Tag Archives: tony curran

John McTiernan’s The 13th Warrior

There’s always those films whose reputation is more widely known than themselves, where the stormy production or behind the scenes drama caused such a ruckus and eclipsed the final product, creating negative buzz whether or not the film is good. John McTiernan’s The 13th Warrior is one of those, I haven’t read up exactly on what went wrong but I’ve always felt the film that was born out of whatever trouble there was is an excellent one.

Antonio Banderas stars as an unconventional version of the badass hero we’re used to, one who starts off as anything but that and has to earn his way to glory. He plays a Persian poet sometime around 900AD, a man who is sent away for macking on the sultan’s wife and captured by a roving band of Vikings. They are amassing an army of elite specialist warriors to bring back home in the north in order to defeat a near indestructible menace that is moving in on their land. Banderas finds himself caught up in the war, alone with the tribe and forced grab a sword, find his courage and take a few swings at this fearsome enemy. The plot is fairly simple stuff but it’s atmosphere and character development that win the day here, as well as epic production design. Banderas starts off as basically a pampered court jester who the Norsemen mock and ridicule, until he learns their ways and a bond of brotherhood forms, an arc from both parties that is handled with dignity and heart. The enemy they fight are an unseen horror who burn, kill and eat everything in their path, there’s a sense of genuine fear and threat when they show up and the battles are staged with smoke, mist and fire for ultimate atmospheric effect. A highlight is when they raid underground caverns used to hide out in via ships and you really get a sense of setting as well as budget on display. Banderas is supported by various people including Vladimir Kulich as the heroic Buliwyf, Diane Venora, Tony Curran, Richard Bremmer, Sven Wollter and a very brief Omar Sharif.

People can talk shit about this one all they want but I really feel like they’re thinking of the troubled production instead of the film itself and need to get their heads out of the sand, and refocus their gaze. This may be a fairly scrappy flick but it’s simply not a bad film. Banderas is a solid lead, there’s a tactile sense of wonder to the settings, both southern and northern and McTiernan mounts the sieges, battles, massacres and poetic revelry assuredly. Great film.

-Nate Hill

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Michael Mann’s Miami Vice


Michael Mann’s Miami Vice is a lot of things. Hypnotic, sedated mood piece. Thrumming, rhythmic action picture. Deeply romantic. More going on underneath it’s surface than what you see onscreen. Masterful crime piece. Showcase for digitally shot film. Restless, nocturnal urban dream. One thing it is decidedly not, however, is anything similar to the bright ‘n sunny, pastel suited 80’s cable TV show of the same name, also pioneered by Mann, at a more constricted and likely very different point in his career. A lot can be said for the show though, it’s instantly iconic and was one among a stable of crimeprimetime™ (The Equalizer and Crime Story did their part as well) to give many actors their break, actors who we take for granted as stars today. Mann’s film version is a different beast entirely, a likely reason for the uneasy audience reception. Let’s be clear: it’s one of the best films of the last few decades. Colin Farrell and Jamie Foxx make a deliberately moodier, more dangerous Ricardo and Tubbs, and their high stakes undercover work is set against an austerely fatalistic Miami that bares little resemblance to travel brochures, let alone the tv show many were used to. Their story starts one of two ways, depending on whether or not you view the extended director’s cut, which is the version I’d choose as it sets up tone before throwing you into a hectic nightclub sting operation they’ve got going, which is hastily interrupted by the exposure of a CI snitch (John Hawkes in a haunting cameo). This sets them on course to take down a powerful Cuban drug syndicate run by a scarily calm Luis Tosar and hotheaded maverick John Ortiz. Farrell gets involved with a girl from their fold, of course (Gong Li is a vision), a romance that has grown on me over the years, while Foxx is involved with beautiful fellow cop Naomie Harris, yielding heart wrenching moments in the final act. Darting in and out of the story as well are Tom Towles, Justin Theroux, Isaach De Bánkole, Eddie Marsan, Barry Shabaka Henley, Tony Curran and Ciaran Hinds, all vital cogs in a well oiled, momentous machine that doesn’t drop it’s pulse for a second. Composer John Murphy piles on the mood with his mournful score, highlighting evening boat-rides, shadowy shoot outs and outdoor nightclubs with a top tier soundscape, while cinematographer Dion Beebe works tirelessly to get shot after shot looking mint, not an easy task with a film this energetic and particularly lit. From start to finish it’s to the point as well, Mann has no interest in useless exposition, mapped out play by plays or cheesy moments. Everything careens along at a realistic pace and you’re on your own if you can’t keep up or make sense of the off the cuff cop jargon. There’s stillness too though, in a torn up Farrell watching his love disappear on the horizon, Foxx looking on from beside a hospital bed or simply either of them glowering out at the skyline from a rooftop pulpit before things Heat up. Like I said, do the extended version and you’ll get that terrific opener to set you up, instead of being thrown in the deep end right off the bat. Either way though, Miami Vice is one for the ages. 

-Nate Hill