Tag Archives: The Island

Actor’s Spotlight: Nate’s Top Ten Michael Clarke Duncan Performances

Michael Clarke Duncan was one of Hollywood’s gentle giants for decades, an instantly recognizable presence with intense physicality and a deep baritone voice full of expression. One might think that he’d get cast in a lot of tough guy villain roles but his career path found him often lending talent to comedic characters and lighthearted fare. That’s not to say he couldn’t embody a hulking bruiser when the opportunity came along, but he managed a terrific variety in his work before passing away far too soon in 2012. Here are my top ten personal favourite of his performances:

10. Benjamin King in Saint’s Row

This is voiceover work in a series of video games but I had to include at least one VO performance because of the sheer power and unique energy he could project. A sprawling urban crime epic in the vein of Grand Theft Auto, King is a self made millionaire, organized crime arch-boss, philanthropist, mega businessman and all around badass who commands a vast army, exudes both class and street smarts and reigns supreme. It’s a devilishly enjoyable vocal performance full of witty barbs, dark humour and booming tough talk.

9. Murdoch in See Spot Run

This is a silly, silly film but I’ve got some childhood nostalgia for it. Murdoch is a federal agent who gets a bit too attached to his canine unit partner and just can’t handle it when the dog runs off to assist a young boy (the kid from Two & A Half Men) and his infantile father (David Arquette) in taking down a cartoonish mobster (Paul Sorvino). Duncan plays him as an unflappably alpha tough guy who’s banging a fellow agent (Kim Hawthorne) but is reduced to tears when he can’t find his dog. I think we could all relate.

8. Attar in Tim Burton’s Planet Of The Apes

Add prosthetic makeup and fur to his already hulking frame and you’ve got one memorable, scary and conflicted turn as head general to a maniacal ape warlord (a scene stealing Tim Roth). Attar is an old school, militaristic individual who resents his boss’s extremism but isn’t above launching a lethal hunt for the human trespassers on their world.

7. Bear in Michael Bay’s Armageddon

Bruce Willis’s ragtag team of oil drillers turned astronauts are an eclectic, entertaining bunch but perhaps most adorable and endearing is Duncan’s Bear. He’s rowdy, lovable, rides a chopper, lends his pipes to Ben Affleck’s impromptu serenade of ‘Leaving On A Jet Plane’ and his first thought when asked to basically save the world is to request a stay at the White House.

6. Starkweather Two-Delta/Jamal Starkweather in Michael Bay’s The Island

Here he displays heart wrenching emotional range as a clone who wakes up mid surgery as an evil corporation harvests his organs for a rich client. It’s kind of an extended cameo but the outrage, hurt and desperate effort for survival is something haunting to see, and his work drives the film’s themes of ethics and morality home affectingly.

5. Wilson Fisk/Kingpin in Mark Steven Johnson’s Daredevil

Netflix’s Daredevil and Vincent D’Onofrio’s frightening Kingpin have taken up both the mantle and the critical acclaim these days, but I still have a lot of love for this version and Michael’s imposing, classy yet brutal portrayal of the biggest baddie in Hell’s Kitchen. He rocks the crisp pinstripe suit, massive cigar and has both the keen intellect and bruising physicality of Fisk, illustrated nicely in a bone crunching final showdown with Ben Affleck’s Matt Murdock.

4. The General in Reto Salimbeni’s One Way

This curious, fascinating and overlooked indie drama sees him play a mysterious military general who serves as protector and metaphysical guardian angel to protagonist Angelina (Lauren Lee Smith). She’s a sexual abuse survivor with a tragic past whose trauma has likely manifested him, and at key moments in her life he appears to console and fight for her. He makes grave, compassionate work of such an esoteric character.

3. Manute in Robert Rodriguez’s Sin City

Another slightly esoteric character, Manute is a gigantic, nearly invincible mafia enforcer tasked with neutralizing the unruly hookers of Old Town in this arresting noir realm of murder and madness. Attired in a smart suit that’s half military and all business, sporting a giant golden eyeball (that’s another story) and annunciating in disarmingly well fashioned vernacular, he’s a striking, slightly surreal villain played with gentlemanly yet sinister relish by Duncan. He was recast for the sequel after his passing by Dennis Haysbert, who gave it his all but couldn’t quite capture the magic that Michael gifted this role with.

2. Cleon Salmon in Broken Lizard’s The Slammin Salmon

The funniest performance of his career in one of the best entries by Lizard, who are truly an underrated comedic creative team. The egotistical, boorish owner of a swanky Miami seafood hotspot, Cleon has lost a whole whack of money in a game of ‘Japanese Albino hunting’ (strictly catch and release) and is now making his restaurant staff earn it all back for him in one night under the pretence of a contest. Duncan plays this dude as a maniacal loudmouth who always has to be the centre of attention, get the last laugh and bellow out his running joke of a catchphrase “Whateva mothafucka!!!!” to anyone in earshot. A stroke of comic brilliance.

1. John Coffey in Frank Darabont’s The Green Mile

His work as a death row inmate with a mysterious telepathic ability earned him a well deserved best supporting actor. Coffey is accused of child rape and murder, yet there’s more to the story we find as the block’s head guard (Tom Hanks) learns more about his his extraordinary power to absorb others pain both literally and figuratively. It’s a heartbreaking performance, the one that got him acclaim in Hollywood and the beautiful piece of acting that I’ll always remember him for.

-Nate Hill

Michael Bay’s The Island: A Review by Nate Hill

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I love The Island, because it breaks ranks from Michael Bay’s mostly uniform career and gives us entertainment where story is as important as action, which can’t be said for most of his films. Don’t get me wrong, I love his destructive maelstrom of a career to bits (except Transformers and Pain & Gain. Those are shameful.), it’s just nice to get a movie from him with something to latch onto besides just… boom crash smash. His visual setups are like fire dancing on the retinas, but with The Island we get to see what’s behind those eyes and actually get a concept to explore along with our helping of razzle dazzle. Now this type of story has been done before, in stuff like Logan’s Run or the lesser known Clonus Horror, and obviously this time around the story is jazzed by a considerable amount of chromed up energy and adrenaline. In the far future, a group of people are kept inside a gargantuan facility and told that the world’s population has been nearly wiped out by a contamination. Only one untainted zone remains: The Island. It’s a place where some take off to, after winning a much touted ‘lottery’ that allows them access. Only, they aren’t going to any such place at all. They are selected based on the need for organs, spare biological matter and baby carriers for their human counterparts, the rich and affluent. They’re dormant cattle, so to speak, clones awaiting empty promises. Lincoln Six Echo (Ewan McGregor) is one such individual, a curious fellow who first suspects something is wrong with their utopian existence, and once confirmed knows he needs to get out. Dragging along his friend Jordan Two Delta (Scarlett Johansson) he makes a harebrained run for it, escaping the facility and venturing into the world outside, which is anything but contaminated. I like what Bay did with the production design; Things aren’t too wacky or space agey, and more or less that same as now, but accents like flying motorbikes or massive additions to existing skyscrapers let us know how brave of a new world it is. Lincoln and  Jordan suffer considerable culture shock as they flee, and it’s amusing to see the childish way they react to simple things like a telephone, or ordering drinks at a bar. The facility’s Director, an arrogant son of a bitch named Dr. Merrick (Sean Bean) sends a team of off the books ex special forces dudes after them, led by Laurent  (Djimon Hounsou gets the best moments out of the film, the only actor who can stop the momentum dead in its tracks with his soulful performance). From there a lot of it is a deafening roar filled with chases, car crashes, fights and a spectacular highway chase that will wake up the tenants both above and below your apartment. Yes, Bay just can’t help throwing in colossal action scenes where they aren’t particularly needed, and complain if you must, but if it’s really that much of a wrench in your enjoyment of the actual story going on around it,  then use such interludes for a bathroom break or to go apologize to the neighbors for the racket your speakers are kicking up. You can only hope for Bay to reign it in so much, the dude just loves his action. Ask him to direct a Jane Austen adaptation and you can bet your hat he’d throw in a fireball or two in just for good measure. It’s his passion, and I don’t resent people for what they love to do. In any case it’s a terrifically fun piece. McGregor and Johansson are pitch perfect, as they begin to clue in about the world around them, lashing out in anger over what’s being done to them and becoming quite resourceful. Bean resists the label of villain with his performance, branding Merrick as an idealist whose breakthrough blinded him into extremism, from which there is no turning back. Steve Buscemi shows up bearing kindly comic relief as a tech worker who assists in their escape. Michael Clarke Duncan is very affecting in one scene as a clone who finds out the truth the worst way possible. There’s also work from Shawnee Smith, Chris Ellis, Max Baker, Glenn Morshower and an incredibly bizarre cameo from an uncredited Kim Coates. Steve Jablonsky composes what I believe to be his finest, most stirring work and the best score to date in a Bay flick, adding to the sweeping scope and pure cinematic current that this one soars on. One of my favourites, highly recommended.

PTS Presents ARTISAN WORKBENCH with ED KRAMER

ED KRAMER POWERCAST

16935753-11da-4961-8f84-99b927f247b0Podcasting Them Softly is honored to be joined by visual effects master, ED KRAMER.  Ed spent twelve years working for INDUSTRIAL LIGHT AND MAGIC, and is now currently an instructor at THE ART INSTITUTE OF COLORADO.   Ed was the Senior Technical Director and Sequence Supervisor on TWISTER, THE LOST WORLD: JURASSIC PARK, THE MUMMY, THE MUMMY RETURNS, THE PERFECT STORM, GALAXY QUEST, THE ISLAND, HARRY POTTER: THE CHAMBER OF SECRETS, and was a part of the Academy Award winning team on PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST.  Ed was apart of the team that created the Columbia Pictures “Lady with a Torch” logo.  Ed worked with the groundbreaking visual effects team that changed cinema forever with the use of digital effects and filming digitally with the three STAR WARS prequels, EPISODE 1 THE PHANTOM MENACE, EPISODE II ATTACK OF THE CLONES and EPISODE III REVENGE OF THE SITH.

Check out Ed’s AMAZING highlight reel here!