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John McTiernan’s The Hunt For Red October

John McTiernan’s The Hunt For Red October is considered the big daddy of submarine films and up until today I’d never seen the whole thing front to back. I now get the hype. This would always be on AMC or TBS Superstation when I was a kid, and my dad would always tune in no matter what. What a fantastic, thrilling, well acted film and one that carries a life affirming antiwar message while still containing some hair raising scenes of aquatic combat.

Marko Raimius (Sean Connery) is a legendary Soviet sub commander who has disappeared with the covert nuclear boat the Red October, plotting a course for the US eastern sea board and ditching any orders from Russian command. Is he going to nuke the east coast? CIA analyst Jack Ryan (Alec Baldwin) believes he means to defect and disarm but that’s a tricky thing to prove based on a series of hunches during a time of such uncertainty as this. Jack has an uncanny intuition about this guy, who remains somewhat of a mystery, even to his own crew and country. A harrowing series of chases, near misses, standoffs, moral wrestling, betrayals and political posturing ensue but at its heart this is a film about one dude who has had enough of war and just wants out, a theme I greatly appreciated and enjoyed.

Connery is superb here and this might be my favourite of his performances. He’s both enigma and beacon of personal integrity whilst fiercely not letting anyone get in his way, including a pesky, short lived political officer (Peter Firth). He carries the film with a grizzled nobility and despite being an antagonist of sorts, is the most likeable and relatable character. Baldwin fares very well as Ryan too and although Harrison Ford is still my tops, he plays this guy to the hilt with spirit and determination. Other standouts include Scott Glenn as a badass American sub captain, Richard Jones as a wry US negotiator and Courtney B. Vance as a keen radio communicator. The cast is amazing with killer work from Stellan Skarsgård, Joss Ackland, Andrew Divoff, Tomas Arana, Sam Neill, Tim Curry, Jeffrey Jones, Timothy Cathhart, Ned Vaughn, Fred Dalton Thompson, Gates McFadden, Shane Black, Peter Jason and James Earl Jones. This is the very definition of a solid film in all arenas and in that of thematic material and character, it excels wonderfully. My two favourite scenes: Connery and first mate Sam Neill discussing how they’d live their lives in America when all is said and done, where they’d live and what vehicles they will drive. Later on Ryan and Raimius share a moment alone on the sub’s deck as River banks pass by, each remembering their grandfathers teaching them to fish in their respective countries. Amidst all the angst, political unease, torpedos and destruction it’s nice to find little oasis moments of character, serving to remind us that whatever side we’re on and no matter how bad the conflict is, we are all just people. We all need reminding of that once in a while, and both Connery and Baldwin do that exceptionally with their work here. Great film.

-Nate Hill

Tombstone: A Review by Nate Hill 

There are two main film versions based on the life of infamous outlaw Wyatt Earp: a serious, sombre one with Kevin Costner (and a whole lot of others), and a rolkicking circus sideshow starring Kurt Russell, bedazzled with a jaw dropping supporting cast that doesn’t quit. Both films are great, but if you held a six shooter to my head and demanded a preference, I’d have to give Tombstone the edge. It’s just too much fun, one wild screamer from start to finish, filled with swashbuckling deeds, evil outlaws and bawdy gunfights galore. It should have been called It’s A Mad Mad Mad Mad World In The Wild West. Kurt Russell is in mustache mode again here, but looks younger and leaner than last year’s western double feature his mutton chops starred in. Along with his brothers Virgil (Sam Elliott) and Norman (Bill Paxton) he arrives in Tombstone with a life of law enforcement in his dust and designs on retirement and relaxation. He gets pretty much the opposite though, when every lowlife bandit and villain in the area comes crawling out of the woodwork to give him trouble. Michael Biehn is the worst of them as crazy eyed Johnny Ringo, a deadly smart and ruthless killer, and Powers Boothe hams it up terrifically as drunken scoundrel Curly Bill Brocius. They are the two main causes of grief for the Earps, backed up by all sorts of goons including Michael Rooker, Billy Bob Thornton and a petulant Stephen Lang as Ike Clanton. Russell is joined by an off the wall Val Kilmer as Doc Holliday, the wheezy southern prince with a silver tongue that’s constantly fuelled by booze. He gives the best work of the film, and it’s fascinating to compare it to its counterpart, Dennis Quaid’s turn in the other version. Theres also great work from Billy Zane, Dana Delaney, Thomas Haden Church, Paula Malcomson, Tomas Arana, Johanna Pacula, Paul Ben Victor, Robert John Burke, John Corbett, Terry O Quinn, Robert Mitcham and even Charlton Heston good lawd what a cast. The standoffs, both verbal and physical, are a thing of beauty and the reason we go to the movies. Of all the westerns out there, this has just got to be the most fun. It’s constantly alive, there’s always something going on, a cheeky glint in its eye and a vitality in every corner of every frame, like a kid that won’t sit still. Russell is a champ as Earp, a no nonsense killer, plain and simple, but a man of both style and charisma, two weapons that are equally as important as his side arms. Kilmer gets all the best lines and goes to town with his portrayal, creating electric tension whenever he faces off with Biehn, who is equally mesmerizing in a more intense way. The three of them kill it, and along with the howling mess hall of a supporting cast, make this simply the liveliest western I’ve ever seen in the genre. 

The Bourne Supremacy: A Review by Nate Hill

  

It’s nearly impossible for me to pick a favourite from the original Bourne trilogy, but I suppose if you held a gun to my head I would have to go for the breathless, breakneck Bourne Supremacy. It’s the first one I ever saw and one of the very first big summer movie experiences of my youth, so I have a burning nostalgia. I wouldn’t base my decision solely on that, though. No, I’ve thought a lot about it, and Supremacy just has every element in pitch perfect place, every second of pacing hurtling by on full throttle and Matt Damon taking names like he never did before. I love the fact that Bourne has something driving him other than a need to know who and what he is this time around. He has revenge for the death of someone he loved, which is never something you want to provoke when you have someone like him gunning for you. Life is quiet for Jason and Marie (Franka Potente 😍) for about five seconds at the beginning of the film, until a highly skilled assassin (a capable, relentless Karl Urban) explodes into their lives, sends their jeep careening off a bridge, resulting in Marie’s death. This pisses Jason off and then some, prompting a global excursion to find out who Urban works for and take them down. Also on his trail is CIA bigwig Pamela Landy (Joan Allen, excellent) and the severely morally misguided Ward Abbott (Brian Cox takes slimy to a whole new level in this outing). There’s also scheming Russian oil magnate Gretkov (a relaxed Karel Roden) with his own reasons for wanting Bourne. As is always the case, Jason is the smartest guy in the room, more so even than those that trained him, and he out thinks, out shoots and outruns them all every step of the way that takes him nearer to his goal. He isn’t simply running scared and confused with no outlet or idea how to use his talents anymore. He’s a lethal asset with emotion and forethought on his side, and he takes no prisoners. Damon is just ridiculously badass, especially in the several furious hand to hand combat scenes he dances through, doling out the smackdown faster than anyone’s reflexes can react. There’s also a humanity to him, burgeoning regret when he learns what Treadstone made him do, and the yearning to set it right, or at least make himself known to the daughter (Oksana Akinshina) of a Russian couple he once murdered. People complain about all the shaky cam, but whatever man, it sure fires up an action sequence and places you right there amid the mayhem of a rattling jeep chase through a Berlin tunnel, a bone splintering man to man with an ex Treadstone operative (Marton Csokas) and more. Julia Stiles is terrifically intense as a girl who used to do the psych evaluations for agents, Chris Cooper briefly returns as Conklin, the devious founder of the program, and watch for Tomas Arana, Corey Johnson, Gabriel Mann and Michelle Monaghan too. Like I said it’s a tricky task to pick a favourite, and on any given day I’d just say I love all three equally. This one just has a bit of an edge on the others in certain spots, and never feels like it bears the curse of the middle chapter. It’s a tightly wound coil of a film that springs into kinetic motion with the force of a piston. I’m curious to see how the new Bourne flick does, but I doubt it’ll come close to the first three, let alone this platinum classic. Cue Moby’s Extreme Ways to play out my review.