Tag Archives: Terence Stamp

The Return of The Return of Swamp Thing: An Interview with Jim Wynorski by Kent Hill

 

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Jim Wynorski is the man I want to be when I grow up. He is a sharp, prolific, terrific guy that doesn’t suffer fools and makes movies ’cause that’s what he loves – and that’s what he does best.

He has made over one hundred films, directed my beloved Deathstalker 2, and even written a foreword for my tribute/homage DS2 book Sword Dude 2 . He is a top bloke, as we say Down Under, and it had been a while since we last spoke ( for our chat on Deathstalker 2 click here: https://podcastingthemsoftly.com/2016/11/15/is-that-your-first-name-or-your-last-name-remembering-deathstalker-2-with-jim-wynorski-by-kent-hill/ ), so when I heard about the glorious reissue of Jim’s The Return of Swamp Thing I took a chance and phoned up this perpetually active filmmaker to see if he could spare the time to talk about the release.

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Thanks to my much improved recording setup, this time there is no transcription. This time you get to hear the man himself, and listen in as I touch base and hopefully convince a couple of you to check out the fantastic re-release of the awesomeness that is Wynorski’s  take on the comic that he loves.

The ever candid Jim always has surprises for me when we talk. Sadly some of the cool news he tells me I can’t share – it’s a for-my-ears-only kinda deal – but fear not, he does deliver many a splendid anecdote.

(GET THE DVD https://www.amazon.com/Return-Swamp-2-Disc-Special-Blu-ray/dp/B0791TR1S5 AND THE SOUNDTRACK https://www.amazon.com/Return-Original-Motion-Picture-Soundtrack/dp/B07FHLZZFQ/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1533815456&sr=8-2&keywords=RETURN+OF+SWAMP+THING+SOUNDTRACK&dpID=61ZcXsCkJ1L&preST=_SX342_QL70_&dpSrc=srch)

Long before Marvel and DC dominated the popular consciousness, Jim Wynorski was directing a DC movie. Before we see the proposed, rehashed series spearheaded by Aquaman’s Jamie Wan, take a trip back to the sweaty swamp and see Dick Durockthe original and still the best – rise from the murky depths and fight evil mutants, seduce Heather Locklear and give the thumbs up. The return of The Return of Swamp Thing

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https://www.amazon.com/Sword-Dude-2/dp/B07G4L9J3P

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Indie Gems: The Art Of The Steal

I’ve reviewed The Art Of The Steal before, but it constantly kills me how underrated this banging heist comedy is, so here goes again. Imagine a wickedly funny, smartly written all star art thievery caper starring Kurt Russell, Matt Dillon and a host of others at the top of their game and you’ll have some idea. It’s strange that it’s so unheard of with this pedigree of actors involved, but it’s a joint Canadian production so that may have had an effect on marketing, or lack thereof. In any case, it’s the funniest, smartest heist flick since Ocean’s Eleven, and maybe tops it too. Russell is Crunch Calhoun, an Evel Kneval type ruffian who moonlights as a driver for a crew of fine art pilferers he leads. He’s hard up for cash and fresh out of a stretch in polish jail after his brother and second command Nicky (Matt Dillon, sleazy as ever) rats him out as a fall guy. Now back in Canada, he reluctantly agrees to work with brother dearest, as well as his old crew, for one last job, the theft of an obscure gospel manuscript. Their plan involves swerves, dekes, double-crosses, cons, conniving, hysterical fuck ups, roper dopes and double entendres, so much so that one marvels all that’s in this goody bag of a narrative can fit into a ninety minute film, a testament to both editing and direction. Crunch’s crew is is a roll call of varied talent, including twitchy rookie Jay Baruchel, wily old dog Paddy (Kenneth Welsh), Crunch’s sexy wife (Kathryn Winnick) and their flamboyant French forger (Chris Diamantopoulos). The real treat is Terence Stamp as a weary ex thief working with an Interpol snot-rag (Jason Jones) to lift time off his sentence. Stamp doesn’t show up too often in films these days but he’s comic gold here and has a surprisingly touching bit that brings a bit of reverence and gravity to the world of grand-theft-art amidst the mostly madcap tone. It’s sad that films like this don’t get a theatrical run anymore these days, because they end up on Netflix or wherever and the only way they get mass exposure is through word of mouth, chance or crazed cinephiliac zealots like me shamelessly plugging them on blogs. So go fucking watch it..now.

-Nate Hill

THE LIMEY – A Review by Frank Mengarelli

Steven Soderbergh’s THE LIMEY is the epitome of a hard nosed genre film, fused from the late 1960’s to mid 1970’s films that rarely get made today. Sure, every once in a while we get a token film here or there, but few live up to the masterful craftsmanship of Steven Soderbergh.

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The film’s tone is set instantly. The gravely voiceover by Terence Stamp that quickly cuts to him stoically sitting on an airplane with The Who’s THE SEEKER drowning out anything your mind is thinking about, forcing you quickly focus solely on the film.

Soderbergh, who’s career has taken a precise and taut trajectory, created something of an anomaly with this film. While he’s relied on the brilliance of Cliff Martinez scores, he never quite dabbled in the usage of popular music like he did with THE LIMEY.

THE SEEKER completely sets the tone, as well as the story instantly. Stamp is a man on his way into a bombastic suicide mission of finding the man or men responsible for the death of his daughter, and killing them and anyone who gets in his way.

As phenomenal as Stamp’s intro music is, Soderbergh one ups himself by using The Hollies KING MIDAS IN REVERSE to introduce us to one the coolest cinematic antagonists ever to be on film, Peter Fonda as the sleek, yet smarmy, Teddy Valentine.

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Soderbergh’s casting is paramount in this revenge thriller. Along side Stamp and Fonda, are seminal actors from the era of the film’s kinship including Leslie Ann Warren, and Barry VANISHING POINT Newman.

The most fascinating aspect of the film is Sarah Flack’s editing. I’m not saying she’s Alan Heim, but she’s pretty damn close. The timeline jumping, fast paced editing is unlike any other film, and not only is it convenient as a plot device for foreshadowing, but it completely and utterly turns the film into a quick paced, nonstop clinic on not only filmmaking, but film editing.

THE LIMEY remains my favorite Soderbergh film, among a body of work that is made up of sheer quality and proficiency that can be comparabled to the works of Woody Allen. If anyone is studying filmmaking, in particular film editing, you need to watch ALL THAT JAZZ and THE LIMEY. On repeat.

Dead Fish: A Review by Nate Hill

  

There’s a minefield of British gangster flicks out there, riding the colourful wake of Guy Ritchie’s output, and similar fare. Some are solid, and some blow up in your face with mediocrity when you come across them. Dead Fish falls somewhat in between those two reactions. On the one hand, it’s slick, visually adept, well casted and for the most part acted and knows how to set up a stylized scene. On the other hand, parts of it are silly, incongruent to the piece as a whole and kind of.. Shitty. It’s both a good bad movie and a bad good movie, and I know that doesn’t give much of a concise picture or really tell you whether to watch it or not, but too bad, that was my conflicted reaction. Gary Oldman, in one of his last loopy performances before he reigned it in, plays Lynch, a lively assassin with an unstable personality. He jumps from contract to contract, until a beautiful girl (Elena Anaya) catches his eye, and he’s struck with alarming and slightly creepy lovesickness for her. She’s got an American boyfriend (Andrew Lee Potts, who almost brings the film toppling down with his shoddy acting) who is on the run from violent loan shark Danny Devine (Robert Carlyle, frothing at the mouth like a pissy little windup toy). Lynch collides with them all including Pott’s stoner buddy (Jimi Mistry always looks like he needs to pee really bad and he’s waiting for them to say “cut”). It’s not super clear what Oldman’s character objective is besides going off on a freaky bi-polar tangent as he pursues his perceived dream girl and seems ready to forsake the high paying hitman job he seems so comfortable in. Nevertheless it’s fun to see him run around shooting people and being a mental head, and no one can do that like our Gary. The plot thickens, or rather becomes unintelligible, when two secret spy operatives are brought in by some agency to.. do…man I don’t even know. Billy Zane is a weird loony toons caricature as Virgil, a stuffy old spook with a plummy upper crust accent and some… wardrobe issues. He’s paired with Eastern European psycho Dragan (the always excellent Karel Roden) and the two literally spend their portion of the film bickering, cat fighting and squabbling, having actually no real interaction or function with the plot. Oh well, they’re amusing if nothing else. There’s also a brief appearance from Terence Stamp, who classes up the affair as Samuel Fish, a shady businessman with a vaguely coherent part to play in the madness. It’s all very strange and seems assured that it knows what it’s doing and where it’s going, even if at times the audience has not a clue. On the plus side, this is the only film I can think of where you can behold Gary Oldman break out into a musical number whilst tied down by a 250 pound S&M hooker. Yikes. Keep your ears peeled for a sonic little score from Groove Armada as well.

STAR WARS EPISODE I: THE PHANTOM MENACE – A Review by Frank Mengarelli

It’s no secret that many high brow cinephiles have their knives out when it comes to STAR WARS, but in particular the prequels.  To be fair, my film snobbery overflows onto big blockbuster franchises, but STAR WARS, all aspects of it; the films, the novels, the video games, collectibles are so ingrained in my life since childhood that it’s fair to say I will never have as much passion for anything as I do for STAR WARS.

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THE PHANTOM MENACE is a stark contrast from the original trilogy, and that’s exactly what it is supposed to be.  Yes, there are many missteps, including the casting of some actors, and the dialogue at times is lackluster and unintentionally laughable but there is so much more at stake when you look at the big picture.

Set decades before A NEW HOPE, Episode I shows us the beginning.  We see a vibrant and fertile galaxy before the desolate dilapidation that the Empire brings to not only the aesthetics but also thematically in the original trilogy.  This is a time of prosperity, a time when the Jedi oversaw peace in the galaxy.

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But.  This is also the beginning of the galaxy being divided in a full-out war.  Planets pitted against each other by fear and economics.  All the workings of seminal STAR WARS villain, Emperor Palpatine, who in Episode I is nothing more than the affable senator from the peaceful planet of Naboo.  His Sith alter ego, Darth Sidious, does all the dirty work.

I know.  Jar Jar Binks is the go to hangup.  Yes, Jar Jar is annoying until you get over it and embrace him.  Liam Neeson as the Jedi Master who is the hierarchy of the Skywalker lineage more than makes up for Jar Jar.  As does John Williams’ AMAZING score, particularly DUEL OF THE FATES which loudly surrounds the greatest lightsaber battle in the STAR WARS saga: Qui Gon Ginn AND Obi Wan Kenobi versus fan favorite, Darth Maul.

Yes, THE PHANTOM MENACE is the weakest of the STAR WARS saga, but it is also a solid foundation of what’s to come after.  The chaos that engulfs the galaxy.  The tangible rise of Palpatine’s dark powers.  For all of Lucas’ faults, he does an excellent job guiding the camera through the birth of galactic turmoil.  His casting of Liam Neeson, Ewan McGregor, Samuel L. Jackson, and Terence Stamp are wonderfully perfect additions to the series, and his vibrant aesthetic is a pleasant contrast from the darkness of the original trilogy.