Tag Archives: Tommy Lee Jones

James Gray’s Ad Astra

James Gray’s Ad Astra. It’s difficult for me to get my thoughts out on this one while still dodging spoilers but here goes. This was kind of a disappointment for me, not because it’s a particularly weak or mediocre film but rather it was something wholly different from what I was expecting. That too isn’t necessarily a cardinal sin but when your trailers and marketing campaign suggest one thing and your film blatantly does another, that’s a problem. In any case this wasn’t the ‘reach for the stars’ mysterious, ponderous SciFi epic that I got the impression of off the bat, but perhaps that’s just me.

Brad Pitt gives a grounded, meditative, cleared eyed performance as Roy McBride, earth’s most accomplished astronaut save for his missing father (Tommy Lee Jones), who has taken up residence somewhere near the rings of Neptune and caused quite a bit of trouble in a decades long campaign to contact extraterrestrial life. So begins Roy’s voyage out past the moon, Mars and towards the edge of our solar system to locate his dad’s research project, put a stop to the havoc it’s causing and set to rest the personal turmoil raging inside him, which is my fancy way of saying considerable daddy issues. There’s many diversions and they’re all handled nicely including an attack from vicious baboons in swooping zero gravity, a politically fuelled mutiny aboard a transport craft and a moon rover chase that feels comfortingly like Mad Max. Others provide supporting talent including Donald Sutherland as his dad’s ex pal hired to babysit part of his journey until that arc is cut disappointingly short. Liv Tyler is wasted on the thankless wife role that has no depth or vibrancy beyond looking worried, while Ruth Negga, Loren Dean and John Ortiz fare better as others he meets along the way.

So where does this falter? There’s a type of science fiction film that expands outward as characters explore their universe and reach for the great unknown while also feeling inward, finding themes of love, relationships and intimacy through something so grand as a journey into space. Christopher Nolan’s Interstellar and Steven Soderbergh’s Solaris are probably the best example of this. This one ultimately fails at that, or at least going all the way and achieving something as profound as the examples I’ve given. Many elements work, including Pitt’s impressively centred, soulful performance, a beautifully atmospheric original score by Max Richter, stunning visuals and clever world building (somehow the fact that Virgin Atlantic does commercial flights to the moon in the future seems hilariously on point). But there’s an absent nature to the overall arc that can’t be overlooked. It’s sadly ironic that a film whose title translates to ‘To The Stars’ falls so, so far short of actually reaching them. You take this trip with Roy, experience everything he does and just when the penultimate moment approaches and you prepare for some soul nourishing pay off… your grasp closes on emptiness, and what’s worse is that was what Gray was actually intending, in a way. I get what he was going for and appreciate the effort this is the wrong film to pull a stunt like that with. Didn’t work for me overall.

-Nate Hill

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

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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…

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

Oliver Stone’s JFK

I’m not so much for political films but Oliver Stone’s JFK is an engrossing, obsessive, feverish and altogether brilliant piece of clandestine intrigue and I loved every minute of its impossibly long runtime (the director’s cut runs well over three hours). It might be excessive to take such an indulgent amount of time for one story to play out but Stone is fixated on every single aspect and detail of his narrative, scrutinizing the dark corners of shadowy politics, leaving no stone unturned and the result is a film that draws you in so close that at times the effect is breathless, a surging momentum full of moving parts, characters and secrets all unfolding in a mammoth production.

Stone has taken the real life investigation of New Orleans District Attorney Jim Garrison, used it as a launching pad and blasted off into his own theories, queries and plot turns. Kevin Costner is excellent and uncharacteristically vulnerable as Garrison, an idealistic family man determined to shine a light on the truth until he realizes he and his firm are in over their heads. This thing has one of the most jaw dropping ensemble casts I’ve ever seen assembled, right down to supporting turns, cameos and walk-ons populated by recognizable faces. Costner and his team are the constant, a dogged troupe that includes varied folks like Laurie Metcalf, Wayne Knight, Jay O. Sanders, Gary Grubbs and the always awesome Michael Rooker. We spend the most time with them as they discuss theories at length, argue in roundtable fashion, interview witnesses and it all feels eerily as if every discovery they make leads to ten more even more unnerving ones. Others show up throughout the film and when I say this is a cast for the ages I’m not even kidding. Jack Lemmon does paranoia flawlessly as a nervous informant they visit, Gary Oldman is a super creepy Lee Harvey Oswald, Joe Pesci impossibly rambunctious as oddball David Ferrie, Tommy Lee Jones and his poodle wig are icky as a corrupt US Senator and that’s just the start, there’s great work from everyone under the sun including John Candy, Walter Matthau, Sissy Spacek, Vincent D’onofrio, Kevin Bacon, Martin Sheen, Pruitt Taylor Vince, Edward Asner, Frank Whaley, Brian Doyle Murray, Bob Gunton, Lolita Davidovich, John Larroquette and more. Donald Sutherland is pure showstopper as a mystery man who has an epic, sixteen minute long tinfoil hat monologue that is so well delivered and perfectly pitched that we don’t even really notice what a massive enema of exposition it is simply because he and Stone keep up the energy levels and, in turn, us riveted.

That’s the thing here, I went in expecting perhaps something intriguing but maybe a little dry in places or bits that might lag because it is, after all, a three plus hour film revolving around politics. This is Stone though, and the way he films it is taut and immersive the *entire* way through, which is just so fucking impressive. He plays rogue agent with the facts, using established suspicions to draw one wild conclusion after another until we aren’t sure if everyone we see onscreen perhaps had something to do with JFK’s death. That’s his goal here though, he seeks not to provide concrete answers (how could he) but instil the kind of creeping dread, mounting uncertainty and fear that I imagine gripped the nation for years following this event. Conflicting conspiracy theories, clues that lead to nothing, unexplained and admittedly suspicious witness deaths, it’s all here and it all makes for one damn good mystery film.

-Nate Hill

Stephen Hopkins’s Blown Away

As far as mad bomber movies go, Stephen Hopkins’s Blown Away has to be one of the finest, a personal favourite of mine and a scorching, atmospheric thriller that has aged like fine wine. It had the unfortunate luck of being released the same year as fellow bomber flick and mega-hit Speed which kind of eclipsed it, but for my money this is the better film. Some suspension of disbelief is naturally required to enjoy this story of a psychopathic former Irish radical (Tommy Lee Jones) on a wanton path of destruction as he employs a personal vendetta against an old alliance (Jeff Bridges), who is now a hotshot in the Boston bomb squad division. After a disagreement years ago that led to hellish destruction and Jones’s incarceration for nearly two decades, the two face off in an incendiary game of cat and mouse set against the Boston backdrop, with everyone Bridges has in his life serving as collateral damage in his ruthless adversary’s sick game. Jones clearly had a dialect coach to say certain phrases and his accent slips generously here and there, but he plays his super baddie role with gleeful menace and steals every scene. Bridges always shines in any role and his caged animal intensity fires up the dire situation he finds himself, his family and colleagues in. Lloyd Bridges is fantastic as his old Irish uncle, Suzy Amis nails crucial scenes as his wife who gradually learns about his violent past, while Forest Whitaker does a fine job as the bomb squad’s rookie officer. Hopkins always does well in thriller territory (check out The Ghost & The Darkness for another brilliant outing from him) and the direction here is big, bold but never too far over the top, despite some theatrically elaborate set pieces involving the bombs. Alan Silvestri cranks up the orchestral grandeur for a thunderous, rousing score that’s nearly half the fun of the film. All involved do excellent work in not only making this a gorgeous film to look at but to create genuine suspense for more than one sequence, which isn’t easily achieved in this desensitized viewer. There’s probably a Blu Ray floating around out there and that’s fine, but there’s a smoky ambience and atmospheric 90’s feel to this film that I feel lends itself a bit better to the loving grain of DVD, the format I own it on. I remember watching bits and pieces of it on TBS Superstation back when I was younger and loving it, it’s a great film to keep revisiting.

-Nate Hill

The Man behind The Dark Knight rises by Kent Hill

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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.

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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

 

The Fugitive

What motifs, when implemented well, make for an effective thriller? The wrongly accused man whom no one believes, the dogged pursuer who engages in ruthless indifference, the chaotic statewide manhunt, the methodical quest to clear one’s name, the righteous anger when the time for confrontation arrives. The Fugitive employs all of these and more almost effortlessly, and is as close to a perfect thriller as I can think of. It’s not just that the film is so exciting every step of the way, not just that the stunts are pulled off flawlessly or that every cog in the story’s mechanism turns believably, its simply that Harrison Ford plays Dr. Richard Kimble as so relatable, so likeable and engaging that all the stuff I mentioned before, whether or not executed well, actually matters. The lynchpin scene that hooks us in occurs early on when a dipshit Chicago police detective (Ron Dean, who would go on to get shot in the face by Harvey Dent later in his career) bluntly interrogates Kimble after his wife is found murdered. Ford plays it it straight up, his raw reaction at being accused of something so unthinkable sears the screen, and as he pounds the table and pleads with them to “find this man”, we are immediately and unconditionally on his side, a lot to pull off in one scene but Ford is up to it and this may be his best performance ever. After that it’s a careening adrenaline rush of a chase film as the prison bus Kimble is on is hit by a speeding train, one of the finest pieces of blow-shit-up staging I’ve ever seen, propelling the man on a relentless ditch effort to find the mysterious one armed man who actually killed his wife (a far too short lived Sela Ward) and exact retribution. Tommy Lee Jones is a walking stick of C4 as US Marshal Sam Gerard, it isn’t so much his job to track down Kimble as it is his compulsion, the man is a calculating force of nature. Although put in Kimble’s path as the obstacle, the script treats him and his team with respect and intelligence, they’re not just mindless drones to keep plot and action sailing but fully formed human beings who start to unravel the mystery right alongside the good doctor. The film hurtles along from stunt to crash to chase to brutal fistfight and these sequences have since become iconic, especially that fiery sonic boom of a crash and the legendary standoff between Ford and Jones set in a storm drain leading off of a raging river dam hundreds of feet below. Everything just works in this film; Ford supplies charisma, subtle humour and inspires empathy all while kicking serious ass and evading capture in ways that would make Jason Bourne jealous, Jones chews scenery in the best way possible and is every bit the worthy adversary and eventual sympathizer, while Jeroen Krabbe, L. Scott Caldwell, Daniel Roebuck, Joe Pantoliano, Andreas Katsulas, Tom Wood, Richard Rhiele, Nick Searcy and Jane Lynch all provide excellent work. Julianne Moore shows up in what appears at first to be a cameo as a suspicious nurse, but she was originally written in for a larger role as a new love interest for Kimble. The film cut her scenes and abandoned this subplot, a very wise move as it would have cheapened his arc and gone the cliche route. Simply put, this is a classic and a textbook example of the magic possible in the action/adventure/thriller genres. Brilliant.

-Nate Hill

Irvin Kershner’s Eyes Of Laura Mars

Irvin Kershner’s Eyes Of Laura Mars is one bizarre film. Overall it really does not work, like it stands obstinately in WTF territory with its arms crossed, refusing to let either it’s a talented cast, lavish production design or unusual premise spur it on to greatness, despite the fact that parts of it work in fits and starts. From a screenplay by none other than John Carpenter, Faye Dunaway stars as Laura Mars, a controversial fashion photographer whose work has attracted the attention of a serial killer that starts staging their crimes after the photos she takes. Stranger still, every time our murderer goes for a move, she is suddenly tuned in to what he’s doing via his eyes, as if a clairvoyant. What a concept, right? Well I bet Carpenter had a few things to say about how they butchered his idea, they should have just given him creative control over the thing. Dunaway is a fantastic actress, she has a stately Sigourney Weaver vibe and her eyes are soulful fissures that do lend themselves to a story this intense, but she can’t do much with her role, as Laura’s ultimate culminated worth is a glorified scream queen. Anywho, the murders get the attention of police detective Tommy Lee Jones, and let me tell you I didn’t think he was ever this young. I’m aware that this was 1978, but to me Jones is one of those sagely actors like Morgan Freeman or Sam Elliott who seems to have always been old and just sprung out of the ground already wise, weathered n’ weary. The horror elements clash with a ridiculously hokey romance subplot between him and Dunaway that barrels in from farthest left field, feels artificially paced and undeveloped, an insult to both the intelligence of the audience and the integrity of Dunaway’s character, but I spied notoriously loopy producer Jon Peter’s name in the credits so maybe he had something to do with that. They would have been better off spending more time developing the pleasant camaraderie between Laura and her lovable entourage, which is one aspect that really works. The supporting cast/list of suspects also includes an awkward Raul Julia as Laura’s ex husband, her flamboyant agent (Rene Auberjonois) and a fantastic, scene stealing Brad Dourif in an early career role as her scrappy limo driver assistant. It sucks because the film has beautiful production design; Laura’s photography has an elaborate, provocative edge, the New York fashion scene and street-side elements are captured neatly and her ornate bedroom looks like a spaceship that Kubrick designed, but all that verdant personality is wasted on a story that’s so silly it hurts. Nothing is satisfactorily wrapped up, and the final twist is so lame that I couldn’t figure out if it was because that outcome hadn’t really been done before 1978 all that much and I’m just too young or simply because it was laaaaaame in itself. There’s a jittery score by Artie Kane that works and echoes stuff like Bernard Hermann, so there’s that I guess, plus game performances by Dunaway, Auberjonois and Dourif, but their effort really deserved better. This goes nowhere, and what’s worse, takes its sweet time getting there.

-Nate Hill