Tag Archives: William Devane

Brian Helgeland’s Payback

Isn’t it always kind of more fun when the protagonist of a film is an utter scumbag? I think so, and Brian Helgeland did too when writing Payback, my favourite Mel Gibson film (outside Mad Max of course, but that’s a high pedestal to breach). There’s something so engaging about Mel’s Porter, a street rat career criminal who’s betrayed by his treacherous partner (Gregg Henry) and junkie wife (Deborah Kara Unger), left for dead in an alley. After a rocky recovery he comes back with vengeance on the mind, hunting down those who fucked him over and anyone who profited from it. The first thing he does to set tone for his character is steal cash from a panhandling hobo, which is just about the starkest way to inform your audience of what’s to come. What does Porter want? He wants his 24k from the job he got shafted on, not a penny less and, hysterically, not a penny more either, which becomes the beloved running joke of the film as he prowls streets, poker rooms, titty bars and all kinds of lowlife establishments to get what’s his. Henry is off the rails as his former partner in crime, taking his usual brand of scenery chewing to new heights and picking fights with anyone who makes eye contact with him. He isn’t even the main villain either, that honour goes to a stone-faced Kris Kristofferson as the sadistic head of a shadowy mega crime syndicate who are soon alerted of Porter’s ongoing rampage. There’s uber corrupt cops (Bill Duke, Jack Conley), a weaselly bookie (David Paymer), a bureaucrat desk jockey villain (William Devane), a high class escort with a heart of gold (Maria Bello) who brings out the faintest of softer sides in Porter, a sneering assassin (the great John Glover) and others who all get caught up in the commotion this guy causes just to get his modest 24 grand. A young Lucy Liu also shows up as a sexy S&M hooker with ties to the Triads and enough scary attitude to either turn me on or freak me out, I’m still not sure. My favourite has to be James Coburn as another organized crime hotshot who seems more interested in his elaborate accessories than putting a step to Porter’s nonsense. “That’s just mean, man” he bawls after Mel puts a bullet in one of his designer alligator skin suitcases. So damn funny. This is the epitome of jet black humour, one of the meanest, gnarliest, bloodiest and most entertaining neo-noirs that Hollywood has ever produced. Mel has played so many heroes and upstanding family men that it’s refreshing to see him go for the contemptible asshole shtick, and I’ll be honest I’ve never rooted for one of his characters harder than I do for Porter and his deranged urban crusade every time I rewatch this, which is a lot. Fucking brilliant film.

-Nate Hill

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Christopher Nolan’s Interstellar

Many films are ambitious enough to reach for the stars, but Christopher Nolan’s Interstellar reaches for them and then plunges headlong past them into the universe’s vast infinitude to grasp ideas and tell a story that challenges intellect, stirs emotion and dazzles in the way a thinking person’s SciFi film should. I suppose it’s impossible for me to pick a favourite Nolan film as they are all pretty much solidified classics for me, but if you asked me which one stood out without necessarily labelling it as my top pick, I’d point towards this one. There’s a few key areas in which the filmmaker tries to make a deliberate departure from the style he has become known for, chief among them being just how based in emotion this story is. From Rachel and Bruce in The Dark Knight to Cobb and Mal in Inception there’s always been something of a heartfelt element to his work, but here the relationship between intrepid astronaut Cooper (Matthew McConaughey) and his daughter Murphy, played throughout the years by Jessica Chastain, Ellen Burstyn and the fantastic Mackenzie Foy who is the youngest actor in the film but gives the most soulful work, is really something that anchors the film every step of the way. The relationship between father and daughter here is a connection that transcends time, space, the stars and laws of the universe itself or at least in the way we comprehend them, and while many scoffed at these themes from Nolan and rolled their eyes, I found it to be one of the most powerful things in any film he’s done. Interstellar is bursting with ideas, glimmering special effects and dedicated performances, starting with Matt and Mackenzie and going on down through the ranks with supporting star power from Anne Hathaway, Michael Caine, Casey Affleck, David Gyasi, Wes Bentley, William Devane, Matt Damon, Topher Grace, David Oweleyo with standout work from Bill Irwin as the witty, loyal robot TARS and John Lithgow as Cooper’s salty earthbound stepfather. Nolan plumbs the inky vacuum of space for visual grandeur and vast, stunning set pieces including a planet with roaming tidal waves, a breathtaking ice world and a hair raising docking scene as their ship rotated furiously through space, his sense of scope is incredible and the blend of practical effects vs CGI is a seamless ballet amongst the stars, few films feel as tactile and spacious. As much as he is about the fireworks here, ultimately his focus lies on the intimate as well, with love being explored as more than just a biological function and more like a cosmic field of energy that has laws, boundaries and the same strengths as any other element. Cooper travels through a wormhole and to galaxies so far beyond our own that time seems to have no meaning, but that does nothing to shake the bond he has with his daughter, and this is where the film is so effective. He’s out there trying to find new worlds and sustain the human race, no doubt, but to him it’s Murphy, their connection and the forces which hold it together that ultimately keep him going and win the day. All the elements work to reinforce this throughout the film, with Hathaway’s yearning for the lost astronaut she loves and even Damon’s nefarious self love that leads him to acts that although are horrible, come from an emotional place. Hans Zimmer’s totally unique original score also has a heartfelt undercurrent, usually his work, and especially in Nolan’s films, has a heavily punctuated, thunderously orchestral style but here he’s traded that in for a softer, much more melodic piece that legitimately sounds like galaxies unfolding all around the viewer and has a deep longing behind every twinkling electronic tone. A blockbuster with brains, big ideas and plenty of action, but also with heart and feeling to back it up and fuel this voyage to the stars. One of Nolan’s absolute best, and one of the most brilliant science fiction films we will likely ever see on the big screen.

-Nate Hill

Paul Verhoeven’s Hollow Man: A Review by Nate Hill 

Paul Verhoeven’s Hollow Man is one of the most scummy, awful, overblown ridiculous shit masquerading as a movie that I’ve ever had the misfortune to see. It’s also entertaining on a level that suffocates you with unpleasantness and knowing stupidity at every turn. Verhoeven has taken what could have been a fascinating and suspenseful premise and turned it into a one note, bottom feeding genre pile of piss that is pretty hard to sit through. Scientifically inaccurate (not that that matters in this terrain) relentlessly unpleasant, super awkward and an all round disaster, it’s still pretty compelling to witness, like a school bus on fire. It’s a wreck to be sure, but there’s plenty of glee to be found, if you’re feeling masochistic. Kevin Bacon has laid down a path of many asshole characters over the years, but Dr. Sebastian Caine just takes the cake. He’s an egotistical, psycho sexual maniac in charge of an underground research lab, working on a brand new cheeseball formula to make the invisible man. He’s creepy and possessive with his girlfriend  (poor Elizabeth Shue) callous to his lab staff (Josh Brolin included, before his second coming, as well as Kim Dickens) and an all around jerk off. But that’s really nothing compared to what happens when the formula works, effectively turning him invisible, with a few nasty side effects. He goes from a nasty dude to an all out monster as he starts to arbitrarily prey and perv out on his co workers in their underground bunker, going full on Lon Chaney with a side of Ted Bundy in a grating performance that is a career sinkhole for Bacon. I read Ebert give golden praise to the special effects in a scene where he teansforms from visible to invisible, but i have no idea what he was smoking that day because they are an abysmal effort. Verhoeven always has a sort of knowing layer of hedonism blanketing his work, but this one takes it to a whole new level. Hey, at least there’s a cameo from the always welcome William Devane! The rest is just a vomitorium. There’s a sequel floating around out there with Christian Slater, I’m curious but have never have come across a copy.