Tag Archives: Tim Burton

Tim Burton’s Corpse Bride

I feel like Tim Burton’s Corpse Bride doesn’t get nearly enough love and praise for what a wonderful film it is. The acclaim and lasting impression really stuck to Burton and Henry Selick’s A Nightmare Before Christmas and rightly so, but this is every bit as inspired, packed with catchy tunes, casted with beloved actors and filled with gorgeous stop motion splendour. Plus it’s the keystone Johnny Depp/Helena Bonham Carter outing for me because even though we only get their voices the animation is tailored to each respective essence and we feel their physical presences heavily in spirit.

Depp voices Victor Van Dort, a spindly, nervous creation who’s about to be pressured into one of those delightful old arranged Victorian marriages by his domineering parents (Tracey Ullman and Paul Whitehouse). The bride to be is Victoria Everglot (Emily Watson) and wouldn’t you know it they actually do fall in love despite circumstances, which is a nice subvert of the trope that I enjoyed. There’s always gotta be a third though and she arrives in the form of the titular Corpse Bride (Bonham Carter), a deceased girl brought back to life when Victor practices his vows in the local cemetery. This sets in motion a chain of fantastical, macabre, adorable and altogether brilliant set pieces, musical numbers, fight scenes, rich and thoughtful character relations and visual genius like a big old animated Halloween parade.

The cast is stacked too, full of beloved Burton regulars like Albert Finney and Joanna Lumley as Victoria’s crusty, aristocratic parents, Christopher Lee as a cantankerous undead vicar, Richard E. Grant, Michael Gough, Deep Roy and Danny Elfman himself as a rambunctious spooky skeleton called Bonejangles who fronts an undead jazz band. Hell there’s even a worm that looks and sound like the great Peter Lorre which I couldn’t tell if was done deliberately but if so bravo. This thing doesn’t even breach ninety minutes but it’s so full of life, death, colour, incident, song, music, dance and joy that it seems way longer than it actually is. It’s also got a grounded maturity in the way we see this completely ridiculous yet somehow very touching love triangle unfold, and by the end you really feel for Carter’s Corpse Bride and empathize with her situation. A technical marvel, a beautifully told tale and one of Burton’s very best.

-Nate Hill

Advertisements

Actor’s Spotlight: Nate’s Top Ten Johnny Depp Performances

Johnny Depp is known as one of the ultimate chameleon actors, and since he got his start in Wes Craven’s A Nightmare On Elm Street he has been entertaining audiences for over two decades with lively, theatrical and off the wall characters. Sometimes it works wonders (our beloved Jack Sparrow), other times comes across as weird (that lame Mad Hatter) and sometimes it’s downright creepy (oh man his misguided attempt at Willy Wonka). He’s also adept at voice work as well as some gritty, brooding, down to earth character roles and whether the particular performance lands nicely or flounders awkwardly, he’s never not fascinating in some way. Here are my top ten favourites of his work!

10. Rango in Gore Verbinski’s Rango

Depp lends his voice to the titular chameleon and hero of this most unconventional, unclassifiable and wholly brilliant animation film. Set in the Mojave desert, it follows Rango as he encounters a town called Dirt, and just about every western archetype you could think of within it. It’s a dazzling sendup of both the western genre and the medium of storytelling itself, speckled with off the wall adult humour and vivid voice work from a huge cast. Johnny brings obvious physicality to the role and embodies the energy, tone and style of this unique piece flawlessly.

9. Ichabod Crane in Tim Burton’s Sleepy Hollow

In bringing this classic Washington Irving character to life Depp uses a hilariously ironic fear of blood and all things morbid that’s constantly at odds with his fascination, intuition and knack for solving grisly murders. Burton’s flat out gorgeous palette, Depp’s nervous yet strong willed performance and a whole pack of epic supporting actors make this one of the best gothic horror flicks out there.

8. Frederick Abberline in the Hughes Brother’s From Hell

An opium addled Scotland Yard inspector with some serious demons in his closet, Depp’s keen but damaged cop investigates the Jack The Ripper slayings in Victorian London and uncovers more than he wished. This is a sumptuous, gloriously stylized Alan Moore adaption that captures the horror and grim malice of this period of history. His performance finds the haunted notes of the character while still retaining a lucid intellect and trusty intuition, displaying terrific chemistry with Heather Graham as a prostitute he falls in love with and Robbie Coltrane as his salty captain.

7. Raoul Duke in Terry Gilliam’s Fear & Loathing In Las Vegas

Depp was close friends with author Hunter S. Thompson and it’s apparent in his balls out, maniacally dedicated performance as a junkie journalist on a madcap bender through sin city with his trusty and equally deranged sidekick (Benicio Del Toro). This is a love it or hate it experience of mind blowing insanity, but there’s no denying his headlong commitment to character and willingness to go the extra mile and then some.

6. Tonto in Gore Verbinski’s The Lone Ranger

This film inexplicably bombed and got a bad rep, but it’s one of my favourites and Depp’s loony, off kilter turn as Tonto is something to be seen. He’s a nut job with a crow on his head that spouts enough mumbo jumbo to confuse anyone and yet there’s something sad, forlorn and lonely about the work here, which becomes even more apparent as his character arc comes full circle.

5. Mort Rainey in David Koepp’s Secret Window

Channeling his inner wacko, Depp brings a deranged Stephen King character vividly to life in this tale of a depressed writer holed up in a cabin on the lake until he gets an unwanted visitor and things get spooky. He’s always had a great loony side to his work but here he really gets to explore a character who, bit by bit, is completely losing his marbles. Featuring scary supporting work from John Turturro as a bumpkin who comes wandering out of the woods looking for trouble, this is a deliriously fun and very atmospheric thriller, one of the best page to screen King translations.

4. Ed Wood in Tim Burton’s Ed Wood

Ed Wood was considered the worst director of all time, but that’s just an aside to Burton and Depp, who choose to make their film ultimately about a man so in love with filmmaking that he overlooks every flaw in the process, finding beauty in blunder. Wood was a guy who essentially made Z grade junk for less than dimes and soldiered on through rejection and infamy. Depp plays him as a warm and very passionate guy who wants to give everyone a shot, including now washed up and drug addicted Bela Lugosi, played brilliantly here by Martin Landau. Whether perceived as jokester hack artist or dedicated exploitation pirate, there’s no denying that Depp finds all the perfect notes, sad nuances and beautiful aspects of Wood’s life and legacy in a performance that practically comes to life in crisp, gorgeous black and white.

3. Jeffrey Sands in Robert Rodriguez’s Once Upon A Time In Mexico

Sands is a rogue CIA operative who is so spectacularly corrupt that the agency doesn’t know what else to do but station him way down in Mexico where he can’t cause trouble but somehow manages to anyway. He’s is just so hilariously eccentric in the role, whether he’s wearing a prosthetic arm to hide a firearm, murdering a chef because his slow cooked pork was *too good*, deviously instigating an explosive coup that tears Mexico City apart or reading a biography of Judy Garland in between double crossings and back stabbings, he’s too much fun and steals a film that already stars people like Willem Defoe, Mickey Rourke Danny Trejo, which is no easy accomplishment. He also gets arguably the most badass shootout of the film in a sequence that’s beautifully reminiscent of Sergio Leone in all the coolest ways.

2. William Blake in Jim Jarmusch’s Dead Man

This haunting, unconventional art house western sees him as a meek accountant from Cleveland who travels out to the Wild West for work and instead finds himself becoming an outlaw, murderer and eventually arriving at his own death, but not in the way you might think. This is one of my all time favourite films, it’s a meditative work of brilliant art with stunning black and white photography, a wonderfully eclectic star studded cast and a hypnotic guitar score by Neil Young. Johnny anchors it with a performance that travels an incredible arc from mild mannered city boy to archetypal phantom of the frontier.

1. Captain Jack Sparrow in Gore Verbinski’s Pirates Of The Caribbean

What can I say, this is the flagship Depp performance, the most inspired piece of acting he’s done and one of the most lovable, roguish, hilarious and perpetually tipsy characters to ever be born of cinema. With roots in Keith Richards’s essence he made specific costume, mannerism and vocal choices in bringing Jack alive, he’s the heart, soul and dreadlocked hair of the Pirates franchise and pretty much a pop culture icon too.

Thanks for reading! Tune in for more content and let me know if you have any requests!

-Nate Hill

Actor’s Spotlight: Nate’s Top Ten Christopher Walken Performances

Whenever Christopher Walken shows up in a film you can practically feel the energy and interest go up in an audience, whether they know him by name and are studious of his massive career (raises hand) or they just remember that instantly recognizable face. Whether it’s a supporting role, cameo or star turn there’s something about his electric eyes, steady yet spooky voice and offhandedly eccentric mannerisms that make him something truly special. His career is an epic one that spans comedies, drama, musicals, stage plays, music videos (that Fatboy Slim dance marathon!!), a Bond movie, the odd horror flick and a good dose of obscure indies that I’ve always loved to hunt down. Here are my top ten personal favourites! Please share yours as well and enjoy:

10. Max Shreck in Tim Burton’s Batman Returns

With a shock of electric silver hair and a razor sharp pinstripe suit, Walken embodies monstrous corporate evil as Gotham’s most corrupt business tycoon. I’m not sure if Shreck was a villain that ever showed up in the comics or if he’s something Burton dreamed up for the film, but in any case he makes just as much of a morbid impression as Danny Devito’s Penguin and Michelle Pfeiffer’s Catwoman in the baddie department.

9. Gabriel in The Prophecy Trilogy

Walken takes a decidedly darker approach to the Angel Gabriel here, playing him as a rogue operative at war with god and his forces and engaged in casual genocide of the human race to both achieve his goal and simply prove a point. The cool thing about Walken as an actor is that most of his career finds him playing characters in crime dramas, comedies, real people in the real world, no matter how wacky they get. But he also has the deft versatility to pull off something otherworldly and supernatural too, as you can see by this moody, intense characterization that definitely suggests something out of this world.

8. The Headless Horseman in Tim Burton’s Sleepy Hollow

I had to. Roger Ebert wrote in his review of this film:

“ Note: No power on earth could drag from me the identity of the unbilled actor who plays the Horseman when he has a head. But you will agree he is the only logical choice. “

Is that not the perfect summation? He looks positively animalistic here as the big bad in Burtons best and most underrated film, sporting rock star hair, teeth whittled down to points and a thunderous roar which is the only actual dialogue he ever has in the role. Walken is a lot of things but one that you could boil his complex essence down to is ‘both scary and funny.’ If there’s one role that reinforces that it’s this, he’s somehow legitimately terrifying and ridiculously hilarious in the same note. That takes skill and charisma.

7. Caesar The Exterminator in Gore Verbinski’s Mouse Hunt

There’s something in the way one observes a crazed Walken crawling along the floor adorned in a headlamp and tactical gear, tasting dried mouse droppings to learn the gender of his quarry. Only he could take a ten minute exterminator role intended as comic relief and turn it into the kind of bizarre, deranged performance art that steals an entire film. I’ll also add that the film overall including his presence is one of the most overlooked of the 90’s and a misunderstood dark comedy/fairy tale that was unfairly billed as a kids film and lost on many dismissive viewers. Time for re-evaluation.

6. Frank Abagnale Sr. in Steven Spielberg’s Catch Me If You Can

A family man whose reckless decisions lead to a radically different lifestyle and a diminished self image, Walken nails both the fierce pride and detrimental flaws of this character while infusing a deep love for his wife and son. It’s a complex portrayal that despite being a sideline supporting character, fills the film with humanity and humility. Don’t even get me started on the “two mice fell into a bucket of cream monologue.”

5. Paul Rayburn in Tony Scott’s Man On Fire

Another performance filled with subtly sorrowful regret, Rayburn is an ex military man who shares a past connection with Denzel Washington’s John Creasy, and the two share several central scenes of mutual remorse and guilt that land hard. Walken is good at masking deep set emotion with a joke, cloudy half smile or idiosyncratic anecdote, but the intention burns bright beneath whatever deflection tactic he employs, and his work here is no exception.

4. Vincenzo Coccotti in Tony Scott’s True Romance

Like many actors in this film, Chris only gets one scene or so to strut his stuff, but the nasty verbal showdown with Dennis Hopper here is not only one of the most memorable of the film but of cinema itself. He’s an apex predator here, a sociopathic mafia don who’s used to getting his way and accustomed to nobody standing up to him. His simultaneously bemused and aghast reaction at essentially being owned by Hopper’s wily ex cop is something for the ages and provides the film with some it’s best humour and scariest violence. “You’re a cantaloupe!”

3. Brad Whitewood Sr. in James Foley’s At Close Range

Walken has portrayed a lot of villains, scumbags and less than desirable dudes but Brad takes the fucking cake. Leader of a rural band of small time thieves, he re-enters the lives of his two sons (Sean and Chris Penn) he left years earlier and from the moment they become involved with him nothing good comes of it. He’s charming and affable at first but when the heat shows up it becomes very clear this guy will kill anyone, including his own sons, to keep himself afloat. This is a mean, sad and bleak spirited film with a cold, ruthless central performance from Walken. But it’s worth it to observe just how far human nature can go into extremes that all of us hope we don’t ever have to encounter.

2. Nick in Michael Cimino’s The Deer Hunter

One of several young men who go from life in a small industrial town in Pennsylvania to the horrors of the Viet Nam war, he brings all the subtleties of the world into his work here, showing how the darkness out there can smother someone’s soul to the point that they don’t even know who they are anymore. One of my favourite moments in Walken’s entire career is in this film, where a nurse in a military hospital asks him who he is and who to contact in this situation. The actor expertly but unobtrusively displays a quiet, confused and utterly devastating mental breakdown as the reality of what has happened to him sets in. It’s showcase Walken for how believable it is and one of the finest scenes he has ever crafted.

1. Frank White in Abel Ferrara’s King Of New York

The most introverted criminal kingpin ever to show up in cinema, Walken plays a recently paroled crime kingpin who’s ready to take back the territory he lost while in the slammer, with some help from his rambunctious crew headed up by a fearsomely unstable Laurence Fishburne. The performance I picked for top spot isn’t a weird one, a hyperactive comedic turn, a funny scary villain or anything that he’s outright known for. There’s something remarkably compelling and down to earth about Frank, something very ‘street.’ His name is fitting because that’s how he approaches both business and relationships: with a blunt, no nonsense and vaguely sadistic air. Ferrara directs one of the best NYC crime dramas ever made here, he and Walken make the moody final scene ring with unexpected, grim poetry.

-Nate Hill

The Man who would be Cage: An Interview with Marco Kyris by Kent Hill

EPSON MFP image

I feel like I’m somehow getting closer to Nicolas Cage. I’ve spoken to a man who has directed him – a man who has “Nic-polished” his scripts. So, you can image my delight when Marco Kyris, Cage’s stand-in from 1994 till 2005, agreed to not only have a chat, but also to give me a preview of his new documentary, UNCAGED : A Stand-in Story.

People ask me, “What’s with this Cage obsession?”

My answer is always…I think he’s a genuinely smart actor, with eclectic tastes and a wide repertoire which has seen him enjoy Oscar glory, big box office success and become a champion of independent film.

The son of August Coppola (nephew of Francis Ford), but with a name lifted from the pages of his comic book heroes, Cage is at once both an actor and a movie star. With a legion of devoted fans worldwide and, heck, even a festival that bears his name – celebrating the wild, the weird, and the wonderful of the cinema of Nicolas Cage. From the genius of Con Air to the brilliant subtlety of Adaptation, the exceptional character work of Army of One to the gravitas of Leaving Las Vegas – Cage is a ball of energy that needs only to be unleashed on set.

It was my sincere pleasure to talk with the man who stood in for the man when the man wasn’t on set. Marco’s tales are a fascinating glimpse – another angle if you will – in the examination of one of the movie industry’s true originals. I know you’ll find his story and his film, UNCAGED, compelling viewing  – for both those curious as to the life of a stand-in, and also those looking for a unique look at the life of a superstar.

I’ve been privileged to chat with the people who made the rough stuff look easy for Arnold Schwarzenegger and Rene Russo…

Now it’s time to uncage the legend.

(ALL IMAGES COURTESY OF MARCO’S WEBSITE: https://www.mkyris.com/)

BEFORE YOU GO, CHECK THIS OUT…

61183113_333882714174327_8333410639384936448_n

FOR MORE INFO: https://www.facebook.com/HailThePopcornKing/

“I never touched a legend before.” : Remembering Nightbreed with Nicholas Vince by Kent Hill

3956867_7824025

22c95b_e236a5c6b6ea4b01b99c48516ff8dd8d~mv2

Seems to me NIGHTBREED had been out for a while before I made a point of sitting down to watch it. I’d seen the trailer a bunch of times, been curious, but it wasn’t until I read the illustrated screenplay that I admit to really becoming hell bent on checking it out.1411764498435

It is at once a phantasmagoria, a dark fantasy, a love story – a rich, self-contained world that seemed on the verge. But, as I would discover, the powers that be didn’t receive from Clive Barker what they were hoping for. He had produced for them two Hellraiser pictures, thus they made the mistake of assuming they were set to receive yet another study in fear. Especially with a title like, Nightbreed. Hence you have the reason for the fractured state of the movie and all the subsequent releases and restorations – the producers attempting to fashion the movie into something it was never meant to be.

giphy

What you ultimately take away from Barker’s monster-piece is the feeling of wanting more – and not just a re-cut of the existing elements. I suppose that’s why the idea of a Nightbreed series, I feel, would work better than another motion picture. There is so much to mine, so many characters – along with my favorite, Kinski (played by my guest Nicholas Vince), that I would love to see make a return.

So, kick back and enjoy our discussion on all things concerned with the tribes of the moon. God’s an Astronaut. Oz is Over the Rainbow, and Midian is where the monsters live.”

c83e4a042c03eddbed1417719c091846

 

BEFORE YOU GO, CHECK THIS OUT…

61183113_333882714174327_8333410639384936448_n

FOR MORE INFO: https://www.facebook.com/HailThePopcornKing/

At play in the Fields of Cullen: A Look at the Director’s Cut of London Fields by Kent Hill

I must confess I am in the same boat as my learned colleague Mr. (Paul) Rowlands of money-into-light.com, when it comes to an interest in films marked by some form controversy. Well, not solely controversy, but the types of films that have been long-suffering passion projects finally seeing the light of day, or long overdue restorations of genuinely overlooked masterpieces that may or may not have suffered the same fate as the picture that I shall, in these words following, discuss. It is the wretched crime of the industry at large to present grand achievements in aborted states – the director’s vision left on the cutting room floor, or in the parlance of our times, designated to a file on some mass storage device.mathewThe embattled figure in this saga is filmmaker Mathew Cullen and his stunning debut, London Fields. A slick and stylish noir, bombarded by flashing images of humanity’s chaos, swirling around  and serving as the world beyond that which we shall traverse with the movies’ delightful assortment of strange and sympathetic characters. Into the urban sprawl, at the center of this film’s universe, comes the melancholically-serene presence of Samson Young (Billy Bob Thornton), who we learn has traded his own stateside shithole for the shabby chic and eccentrically opulent abode of Mark Asprey – a disembodied Jason Isaacs.static1.squarespace.comBut this is not where our story begins. Our story begins with a murder.

A death that was seen coming by its victim, along with the hook being that the killer remains faceless until the movies’ final moments when we discover exactly who our Keyser Söze is.x1080-38ESo we have Thornton/Young, a man that has to live his stories. Being a natural voyeur, he soon becomes intrigued and infatuated if you will, by the astonishingly sexy and magnetic presence of Nicola Six (Amber Heard), whom I have enjoyed since she appeared in John Carpenter’s last effort, The Ward and again in the truly awesome guilty pleasure that is Drive Angry with the quintessential renaissance man himself, Nicholas Cage.London-Fields-Featured-ImageShe has power both in character and in substance. She is a woman who has flirted with the perilous, courting intrigue, danger, the playful and the despicable. And this it would seem is her last hurrah . Bringing into the final web she will spin the polished bravado of Guy Clinch (Theo James), and the personification of grotty goodness, Keith TalentJim Sturgess taking his Cloud Atlas Scottish football hooligan character to its apex.

 

These crotch-led power-mongers think they have our girl Six clocked and at their mercy. The key portion of that sentence being, ‘think’. Because this is all ruse, all part of Nicola’s game, indeed part of how Nicola (we take from the shards of back story given) has lived out her existence until its brutal, bloody climax. Young/Thornton watches and listens along as Six leads the boys into her little traps, playing each against the other in the midst of their own debauched  and dysfunctional existences – Clinch’s disintegrating family life and Talent’s quest to become an all conquering champion of darts.MV5BZmYyNjAwMjQtNDBiYy00YWI0LWI5OTQtOTJhZDYyNTJlOTI2XkEyXkFqcGdeQXVyNjUwNzk3NDc@._V1_If it all sounds a bit nutty (wait till you meet Chick Purchase), I say now, don’t be afraid. The juxtaposition of comedy, tragedy, sex, violence, a musical number and the bizarre nature of Nicola’s game is an easy pill to swallow. For the casual multiplex visitor, yeah, maybe not – but this is a picture that had me from start to finish and brought to mind fond memories of the time when it was my privilege to witness another spectacular director’s cut in the form of Wim Wenders’ Until the End of the World – an equally luscious and absurdly-infectious cocktail of cinema.b0be7af53fa5c87a98786b212a5a1f17I have followed the press surrounding London Fields and waited for such an opportunity as I have thus been presented with, which is to experience the film as the director always intended it to be seen.5917e9efb12a157c32b854dbd16ed744912a0557 This being the case, I have in the interim sought out and devoured Martin Amis’ gorgeous darkly comedic, mysterious murder source material and also the theatrical version. So, if these words I write carry any weight at all with you, please believe my sincerity when I urge you, nay, implore you – seek out this, the director’s cut of London Fields. It is a heartbreaking urban-dystopian twisted noir love poem that, thank God, exists for us all to watch, to ponder, to cinematically wolf-down. Bon appétit, dear viewer.London-Fields

The Man behind The Dark Knight rises by Kent Hill

CuQh_UoXEAAzFpe

How did this wonderful film slip through the cracks? There was little to no word about this utterly enthralling and compelling story about the ‘other’ man behind the bat.

I admit to you now – I was in the dark. While comics were a staple of my formative years, as that time receded, my interest had diminished to ‘casual’  by the early 2000’s. Even then I was far from what you would refer to an an aficionado. Comics were flame bursts in the dark. Most of mine were not pristine, and I collected them by the bundle when my Grandmother would take me along with her to the Book Exchange and allow me to parlay a stack of her used paperbacks for a pile of superhero awesomeness.

But, back to the topic at hand. I read comics without much regard for who created them (that attention to detail I reserved for my first obsession, the movies). I was there to indulge, pure and simple. Still, as our awareness grows, so do we seek out ever greater detail – the mechanics that make our preferred mode of escapism tick and thus our experience is enriched and the depths of our interest continue to descend into the pop culture sea that abounds, seemingly fathomless.

Such is the story brought to life by Don Argott and Sheena M. Joyce. Like the equally incredible Searching for Sugar Man before it, Batman & Bill traces the steps of the elusive Bill Finger – the man who, in case you didn’t know, co-created Batman with Bob Kane. And, like Sugar Man, the plot, which on the surface might seem to have a logical conclusion, just keeps unraveling as the real life seeker of justice, Marc Nobleman, tracks down and lets the sun shine brightly on the life, labors and legacy of Finger.

MV5BYjYzZjc2ZTQtYmQyYy00NTk5LThmMTItNWQyNzk3MjNkYzEwXkEyXkFqcGdeQXVyMzYxOTQ3MDg@._V1_

Now I’m not going to spoil this at all. You must, must, must seek out this glorious unfolding of a sad, arduous, but ultimately triumphant saga which is predominantly about rewriting history, but at its heart there is a drum that beats and reminds us to stand tall in the face of adversity, and the film depicts this, in the form of the mammoth uphill battle to place Finger’s name next to Kane’s as a creative force behind one of the truly monolithic heroes from the realms of illustrated storytelling.

All I will say is that the end broke me up like Field of Dreams always manages to. Yes, strong men also cry, to quote The Big Lebowski, but you’ll walk away from this film ever changed and with a sense of pride having seen honor restored, a name reclaimed and a final note so satisfying it’ll touch your heart.

Read the book, see the film, and as for right now enjoy my chat with the extraordinary team who have captured beautifully this tale of a watchful protector who fought with a pen mightier than any sword to see the ‘other’ man behind the Dark Knight, rise…

 

https://www.hulu.com/press/show/batman-and-bill/

https://www.sbs.com.au/ondemand/video/1360261187749/batman-and-bill (for Aussie viewers only)

https://www.amazon.com/Bill-Boy-Wonder-Secret-Co-Creator/dp/1580892892