Tag Archives: William Fichtner

Indie Gems: William Fichtner’s Cold Brook

Oh hey another top ten of the year film for me. I love a good passion project, especially when the two artistic forces behind it are a couple beloved character actors who have spent much of their career in Hollywood playing villains, criminals, weirdos, bikers, aliens and all kinds of heavy stuff. William Fichtner’s Cold Brook sees the consistently brilliant actor team up with equally fantastic buddy Kim Coates for a charming, wonderfully simplistic tale of two small town dudes who make an incredible discovery.

Fichtner and Coates are Ted and Hilde, two lifelong pals who work as maintenance men for the college museum in their sleepy upstate NY town of Cold Brook. They each have a loving wife (played by Robin ‘Calamity Jane’ Weigart and Mary Lynn ‘Chloe O Brien’ Rajskub), kids and pretty much as cozy a life as anyone can hope for, complete with the kind of bromance that makes it obvious these two actors are tight in real life. Then one day a mysterious and deeply confused stranger (Harold Perrineau) shows up in the museum exhibit after hours and seems to follow them around after that like he has some purpose that even he doesn’t understand, and only our two boys can see him. It’s up to them to find out why this restless spirit has chosen them, what he wants and how to put him to rest while juggling the curious eyes of their wives, bosses and one campus security guard (Brad Henke) who takes his job just a bit too seriously.

This is low key, whimsical indie fare through and through and I downright fell in love. I’ve been following William and Kim’s career since I was a kid, they are two endlessly talented scene stealers and I can’t tell you how lovely and cathartic it was to see them just play a couple bros living and loving the small town life. They both shine brightly in their work here and Fichtner shows a steady hand in writing and direction here too, telling a story that clearly means a lot to him in broad, loving strokes. Perrineau is really effective as Gil the wandering spirit, seeming somehow perpetually lost but also pointedly soulful in each appearance. If you’re at all a fan of these two artists then I’d very strongly recommend this as you get to see them do the kind of work that Big Hollywood just doesn’t usually ever hire them for, something very personal to each and something that allows them the kind of freedom in expression that we as artists always dream of. Even if you’re not a huge fan it’s a beautiful little indie to watch on a cold rainy morning to warm the heart. Brilliant film.

-Nate Hill

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Michael Bay’s Armageddon

As Michael Bay’s Armageddon opens, a stern, well spoken Charlton Heston informs us that once upon a time a great big asteroid slammed into our planet and killed all the dinosaurs. He also makes mention that it’s only a matter of time before it happens again. Well, Michael Bay takes that and runs with it for nearly three furious hours of jump cuts, character actors, explosions, music montages and delirious extended Americana fanfare, and I love the resulting film to bits with no apologies or hesitation. Bay haters (Bay-ters to us cool kids) can whine and rip on the guy all he wants but fuck em, Armageddon is one kick ass film and an all time favourite for me. I feel like people just latch onto the glossy, runaway excess of the Transformers films and are blind to the fact that the guy has several classics under his belt, this being chief among them.

Never mind that the plot defies logical scrutiny or science, it’s an excuse to see Bruce Willis and his merry band of oil drillers train for NASA’s space program, climb aboard the space shuttle that might as well be a party bus, blast around the moon and hang out on the surface of a freaky looking meteor that Steve Buscemi’s loopy Rockhound literally refers to as ‘Dr. Seuss’s worst nightmare.’ If there’s one thing you can count on in a Bay film it’s no expense spared on spectacle and set pieces, even the ones that aren’t necessarily central to the plot. Before Willis and his team are even briefed on the situation there’s a mini-asteroid demolition derby that shreds NYC and a busted valve on his oil rig that sends equipment flying everywhere and goes on for a good ten minutes as he’s somehow chasing Ben Affleck around with a shotgun as an aside to the main event. Willis and Affleck spar with each other over his daughter (Liv Tyler) and call me an old school sap but I’ve always fallen hook line and sinker for their romance, put to the test by the potential end of the world and accented by the now infamous Aerosmith song belted out by her dad in the background. The cast is stacked too, as per Bay. Scenery chewing occurs thanks to Michael Clarke Duncan, Owen Wilson, Keith David, Jason Isaacs, Udo Kier, Eddie Griffin, Grace Zabriskie, Keri Russell, Chris Ellis, John Mahon, Shawnee Smith and Peter Stormare in probably the craziest Eastern European characterization he’s ever pulled off as the caretaker of the Russian space station who has more than a few screws loose.

As wild and crazy as much of the film gets, there’s a few characters who provide dramatic depth and weight that I’ve never seen mentioned in reviews, as most of them seem to be just focused on bashing Bay and his tactics instead. Billy Bob Thornton Is uncharacteristically grounded and dignified as the head of NASA, ditching his usual cocky prick attitude for a much more down to earth turn. Will Patton always makes me tear up as Chick, compulsive gambler who just wants to do right by his wife and kid, as well as make it home to see them. William Fichtner gives powerful work as an Air Force hotshot who also fears for his family’s lives and gets the most affecting scene of the film in a tense, emotional confrontation with Willis. Sure there’s the inherent silliness of the ‘Leavin On. A Jet Plane’ scene (it’s actually kind of sweet) and the overall maniacal attitude plus the constant stream of deafening pyrotechnics and special effects. But there’s also key dramatic moments and a host of excellent performances, and it would do many well to remember that. It’s an all timer for me, and a childhood classic that I fondly remember watching on VHS with my dad countless times. Oh, and fun fact; the guy who plays the US President here is Stanley Anderson, who also got the role in Bay’s The Rock, which pretty much suggests they exist in the same universe. I like the thought of a Bay multiverse, heh.

-Nate Hill

Tony Krantz’s The Big Bang

Tony Krantz’s The Big Bang is one of the most interesting indie flicks to have come along in recent years, and while I can’t quite call it a great film, it has to be one of the most ambitious I’ve ever seen. There are so many concepts, characters, creations, ideas and pontifications running about here that it almost becomes a swirling soup made up of parts of itself as opposed to a cohesive meal, but I’ll never turn down original ideas and unique creative expression, no matter how fucking bonkers it’s all presented.

This is one of those films with a cast that is the very definition of eclectic. A handful of actors are gathered up here who would normally not be seen in the same thing together, let alone casted as against type as they are, and I’m always an advocate for casting against type. It’s basically a noirish California detective story infused with themes of physics and pseudoscience, like Phillip Marlowe by way of Nikola Tesla. Antonio Banderas does an impressive encore here as Ned Cruz, a low rent private eye who is hired by one monster of a Russian prizefighter (Robert Maillet) to find a pen pal girlfriend named Lexie Parsimmons, who he has never even met. As with all detective stories like this, that one seemingly simple task leads Ned on a riotous goose chase all over LA and the outskirts, encountering every oddball, weirdo and pervert the sunny state has to offer. His search is also intercut with scenes in the future where’s he’s somehow been arrested by three spectacularly corrupt LAPD big shots and is being interrogated to the nines.

I greatly admire Krantz for giving his film life, vitality, filling in every corner with substance and conversation and providing every character, right down to those who only get one scene or so, with their own personality, quirk or viewpoint. The three cops are played by William Fichtner, Delroy Lindo and Thomas Kretschmann and if you’re a fan of either you’ll know what scene stealers they are, they constantly try to one up each other with pithy barbs and are all fantastic to watch in action. Most memorable has to be Sam Elliott as Simon Kestral, an eccentric billionaire who is funnelling big bucks into literally recreating the infamous Big Bang using scientific equipment, it’s a hilariously counterintuitive casting choice for such an earthy cowboy but it just somehow works. Look at the rest of the lineup too, which is populated by people like James Van Der Beek, Jimmi Simpson, Bill Duke, Sienna Guillory, Rebecca Mader, Autumn Reeser and Snoop Dogg as a porn director who greatly enjoys acting in his own films, because of course Snoop would.

The plot here is impossibly convoluted and packed to the gills with nonsense, runaway trains of thought, synergetic visual poetry, scenery chewing from almost every actor and all manner of sideshow trickery, but as they say, the fun is in the journey, and what a journey Krantz provides for his characters. I can’t call this a great film but I can say that I love it a lot, I think it’s one of the nuttiest things I’ve ever seen attempted, it looks so fucking sexy onscreen (just look at the poster) and you don’t find films this unique every day. With the upcoming release of David Robert Mitchell’s Under The Silver Lake, which I’ve still yet to see, I’ve been fixated on LA noir films (this one is that and then some) and I’ve been going back in time to revisit some of my favourites. What are yours?

-Nate Hill

Robert Zemeckis’s Contact

Robert Zemeckis’s Contact is a periodically good film that suffers from over-length, clutter and sideshow syndrome, as in it doesn’t trust itself to stick to the effective core story without throwing in all sorts of other hoo-hah just for for the sheer hell of it. At two and a half hours it feels more stretched than Bilbo did before leaving the Shire, and would have been way better off slicing out a good half hour to streamline. What does work is really captivating though, especially a fantastic Jodie Foster in a performance of striking determination as a woman who never loses the sense of wonder she had as a child, and strives to make contact with anyone that may be out there in the vast universe. Of course her efforts meet budget cuts, skepticism and sneers from the government and fellow colleagues like Tom Skeritt’s prestigious researcher, a sadly one note character whose allegiance turns on a dime when she actually receives a message from a faraway galaxy. Speaking of one note characters, get a load of chest puffing James Woods as an obnoxious NSA prick with all the depth a kitchen sink has to offer. John Hurt fares better as an eccentric billionaire who offers Foster funding and support, as does always terrific David Morse as her father. Matthew McConaughey is sorely miscast as a spiritual man and love interest, William Fichtner is excellent as her loyal colleague and friend, Jena Malone great as nine year old Jodie Foster, while Jake Busey, Angela Bassett and a whole armada of unnecessary tabloid celebrity cameos show up too, leading right up to Bill Clinton, who I’m convinced is an alien himself. The thing is, so much of the film is just commotion and nonsense, geared towards wowing audiences instead of trusting the fact that they’ll be at ease with just Foster’s story, which is the connective tissue. The elaborate and drawn construction of a machine based on alien blueprints, pesky religious extremists, theological fanfare that falls flat and incessant faux tv newsreel footage that buzzes around like unwanted house flies and kills the atmosphere, there’s too much in the way. My favourite scene of the film takes place somewhere deep in the universe Foster has travelled to through a wormhole, in which a mysterious being tells her that “human beings are capable of such beautiful dreams, and such terrible nightmares”, a sentiment that parts the clouds and gives the story clarity, as does her arc, relationship with her father and desire to know what’s out there, who we are as a race and where we came from, and it’s in that wonder that the film finds its strength. Much of the rest is just lame earthbound noise.

-Nate Hill

Kurt Wimmer’s Ultraviolet

I feel sorry for everyone and anyone involved with the disaster that is Kurt Wimmer’s Ultraviolet, because it has to be one of the worst films of the century. Wimmer also made Equilibrium, which is excellent, but this seems to be like the stylistic antithesis of that, everything that worked right subtly and in moderation there has been employed at a furiously excessive level here. The entire thing looks like it was shot against a green screen and then rendered sloppily by a roomful of monkeys. Poor Milla Jovovich has been a trooper through some crap in her career but this has to be the ultimate embarrassment, she’s stuck playing some pseudo vampire warrior chick who babbles in monotonous inner monologues about nothing in particular and crashes her way through sword fights and stunt work like she’s fighting her hardest to escape the film and go make another Resident Evil movie, right after she fires her agent. Set in some dystopian future world where viruses reign supreme and blah blah, she’s protecting some kid (Cameron Bright) who lives in a carry on suitcase (literally, it’s like a Harry Potter tent), from a big bad megalomaniac villain (Nick Chinlund does his best, but man is the writing bad) who wants to use his blood or DNA for something blah blah. The great William Fichtner sheepishly mumbles his way through a supporting turn that adds nothing but ineffective exposition because I still have not a clue what happened. Every action set piece has the numb, ineffectual scream of mediocrity, and your eyes glaze over quicker than Milla whips her katana around at nothing. At first I thought this was a failed anime adaptation a lá Aeon Flux or something, but nope, Wimmer has the sole writing credit. I’ll always love the guy for Equilibrium, but man he struck out big time with this giant fucking pile of excremental detritus. The only plus side? Milla is smoking hot as usual.

-Nate Hill

Shawn Levy’s Date Night

Date Night… could have been a hell of a lot worse, I guess. I’m trying to be nice here as there were parts I enjoyed but overall it’s fluff in the wind, thanks to an unwillingness to go the extra mile and give it the R rating it deserves. It’s got one killer cast, I’ll give it that, and a few scattershot scenes that work. Let’s be real though, any film that so obviously wants to pay tribute to Scorsese’s After Hours should be ready to suit up and get as weirdly dirty as that one did, instead of playing it safe in the brightly lit, cookie cutter candy aisle of comedy. Steve Carell and Tina Fey are certainly matched with chemistry here and are a spunky, underdog couple to spend the night from hell with. They’re both kinda like that one kid in the friend group that ends up being the butt of all the jokes, and then found each other, got married and doubled down on that awkward energy. A lot of these madcap stories start with a case of mistaken identity, which is what happens when Carell brazenly snags another couple’s reservation at the hottest dinner joint in town. Just their luck, the other couple happens to be Taste and Whippet (yes those are their names) a deadbeat, dysfunctional pair of ratchet gutter rats played hilariously by James Franco and Mila Kunis. Before they know it, they’re chased by a couple of dangerous hit men (Common and the underrated Jimmi Simpson) who think they owe money all over town. Also pursued by a relentless detective (Taraji P. Henson), the real conflict comes from seeing the couple unravel and their issues come pouring out until the collective hangups they have with each other are funnier and seem more pertinent than the fact that they’re running for their lives. The cameos in this thing are endless and include Mark Ruffalo, Kristin Wiig, JB Smoove, Leighton Meester, Mark Wahlberg, Gal Gadot, Bill Burr, Olivia Munn, Jon Bernthal and more. My favourites were Ray Liotta and William Fichtner as a mob boss and a corrupt DA, sneakily echoing their respective roles in the Grand Theft Auto games. This could have been a really balls out, irreverent flick if they had pushed the envelope and not slapped it with such a pansy ass rating. As it stands it has some really funny moments and a good energy overall, but every time I think about it I just imagine what could have been, had a little more freedom in creativity and content been given.

-Nate Hill

Rodrigo Garcia’s Nine Lives

Rodrigo Garcia’s Nine Lives is a fascinating one, if a bit too cluttered with spare vignettes for a feature film. It’s one of those mosaic pieces where we see a string of unrelated episodes about various people here and there in the midst of some life changing moments, and as is usually the case with these, it is absolutely star studded. There’s two formats for these, the one where everyone’s story is interwoven and the vignettes collide and weave (ie Paul Haggis’s Crash) and the linear template where each story is a standalone piece, with no blurred lines or cross crossing. This film falls into the latter category, and themes itself on nine different women in various instances of their lives, be it tragic, joyful, passionate, penultimate or simply everyday life. The issue is, nine of these stories is just too much for a film that runs under two hours. Or perhaps it’s not and what I meant to say was that nine stories that are this thoughtful, complex and important shouldn’t have shared the same compacted narrative, for its too much to keep up with from scene to scene. Anyways there’s quality to be found, some actors cast brilliantly against type and any flick that rounds up a cast of this pedigree deserves a high five. My favourite by far of the bunch is a two person scene between Jason Isaacs and Robin Wright Penn as two former lovers who meet in a supermarket after being apart for many years and try to reconcile their feelings. Both actors are tender, attentive to one another and it’s some of the most affecting work I’ve seen from either. A more lurid one involving Amy Brenneman and William Fichtner lands more with a questionable thud, both are great as well but their scene needed some backstory. My second favourite stars a young Amanda Seyfried as a girl who alternates speaking with her father (the excellent Ian McShane) and mother (Sissy Spacek) who are in different rooms of the house. It’s intimate family drama through a prism of casualty and works quite well. Other sequences, including one that sees Glenn Close on a picnic with her granddaughter (Dakota Fanning), aren’t as memorable or striking. But the cast alone is enough to stick along for the ride, and includes Lisa Gay Hamilton, Mary Kay Place, Holly Hunter, Kathy Baker, Sydney Tamiia Poitier, Stephen Dillane, Molly Parker, Aiden Quinn, Joe Montegna and more. A worthwhile watch for the handful of stories that have some weight, but falters here and there and could have axed some of the commotion of too many solo narratives buzzing about.

-Nate Hill