried axes. We shot for three weeks in Croatia on that movie. There were a lot of people that worked on it that had worked on the Conan films and it was well directed by John Nicolella, who has sadly passed away. It was fun a to a big budget action film…went to the big premiere in DC…it’s always a thrill.

KH: I can only imagine. So lets talk about TV, you’ve had such a variety of roles on the small screen. Andromeda was another big chunk of your career…tells of the journey from sword and sandals, so-to-speak, to the space and far-flung stars?

KS: I always was a big believer in the message Roddenberry was trying to put out there with these stories of humanity no merely being envoys for our race but far-reaching students of the vastness and complexity of our galaxy…but you know…when you spend a big chunk of time on one show and then on another…it still strikes me as delightful that, when I go to conventions, you’ll have your die-hard Hercules and your die-hard Andromeda fans…and never the twain shall meet…but that’s okay…that’s why variety is essential in entertainment…there’s something for everybody.

KH: My sister wanted me to ask you about a film of yours she enjoyed…Never Cry Werewolf?

KS: (laughter) Yeah…that was done up in Toronto and I gotta say that was a blast doing that one. It was one of those cases where….I get so many offers to do parts….and it was a small part, I think they sent me the twenty pages of script that I was in…these independent producers have their stock stable of crew and its a matter of go in and shoot and move on to the next…but I honestly have so many projects of my own, as well, that I’m working on, I have a slate of five films, features…some I’m in some I’m producing, I’m off to do a civil war movie and then after that I’m going to England to film a Charles Dickens adaptation…

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KH: Wow….you’re no slouch mate. Don’t let them tell you you’re not on top of your game…and how you do it all is a mystery to me, for sure and certain. But…among your TV credits I know and have seen the episode you did of Murder She Wrote, you’re a part of the glorious group of performers that garnered a guest spot on Murder She Wrote. What was that experience like?

KS: It was a great experience. We shot on the Universal lot and I was able to meet Angela Lansbury and her Husband….and, one thing I found out later is that Angela had apparently been checking me out, to see what kind of a character I was during set-ups before she introduced herself which I thought was sweet and funny, but again I had a great time. Angela is a true professional and a legend, I mean, I saw her again when she was touring around with a theatre production, you know, so many years later…that’s impressive to me.

KH: Yes, the lady indeed is an absolute treasure. But, another of your credits I wanted to ask you was advertised at the end of one of my favorite films The Sword and The Sorcerer, but it would take Albert Pyun another 30 years to finally give us Tales of an Ancient Empire?

KS: Well when we filmed initially we only shot part…like fifty percent of the movie so I knew it was going to take time for them to gather the rest of the film, which sometimes happens on independent productions, but I loved the role, I loved the script…but it was the first thing I was ever involved in where they ran out of money and had to shut down at the time. But I can see the ambition and how it was part of a much larger story, on a Lord of the Rings type of canvas, there would have been a bigger world on display had the budget been there, but my character was kind of a shady, jerk, womanizer…which was fun to play. But I know Albert has had a lot of health issues lately…and it’s been a while since we’ve spoken…but he was a great guy…I wish him all the best with the struggles he’s going through, being someone who has had debilitating health issues…I pray for him.

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KH: Tell us about your part in The Kings of Mykonos?

KS: Oh that was a great location, shooting on the sunny island of Mykonos. I played this American guy with a bad Italian accent who was very popular with the ladies (laughter)…it was just fun you know…we had a good time…a lot of laughs on the set. I know that film did really well, especially in your and in European regions. It came out on DVD over here, but sadly never got a theatrical release.

KH: I thought you were great in it…you have the comedic touch…which you did get a chance to showcase again in a little film called Meet the Spartans?

KS: I remember I had a meetings, and they were four hours apart in Hollywood, and 300 was screening, so with the time in between meetings, I went to a matinee and I thought, this is the perfect movie to spoof, so eventually when the part came around I jumped at it, playing the lieutenant to King Leonidas. It was great, there was the opportunity to improvise and in some cases they used those takes where we just riffing on each rather than what was scripted…the key to a good a parody is not just poking fun but presenting the futility of the situations sometimes…I know that I sound like a broken record but again…it was a lot of fun to do.

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KH: Did you ever consider spoofing Hercules in a similar fashion…’cause got your story. Hercules with a Shotgun. A retired Hercules has been stripped of his God-like strength because Zeus has been kicked out of Olympus by his wife for philandering constantly with mortal woman. Thus the son of Zeus is forced to take on a monstrous titan with nothing but a shotgun?

KS: Hey…get it funded and we’ll talk.

KH: No sweat…I’ll get the money in the bank and have my people call your people.

KS: Well I don’t have an agent any more so just get in touch with me.

KH: No worries…I’ll find someone to pick up the cheque and I’ll give you a bell.

KS: Sounds great.

KH: Well Kevin…been awesome to chat to you mate, I better let you get on ’cause I know the bases are loaded.

KS: Yeah I’m actually off to Oxford on Monday to finish up a documentary so…there’s always something going on. Your listens can of course keep up with it all on my official Facebook page and my official website: http://www.kevinsorbo.net/  , and thank you for the conversation Kent and a big G’day to all the folks there Down Under…a great place on this Earth.

KH: Best wishes with all you got going mate…an maybe we’ll catch you back in this neighborhood some day soon…?

KS: You sure will…take care.

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HBO’s The Leftovers

Are you content enough in your beliefs to set aside the big questions of what we are, where we come from, where we go when we die and what it all means? Do you strive endlessly across all fields of existence for answers to these questions or are you, for the most part, happy to live your life and just let the mystery be? Whichever side of that fence your soul sits on will have a lot to do with how much you enjoy and what you take away from HBO’s The Leftovers, a confounding, fiercely individual three season showstopper from Lost’s mad storytelling brewmaster Damon Lindelof, a series I just reached the finale of last night and am honestly sheepish about even tackling a review as the thing is so dense and pockmarked with events that take a while to process.

Outlining the show’s general premise does zilch in imparting it’s essence, but here goes: one day, all at once, all over the world, three percent of the world’s human population vanishes into thin air. Just like that. Where did they go? Well.. refer to the first few lines of my above paragraph. This show isn’t really about how or why these people left, it’s about the people left behind, how they live now, how the world has been reshaped and altered by such a huge event, and where to go from it. We meet people like small town police chief Kevin Garvey (Justin Theroux in probably the encore performance of his career), his daughter (Margaret Qualley), his mentally unstable yet weirdly charismatic father (Scott Glenn, awesome as ever), deeply wounded Nora Durst (Carrie Coon, excellent), God himself or at least a dude claiming to be him (Bill Camp taking a whack at an Australian accent), a strange drifter (Michael Gaston) with a penchant for shooting dogs, Kevin’s ex wife Laurie (Amy Brenneman), passionate preacher Matt (Christopher Ecccleston), wayward housewife turned cultist Meg (Liv Tyler) and many, many more. The one who resonates the strongest might just be the great Ann Dowd in a ferocious, affecting and often downright hilarious turn as Patty, figurehead of a spooky cult called the Guilty Remnants who wear all white, chain smoke and take a vow of silence. They serve to represent the splintered remains of humanity who have deliberately renounced many of their ways in recognition of their collective trauma, while the rest of society chooses to bury it, soldier on but are no less afflicted.

Season one is kind of like the dry run, based on an existing novel by Tom Perrotta and serving as a deeply felt series of dramatic and interpersonal revelations revolving around the upstate New York town of Mapletown, and those that live there. Season two and three however are where the cart flies off the rails (in the best way imaginable) and the magic really happens because it’s all brand new material spun by Lindelof and Perrotta himself who signs on as co-creator. These seasons traverse from Mapleton to an eerie Texas town called Miracle, on to Australia and even to dreamy purgatorial planes of inter dimensional space that defy description or logic. There are a wide variety of human beings here who all react differently to this mass departure as they grow, learn and suffer into the future at their own paces, turning to everything from religion, crime, messianic devotion, ..uh… shooting dogs, mind bending near death experiences, time travel, metaphysical pseudoscience and more. I’ll admit I struggled with this one because of its purposeful ambiguity, and not in the impenetrably surreal way of, say, Twin Peaks or even the offhand arbitration of Lost, two narrative vernaculars which I have always been able to accept and intuit. No, here the mystery is different, it’s like a dream where the riddle is so specific and clearly drawn yet the answers are so squarely out of reach, and for the most part remain so until the haunting, emotionally resonant and appropriately hazy finale episode. I began watching this looking for clues, stockpiling them for later, paying attention to behaviour and profiling these folks so that I might get to the centre of the mystery before the show itself did… but I didn’t, and neither did the story. It’s just not that kind of piece, and one need only look at the artistic expression and music of the opening credit sequence to see this. Season one always starts with a baroque, austere and Michaelangelo-esque vision of humans ascending in great discomfort, it feels decidedly biblical and somehow organized. Then in season two the visual aspect of the credits is far more esoteric and less classically spiritual… human beings are caught in candid snapshots of day to day activities with their loved ones, many of whom aren’t really present in the frames, their silhouettes replaced with nebulous stars and open space while Iris Dement’s delightful song ‘Let The Mystery Be’ warbles along in the background. These people are gone and that’s the first mystery, but it leads to many more and it’s almost not even our business or our right to impose so many questions and demand explanations in a story like this. This is *their* story, these brilliantly written and acted humans we see onscreen and it’s an intensely personal, at times indescribable story. We bear witness and can draw our own conclusions as to what it all means, but at the end of the day we have no way of knowing and such as it is in this show, so too is the case in our very own existence, we kind of don’t have a choice but to do just what every episode gently reminds us: just the mystery be.

-Nate Hill

End of an Era: Nate’s Top 20 TV Shows of the Decade

It has been an amazing decade for television! Not only that but in the last ten years we have seen a giant shift from the casual week-to-week entertainment factor of cable TV towards serious arthouse long form storytelling, major production value on the small screen and a much celebrated golden age of serialized television. There have been dozens upon dozens of beautifully crafted, innovative, imaginative and affecting pieces of work produced and here are my twenty personal favourite!

20. The Big Lez Show (2012/YouTube)

This one is something else. Essentially a simplistic piece quite literally animated on Microsoft Paint, it highlights the profane, raucous and often meditative adventures of Big Lez, his stoner Sasquatch buddies and many others. Australian humour adds an offbeat quality and there’s never a shortage of bizarre comedic set pieces, hysterical character interaction and a sense of WTF-ness that permeates the whole thing.

19. Justified (2010/FX)

You’d never believe that such a legendary, Kentucky fried aesthetic could be distilled from one Elmore Leonard short story, but this thing is a feast. Timothy Olyphant scores big as brittle Federal Marshal Raylan Givens, venturing back to his rural roots for six glorious seasons of pulpy, star studded, densely verbose modern western intrigue.

18. Goliath (2018/Amazon Prime)

Billy Bob Thornton does a career best turn in this surreal LA noir about a disgraced ex super-lawyer on the skids and forced to take on near suicidal class action lawsuits. Cue mystery, political corruption, glossy California decadence and a sense of ramshackle family within his tight knit crew. It’s a fantastic, high powered thriller and intense character study with top caliber guest actors and a feel for California and the surrounding area that draws you right in.

17. Ray Donovan (2013/Showtime)

Part Grand Theft Auto, part L.A. Confidential with a healthy dose of contemporary pop culture, this is a fantastic cross section and often satire of gritty underworld Hollywood through the eyes of Liev Schreiber’s Ray, a Boston bred tough guy with the polish of L.A. who acts as fixer, muscle, often romantic partner and secret agent of sorts to the elites of media and sports industries. There’s morality plays, fierce examinations of Shakespearean loyalty and betrayal, stinging dark humour, farcical sensibilities, dastardly villains and a lot of pathos packed into this still continuing epic.

16. Shameless (2011/Showtime)

Life for a lower middle class Chicago family is hilariously documented in this candid, raunchy, heartfelt and chaotic framework full of fantastic performances, chief among them William H. Macy as their perpetually drunk patriarch and the lovely Emmy Rossum as his brave, fierce and resilient daughter. There’s never a shortage of hijinks, severely R rated shenanigans or berserk subplots around, plus along the way you get a good sense for each family member and their woes, joys and personal struggles.

15. Game Of Thrones (2011/HBO)

I do have issues with this show, namely pacing, tone and the fucking rush job of a last season thanks to those two writers. However, this is a gargantuan fantasy epic that changed the landscape of television forever and has an infinity of gorgeously mounted set pieces, complex character dynamics and yes, dragons.

14. Stranger Things (2016/Netflix)

Neon, 80’s nostalgia, Amblin vibes, Stephen King atmosphere and yesteryear pop culture abound. This show is now an international phenomenon and rightfully so but it legit has the quality and heart to back up the hype, particularly in the near perfect first season.

13. Homecoming (2018/Amazon Prime)

Julia Roberts uncovers a deeply planted conspiracy amongst the ex military patients she’s hired to provide counselling for in this baroque, moody noir that only arrives in thirty minute episodes but somehow seems much denser. Melancholy, burnished and stocked with musical tracks lifted right from classic Hollywood films, this is one captivating piece of storytelling.

12. The Alienist (2018/TNT)

This dark, macabre tale sees a psychiatric pioneer (Daniel Bruhl), a crime scene illustrator (Luke Evans) and the first woman in the New York police department (Dakota Fanning) on the hunt for a terrifying, ever elusive serial killer near the turn of the century. It’s slick, intelligent, unexpected and not watered down whatsoever, leading to one of the starkest and most brutal yet captivating portraits of history I’ve ever seen onscreen.

11. The Terror (2018/AMC)

This inclusion goes for season one, which in its own is a thing of magisterial beauty, terror and primal existentialism. An elemental fiction reworking of a real life naval disappearance in the arctic, this story is best binged in one rainy day to absorb character, incident and the cold atmosphere of such a remote series of events.

10. Fargo (2014/FX)

I’ve been flayed for holding this opinion before but for me this tv adaptation outdoes the Coen brothers’ original film itself. A near biblical trio of seasons that begins with the icy Minnesota black comedy crime aesthetic and ascends at times to something daring and esoteric, this breaks both the mould it was forged in and that of television itself. Plus you get to briefly see Bruce Campbell play Ronald Reagan and if that ain’t worth the time capsule then I just don’t know what is.

9. Letterkenny (2016/CraveTV)

Rural Ontario seems like an odd setting for one of the snappiest, smartly written and hysterical comedies this decade has seen but there you go. Basically just the humdrum misadventures of a town with 5,000 population and no shortage of mayhem, this is television like no other and you really have to just crush like five episodes, immerse yourself in the mile a minute dialogue and jokes to experience the magic. Pitter patter.

8. Happy! (2017/SyFy)

Disgraced, alcoholic ex cop turned hitman Nick Sax (Christopher Meloni in a career best) and his daughter’s imaginary friend Happy the flying unicorn (Patton Oswalt) hunt down all kinds of freaks, weirdos, perverts, contract killers and arch villains on Christmas Eve to find a bunch of kidnapped children. That description says nothing though, only through viewing this can you appreciate how ballsy, subversive and deeply fucked up this story really is. Not for the faint of heart, but anyone with a love of whacked out dark humour and unconventional storytelling will get a royal kick.

7. Hannibal (2013/NBC)

I’ll admit I wasn’t super pumped when I heard that NBC was doing a Hannibal rendition, as they’re kind of a vanilla cable show runner. But creator Bryant Fuller churned out something spectacularly atmospheric, unbelievably artistic and so not what you’d expect to see. Mads Mikkelsen makes a chilling, low key and almost ethereal Dr. Lekter, Hugh Dancy a haunted, empathetic Will Graham and there’s an eclectically rounded cast of guest stars including Laurence Fishburne, Kacey Rohl, Eddie Izzard, Michael Pitt, Katherine Isabelle, Lance Henriksen and more.

6. Westworld (2016/HBO)

The advent of artificial intelligence blends with humanity’s deepest desires and eventually something more profound in this complex, operatic, gorgeously mounted science fiction epic. It’s a tricky beast and a labyrinthine (literally and figuratively) experience to process but stick with it and the resulting effect is mesmerizing.

5. Maniac (2018/Netflix)

Jonah Hill and Emma Stone headline this psychological fantasy that’s kinda tough to pin down. A clandestine drug trial in a casette futurism setting leads to personal revelations, social satire and the kind of episodic time travel multidimensional storytelling that I live for. Brilliant stuff.

4. The Haunting Of Hill House (2018/Netflix)

Stephen King called this a work of genius, and I too share that sentiment. This is old school spook horror done beautifully, with powerful performances, psychological depth, harrowing scares both ghostly and wrought from human nature and characters that forge a strong place in your heart with each passing episode.

3. The OA (2016/Netflix)

I’m still so choked that Netflix cancelled this after only two seasons yet they keep tired, mediocre garbage like Riverdale and 13 Reasons Why limping on long past their shelf life. I’ll quit being bitter now but you’ll see what a gem this is after five minutes of the pilot. Rich storytelling, groundbreaking conceptual design and ideas that don’t only think outside the box but defy dimensional existence. One day someone will pick this up for continuation but until then please check out the two masterful first seasons.

2. True Detective (2014/HBO)

A southern gothic conspiracy folk horror, an inky, fatalistic LA noir and a bleak ozark family saga. So far. The first season kicks off with Matthew McConaughey and Woody Harrelson in the darkest heart of Louisiana and while it’s my favourite part of this anthology so far, all three chapters cast their respective spell wonderfully.

1. Twin Peaks: The Return (2017/Showtime)

David Lynch delivers not only a dazzling, appropriately perplexing and ever mysterious follow up to his initial series but a personal filmmaking magnum opus. He and his team changed the face of television once in the early 90’s and with this stunning piece of originality, horror, musical performance, surrealism, coffee, cherry pie and inter-dimensional travel… they pull it off again.

Thanks for reading and tune in lots in the coming decade for much more!!

-Nate Hill

*shirt not included by Kent Hill

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In 1986 Matthias Hues came to Hollywood without a shirt . . . or, little more than the shirt on his back. And it is without a shirt that he has built a career that continues to not only grow, but evolve. Like his predecessors, peers and the now emerging class of action stars, the mantra has really become adapt, or fade away. But really…it has always been that way.

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Shirtless in Hollywood charts its course through the movie world that is at once bright and shining, as well as being dark and loathsome. Matthias has seen the incredible heights and the deep, lonely valleys which await everyone looking to get their hands on a slice of the pie of stardom. Through it all he has remained grounded. Warmed by those whom he trusts, sharpened by those with whom he has shared the screen, and tested by fame and fate at each and every turn.

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Matthias’s book is compelling because it is not merely a tale of the glamorous life of a movie star. Instead it is a very human story for which his memoir’s title carries a double meaning. He came with little but the shirt on his back and then set about forging a career out of his physical gifts, to the point where esteemed action director Craig R. Baxley said, “If anyone is going to take their shirt off, it’s going to be Matthias.”

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He has thrived alongside resident action men like Dolph Lundgren, Ralf Moeller, and Alex Nevsky. He has been mistaken for Fabio and a star of a film he wasn’t even in (Die Hard). He is a real salt-of-the-earth kinda guy, that hasn’t let it all go to his head and hasn’t let it all come crashing down as the cinematic landscape changes.

Matthias is still an imposing figure, and it was a thrill to chat once again with a Hollywood idol who I think is going to have a great resurgence – if indeed the project that he discussed with me gets off the ground.  Still, as much as he has overcome, Hues is man of quiet satisfaction who has found that real paradise does not exist between ‘action’ and ‘cut’. This huge Liam Neeson fan has gifted us all with his incredible tale and take on a business that can chew you up and spit you out . . . but only if you let it.

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Shirt on, or shirt off, I think Matthias Hues is a legend . . . so kick back and join us as we take it all off and dive into the memoir of a grand gentleman of the old school who’ll still tell you, “I come in peace.”

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Meet-and-Greez by Kent Hill

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Daniel Roebuck’s directorial offering Getting Grace made me cry like a baby. The end result however, is that I was able to chat with one of the nicest dudes in Hollywood.

Now he’s back . . . and he’s in Star Wars. Well, a Star Wars video game, which isn’t bad either considering how much the line between video games and movies are blurring – the gaming experience having been elevated to its current status which is, quite simply, a little like an interactive story. But unlike the experience you have sitting down and watching a film – here you, are a part of the story.

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From the soulless killer, Samson Toulette, in Tim Hunter’s acclaimed dissection of 1980’s teen anguish, RIVER’S EDGE, to his latest role as the irascible four armed pilot Greez Dritus in the highly anticipated video game release, STAR WARS: JEDI FALLEN ORDER (available on PS4, Xbox One, and Microsoft Windows).

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EA and Respawn Entertainment’s STAR WARS JEDI: FALLEN ORDER has already garnered a great deal of interest and the excitement is building for its November 15th, 2019 release. In an interview with Entertainment Weekly, game director Stig Asmussen offered his thoughts on Roebuck’s character Greez, “He’s a member of a new species we’ve created. I don’t want to give away too much of his backstory, but like anybody you’re going to find during these dark times, he’s got demons. But he’s kind of like this loudmouthed little guy, he talks real big, he tells tall tales and most of the time they’re not true.”

Roebuck spent a few months working alongside of Cameron Monaghan, playing Cal, the young padawan and Debra Wilson who plays Cere in the game. “We had a wonderful camaraderie, the three of us,” said Roebuck. “Plus, we were performance directed by Tom Keegan who is truly a master director and always brings great insight into the process.” Keegan and Roebuck had worked together before on DEAD RISING 3.

During the performance capture process, the actors donned form fitting body suits covered with reflective balls and performed the game’s cinematic scenes in front of dozens of cameras. They also wore head gear fitted with cameras so that the animators could utilize the footage to animate the character’s facial features by directly correlating them to the actor’s reference video.

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STAR WARS JEDI FALLEN ORDER is on track to become one of the most successful video game releases of 2019. The game is one of a triumvirate of entertainment options being released by Lucasfilm LTD this fall. Its release coinciding with the original program from Disney +, THE MANDOLORIAN and STAR WARS: THE RISE OF SKYWALKER, out this Christmas.

My Favorite HENCHMAN by Kent Hill

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The story of Al Leong is not an uncommon Hollywood story in this respect: he is a face you’ve seen, but probably have no knowledge of his name, his explosive talent, his devotion to his craft and the incredible legacy he has built through the movies we all cherish. So, if you fall into that category, then you probably don’t know the man behind the face of our favorite Henchman – you probably don’t know Al Leong…?48379434_2204369366249037_295176330406789120_n Well ladies and boys…you’ve come to the movies at the most opportune time in cinema history, because, friendly neighborhood filmmaker and nice guy all-round, Vito Trabucco, has assembled for your inquisitive, movie-loving minds this beautifully human, lovingly detailed, star-studded valentine. That candy-chomping terrorist that decided taking on The Willis was a good idea; that screaming Wing Kong Hatchet Man in the service of the ancient evil of Lo Pan – and the man who very nearly conquered most of the known world of his day…and who loves Twinkies for the excellent sugar rush…! 71391611_2471535733065648_6679180045182828544_n

Man I could write for days of the films, television and memories that have and still are the fabric formed of my love of storytelling…..of which Al Leong is an indelible part. Join us as Vito and I wax political, poetical and even romantically about the cinema that is part of the wonderful life . . . of our favorite Henchman…

GET IT HERE: https://www.amazon.com/Henchman-Al-Leong-Story-Unrated/dp/B07TMRS26B/ref=sr_1_3?keywords=al+leong&qid=1572173068&sr=8-3al_leong_wing_kong_hatchet_mandefault

 

 

 

 

 

 

 

 

 

 

Not your average Poe: An Audience with Jeffrey Combs by Kent Hill

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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.

Now I love RE-ANIMATOR, I love the RE-ANIMATOR fans, heck I have card-carrying diehards as friends, but I must confess I’m more of a fan of Jeff’s Cellar Dwelling, Fortressy, Robot Joxy, Doctor Mordridy type offerings – and don’t get me started on Honky Tonk Freeway – whole other show.

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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…

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AMC presents John Le Carré’s The Night Manager

John Le Carré is an interesting author, and adaptations of his work in both film and television have proved to be some of the most fascinating and top quality work, whether lush and emotional (The Constant Gardener) or cold and labyrinthine (Tinker Tailor Soldier Spy). He’s firmly rooted in the spy genre but has no interest in things like action, chases, stunts or needless sex like another famous but frequently hollow espionage franchise I can think of. He traffics in brilliant character development, genuine intrigue and chessboard dialogue, all of which coalesce into palpably suspenseful stories that matter.

AMC’s miniseries adaptation of his novel The Night Manager is a fantastic piece of storytelling, meticulously orchestrated, wildly exciting, laced with pathos, danger and humour that has you laughing several scenes later. Tom Hiddleston gives what has to be his best work so far as Jonathan Pine, the night manager of a Cairo hotel who meets, falls in love with and witnesses the brutal murder of a mysterious girl (Aure Atika) with ties to the Egyptian mob. He discovers that the one responsible for this act, albeit indirectly, is billionaire British arms dealer Richard Roper (Hugh Laurie), who he doesn’t necessarily openly declare vengeance on, but we get that notion from his anguished eyes as he looks at her corpse. Years later he gets a chance to exact some sort of plan against Roper and his organization when a plucky rogue MI6 operative (Olivia Colman) shadow recruits him to go deep cover to finally nail this biggest of fishes. So begins a deep, devilish and diabolical game of cat, mouse and spy as he gets about as close as he can to Roper, infiltrates the inner circle and finds himself right in the eye of the arms smuggling hurricane.

Hiddleston was rumoured for Bond at one point but honestly I’m glad he opted for stuff like this, his reptilian smoulder harbours a keen intelligence that blossoms with scripts that have a bit of weight to them as opposed to one liners, one night stands and explosions. He makes Pine a creature of flesh and blood who isn’t incorruptible and struggles to keep his eyes on the endgame while getting caught up with moral distractions along the way, like the plight of Roper’s elegent beau (Elizabeth Debicki, a striking actress of immense talent and one to watch out for). Laurie makes wry, mottled work of Roper and I like the unconventional casting. He apparently had the same idea as I’ve heard they had to talk him into doing the role, but I’m glad they did because he makes deft work of this verbose, colourful international monster. Scene stealer Tom Hollander gets some priceless lines in as his right hand man, and the sensational cast includes work from Alastair Petrie, Tobias Menzies, Douglas Hodge, David Harewood and more.

I think I counted zero genuine action sequences in this, save for one that serves a very specific purpose. Much of the story is dialogue, glances, meetings, arrivals, departures, clandestine sting setups and character interaction. That might prove boring to some but really it’s the meat of any story, while action should be the sauce and not the main course. Here we care about Pine and his situation from minute one, to the point that the suspense is hair raising. Each character is vividly drawn and written, the world brought to life in dimension and detail by cast and director Suzanne Bier alike. Le Carré himself is also a champion of the end result, which is an achievement in itself. A brilliant piece of television.

-Nate Hill

Amazon Prime’s Goliath: Season One

Amazon Prime has sneakily started to put out some incredible original shows in the last few years, it’s really worth signing up (way cheaper than cluttered ass Netflix) to see the exciting directions they’re headed in. One such show is Goliath, which on the surface appears to be a slick, spotlight showcase for Billy Bob Thornton in another one of his now platinum alpha male loudmouth roles. It is that, to an extent, but it’s also a detailed, densely written mosaic of Los Angeles life viewed through a prism of classism, corruption, dishevelled family values and high powered corporate war games.

Thornton is Billy McBride, a disgraced lawyer who helped found the largest and most powerful mega-firm in LA only to be barred from it years later and left in exile. He mopes around in a cheap Santa Monica hotel, wanders the beach at night with bottle in hand and gives a local stray dog some love. This is until maybe the biggest lawsuit of his career yanks him out of bleary eyed entropy and pits him against not only his old firm but the largest high tech weapons manufacturing giant in the country. The show is aptly titled and works beautifully as an underdog story. Billy is low rent, works out of motel rooms and storage units, hires whoever will tolerate him and often prepares speeches and depositions over a high ball at the local dive. The firm is clean cut, ruthless, well researched and not afraid to get extremely dirty in protecting their powerful, scary client. Atop the skyscraper’s penthouse sits co founder Donald Cooperman, a bitter old Machiavellian lunatic played by William Hurt. Hurt embodies him like Harvey Dent crossed with a Bond villain, an eccentric asshole who coldly shunts his lawyers and clerks around the firm’s checker board and communicates with a paratrooper clicky thing, making every move he can to stonewall Billy’s case.

This is Thornton’s best role in years and he does get to do that patented snarky thing that every Bad Santa fan always cheers for, but McBride is also a well rounded, very human character rooted in backstory, fuelled by emotion and dynamic in his interaction and well guarded compassion for the people in his life. His law clerk is an escort girl (Tanya Raymonde), his ex wife (Maria Bello) works for Cooperman’s firm and his daughter (Diana Hopper) resents his wayward lifestyle but loves him unconditionally. There’s an eventual loyalty and tribal feel to his ragtag entourage that I picked up on and enjoyed a lot. They have casted this thing to the nines and picked unique actors for parts you wouldn’t have pictured them in too. Molly Parker is a right cunt as the firm’s lead shark, scene stealing like a pro and positively dripping acid in court. Olivia Thirlby nails the rookie just coming out of her shell, Nina Arianada is a sharp, foul mouthed go getter as a lawyer representing the family suing this firm, and watch for appearances from Jason Ritter, Brent Briscoe, Sarah Wynter, Dwight Yoakam, Damon Gupton and Harold Perrineau as a shrewd, no nonsense judge.

This is of course only a review of the first season, but on its own I can’t really think of anything wrong with it. It’s smartly written, emotionally relatable, super exciting and looks beautiful visually. It’s a story of redemption, one of the little guy standing up to essentially the biggest bully you can dream up and even has elements of family drama as well as thoughtful romance. Thornton and Hurt lead the herd like the pros they are, but everyone in their wake gives equally as powerful work. The locations feel authentic, lived in and detailed, considering they shot in the actual Santa Monica motel and bar that we see onscreen. This tale reaches seemingly mythic heights at times but never falters in catching the little moments, the gaps in between important plot establishing scenes that show characters simply interacting casually or chatting about their favourite movies. You don’t see that kind of care put in much, but damn it goes a long way. I’m somewhat apprehensive about season two after a reported writer switch up that garnered some nasty reviews across the board, but we’ll see. As it stands, season one is its own enclosed story, works spectacularly and I’m happy we got it. Highly recommended.

-Nate Hill