Cape Fear * * * *

Posted in Horror, thriller with tags on October 6, 2012 by Mark Walker

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Director: Martin Scorsese.
Screenplay: Wesley Strick.
Starring: Robert DeNiro, Nick Nolte, Jessica Lange, Juliette Lewis, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Illeana Douglas, Fred Dalton Thompson.

Martin Scorsese is a director that has a massive reputation on the sub-genre of gangster movies but he’s never really been known to tackle a specific genre itself. Due to a contractual obligation with Universal studios and the encouragement of friends Robert DeNiro and Steven Spielberg (who was originally supposed to be the director), he decided to go ahead with this 1991 horror/thriller, making it his first genre and Hollywood movie and also his first remake.

After 14 years in prison, psychopath Max Cady (Robert DeNiro) is released where he begins to seek revenge on his former lawyer Sam Bowden (Nick Nolte). He believes that Bowden deliberately held back a report during his trial that would have saved him doing time and vows to make Bowden’s life a living hell by terrorising him and his family.

The original “Cape Fear” was released in 1962 and Scorsese makes great references to it. He employs the original actors Robert Mitchum, Gregory Peck and Martin Balsam in cameo roles and has Elmer Bernstein adapt the Hitchcokian original score by Bernard Herrmann. Despite the courteous regard to the original though, Scorsese makes this film his own and updates the material for a contemporary audience by using a more layered approach. He delivers more of a backstory and questions the ethical and moral history of not just DeNiro’s character but also Nolte’s. As we are introduced to them, Nolte’s Sam Bowden dresses in pastel coloured suits and exudes an air of righteousness and innocence while DeNiro’s Max Cady is a cigar chomping, tattooed brute. All is not exactly black and white between them though and there’s also tension and discord between Sam and his long suffering wife Leigh (Jessica Lange) and their awkward teenage daughter Danielle (Juliette Lewis). Meanwhile, a manipulative and calculating Cady gets his revenge by using the conflicts within the family. By delving more into his characters, Scorsese skilfully cranks up the tension and with superb production design by Henry Bumstead and marvellous cinematography by Freddie Francis he manages to create a real sense of claustrophobia within the family household. While everyone are doing their job behind the scenes though, the ones in front are delivering some of their career best performances. The entire cast deliver the goods here; Nolte and Lange’s on-edge, afflicted couple couldn’t be better and a young – Oscar nominated – Juliette Lewis is a revelation as the awkward, self-conscious impressionable teenager. However, despite these excellent deliveries, this is DeNiro’s film. He is absolutely outstanding and delivers a character that is amongst the finest of his career and another highly impressive transformation; his physique is in exceptional peak condition (apparently he brought his body fat down to 3%) and he has a creepy southern accent that just rings in your ears. The foreboding and malevolent presence that DeNiro shows is deeply unsettling and he, like Lewis, also received an Oscar nomination. Personally, I hold the opinion that he should have taken the award that year. He’s such a threatening character and one of cinema’s most frightening.
The only major problem I had with the film was the denouement. It veers heavily into formulaic territory and despite it sharing the themes of a horror movie, the ending is just a bit too far. For the most part though, Scorsese’s audacity pays off and it’s an highly admirable addition to his impressive canon.

It may lack the subtlety of the original and if it wasn’t for the extreme horror denouement, this film would be worthy of a rating higher than the 4 stars I’ve given it. That being said, it’s still one of the most powerful and memorable performances that DeNiro has ever produced.

Mark Walker

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Escape From New York * * * *

Posted in Action, Science Fiction, thriller with tags on October 2, 2012 by Mark Walker

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Director: John Carpenter.
Screenplay: John Carpenter, Nick Castle.
Starring: Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence, Isaac Hayes, Adrienne Barbeau, Harry Dean Stanton, Season Hubley, Tom Atkins, John Diehl, George “Buck” Flower,

During my childhood, I enjoyed many movies from director John Carpenter but it’s been a long time since I’ve revisited any of them. If truth be told, I kind of avoided them incase they didn’t hold up on reflection and quite frankly, I didn’t want my memory of them to be tarnished. The reason I’ve revisited this one is because Eric, who runs The IPC blog asked me to collaborate on a “double-take“, where we would compare our thoughts on a specific film. I’m glad I took part as this cult classic from my younger years still holds many memorable moments.

In the year 1997, the entire city of New York has become a maximum security prison, holding all of society’s criminals. All the bridges leading into the city are cut off, a large wall is built along the shoreline and a large police force is based there to stop any attempted escapees. Things take a turn for the worse though, when the President’s (Donald Pleasance) plane is shot down and he has to eject. Unfortunately for everyone he lands in New York forcing a rescue mission. It’s here that prisoner and ex-soldier Snake Plissken (Kurt Russell) is sent into the decaying city. If he manages to rescue the president then he’ll win his own life and freedom in return.

Straight from the off-set, this film sets the tone with Carpenter’s own foreboding music score, luring you into an anarchy ridden, post-apocalyptic New York. Like all of Carpenter’s works during the 70’s and 80’s, the concept is sheer brilliance. There are very few directors these days that have the vision or originality that this man had. Unfortunately, Carpenter can’t seem to hit the same heights these days but he was way ahead of his game around this time and this film stands as one of his most recognised and has a fervent cult following. Like a lot of cult movies though, it has it’s flaws; the settings are basic and it has the old flashing computers with an abundance of lightbulbs on show but it’s testament to Carpenter’s vision that his concept overrides these dated faults and the film still manages to remain suitably futuristic. Granted, in some cases it can come across as amateurish – even self-conscious – but good sci-fi primarily works on it’s idea’s and Carpenter certainly applies the idea well here. This is a film that confidently relies on it’s premise and it works an absolute treat. It is also helps that it doesn’t take itself too seriously and has it’s tongue stuck firmly in it’s cheek. That’s thanks-in-large to Kurt Russell, who delivers a string of great one-liners in a memorable and iconic central performance as Snake Plissken – one of cinema’s finest anti-heroes. Unfortunately, the film does succumb to some formulaic action material but it’s credit to Carpenter’s pacing and Russell’s wisecracks for keeping the films head above ground. Despite it’s style and substance becoming a casualty to the action, it’s still a lot of fun, regardless of it’s occasional wandering.

A great sci-fi cautionary tale that a contemporary audience can still identify with. It can also proudly take it’s place amongst the great B-movies and cult classics of our time and lasting proof, that John Carpenter was one of the finest directors working during the 1970’s & 80’s.

To read the “double-take” in full, visit Eric’s site here.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on October 1, 2012 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: Initially Russell Crowe turned down “L.A. Confidential” because he doubted whether he could convincingly play such a tough character. Once he was cast as Bud White he read in the book that his character was the largest cop on the police force, off-putting for him due to his medium-sized frame (just under 6 feet). To capture a “big guy” presence, Crowe lived in a tiny flat in which he could barely fit through any of the doors. This experience, he said, made him come to the set feeling like a giant.

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2: Ewan McGregor originally auditioned for the role of Mercutio in the 1996 film “Romeo + Juliet“. Harold Perrineau Jr, got the part but McGregor later got his chance to work with director Baz Luhrmann when he was cast as Christian in “Moulin Rouge“.

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3: Nicole Kidman Has appeared in “My Life” with Michael Keaton, “Batman Forever” with Val Kilmer, “The Peacemaker” with George Clooney and “The Portrait of a Lady” with Christian Bale. All four actors have played Batman in a movie.

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4: While making “The Godfather“, Paramount senior management were dissatisfied with the early rushes and considered replacing Francis Ford Coppola with Elia Kazan with the hope that Kazan would be able to work with the notoriously difficult Marlon Brando. Brando announced that he would quit the film if Coppola was fired and the studio backed down. Paramount brass apparently did not know of Brando’s dismay with Kazan over his testimony before the House Un-American Activities Committee in the 1950s – naming names of those thought to be involved in Communist activities.

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5: Meryl Streep was romantically involved for 7 years with actor John Cazale, whom she worked with in “The Deer Hunter“. He died in 1978 age 42 from bone cancer and ever since, Streep has been very reluctant to discuss the relationship with anyone.

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6: George Clooney sought the role of Jack in “Sideways“. However, the film’s director, Alexander Payne, felt that he was too big a star, and turned him down in favor of Thomas Haden Church. Clooney would later work with Payne on “The Descendants“.

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7: The characters’ names in “Inception” were not chosen by chance. They actually contribute to the story itself. DiCaprio’s character is Dom Cobb and Dom literally means ‘home’ in Polish. The root word “dom” comes from the Latin word “Domus”. Words like ‘Domesticated’ and ‘Domicile’ all share the same root and in the film he just wants to go home; Marion Cotillard’s character is called ‘Mal’, short for name ‘Malorie’, a name derived from French word ‘malheur’, meaning misfortune or unhappiness. The shorter version ‘mal’ means wrong/bad or evil (when a noun) in French, as well as some other Latin-based languages. Mal is of course, a disturbed character in the film; Ellen Page’s character is Ariadne and she makes her first appearance where she is called upon to create mazes. She is named after a character in Greek mythology who helped Theseus find his way out of the Labyrinth after killing the Minotaur. The name is also a reference to the opera “Ariadne auf Naxos“. The opera is a play within a play, just as the movie is a dream within a dream; Tom Hardy is an archtitect named Eames after Charles Eames and Ray Eames, a married couple well known in the fields of furniture design, buildings and architecture; Cillian Murphy’s character was named Robert Fischer as a tribute to champion chess player Bobby Fischer, his father’s (Pete Postlethwaite) character is named Maurice Fischer as an homage to artist M.C. Escher (full name Maurits Cornelis Escher), whose art was clearly an inspiration for many of the special effects in the film.

8: There are only six actors to receive an Academy Award nomination for Best Actor for their first screen appearance. They are: Orson Welles, Lawrence Tibbett, Alan Arkin, Paul Muni, James Dean and Montgomery Clift.

9: Martin Scorsese’s “Mean Streets” was originally titled “Season Of The Witch“. The change was inspired from a Raymond Chandler line, “Down these mean streets a man must go.” Film critic Jay Cocks suggested the change to Martin Scorsese, who thought it pretentious at first but eventually came to agree it was effective.

10: Courtney Love and Winona Ryder were both initially considered for the role of Marla Singer in “Fight Club“, but in the end, it came down to Helena Bonham Carter and Reese Witherspoon. Director David Fincher wanted Bonham-Carter, but the studio wanted a bigger name and chose to go with Witherspoon. In the end however, the decision was taken out of their hands when Witherspoon turned down the role as being “too dark”, and Bonham-Carter was cast.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

JFK

Posted in Drama, Mystery on September 29, 2012 by Mark Walker

Director: Oliver Stone.
Screenplay: Oliver Stone, Zachary Sklar.
Starring: Kevin Costner, Gary Oldman, Tommy Lee Jones, Joe Pesci, Kevin Bacon, Sissy Spacek, Donald Sutherland, John Candy, Jack Lemmon, Walter Matthau, Ed Asner, Vincent D’Onofrio, Laurie Metcalf, Michael Rooker, Jay O. Sanders, Beata Pozniak, Sally Kirkland, Brian Doyle-Murray, Wayne Knight, Tony Plana, Tomas Milian, Gary Grubbs, Pruitt Taylor Vince, Dale Dye, Bob Gunton, Sean Stone, Jim Garrison.

“This is Louisiana, chief! I mean, how do you know who your daddy is? Because your mama told you so?”

Director Oliver Stone is no stranger to biopics or documentaries covering the lives of influential or powerful people. He has looked into the lives of Vietnam veteran and political activist Ron Kovic in Born On The Fourth Of July; Jim Morrison, the lead singer of The Doors; military general and conquerer Alexander the great; Cuban revolutionary leader Fidel Castro in Comandante and two films on the exploits of American presidents Richard Nixon and George W. Bush. In the films mentioned, Stone explores the lives of these men but in JFK he does the opposite and explores the death of the man and in the process, crafts one of his most accomplished films. Continue reading

Moonrise Kingdom * * * *

Posted in Comedy, Drama with tags on September 28, 2012 by Mark Walker

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Director: Wes Anderson.
Screenplay: Wes Anderson, Roman Coppola.
Starring: Edward Norton, Bruce Willis, Bill Murray, Frances McDormand, Tilda Swinton, Harvey Keitel, Jason Schwartzman, Jared Gilman, Kara Hayward, Bob Balaban, Larry Pine, Eric Chase Anderson.

When viewing Wes Anderson’s Moonrise Kingdom, the usual adjectives spring to mind; Quirky, off-beat, idiosyncratic, original. It’s all of these things and further confirmation that this man has a unique style all his own and (thankfully for his fans) he doesn’t seem in the mood for changing that anytime soon.

In a small New England town in the 1960’s, young boy scout Sam (Jared Gilman) decides to run away with local girl Suzy (Kara Hayward). As a result, his Scout Master (Edward Norton) organises a search party and teams up with the Sheriff (Bruce Willis) and the young girls parents (Bill Murray, Frances McDormand) to track them down.

This is a very strange little film indeed and possibly one of Anderson’s strangest which is saying something. However, it’s also proof that the king of quirk hasn’t lost his touch. His pallet is once again sumptuous and his attention to detail meticulous – to say the least. The whole film is painted in vibrant pastel and autumnal colours and there’s a sharpness and texture to his images. Quite simply, the film is gorgeous to look at and special credit must go to Anderson’s regular cinematographer Robert Yeoman in his ability to capture such a magical land. Ensemble casts are also becoming a regular feature of Anderson’s works and this is no different. He’s amassed a very impressive collection of top-quality performers here and every one of them are excellent. A number of them play against type with the most memorable being a melancholic Willis and an ingenuous Norton; Murray and McDormand are no slouches either and deliver their usual reliability – as does Swinton – but the likes of Schwarztman and especially Keitel are given very little to do. Ultimately though it doesn’t really matter about the familiar faces onscreen as it the young actors that impress the most. The two young leads in Jared Gilman and Kara Hayward are superb and fine support is given by the young boy scout crowd. Much like Alan Parker’s “Bugsy Malone“, it’s entertaining to see youngsters behave with grown up mannerisms yet despite it’s nature it’s never played for laughs. Most of the actors play it straight which adds a deeper sadness to this, deceivingly, lighthearted tale. Beneath it all though, it’s essentially a right-of-passage story as it focuses on the progression from childhood to adolescence while on the periphery delivers an effective contrast in the disillusionment of adulthood. Despite it’s air of sadness though, it’s the charming innocence and wonderment that shines through. It’s yet another thoroughly enjoyable Anderson adventure but somehow it didn’t resonate as well as his previous films. Maybe I was expecting too much or maybe it will grow on me like “The Life Aquatic With Steve Zissou” did after a couple of viewings. As much as I had fun with this, I think I will have even more second time round.

As a self confessed Anderson fan, even I wasn’t fully prepared for his overstated quirkiness here but that aside, this is still an accomplished piece of work.

Mark Walker

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Red Lights * * *

Posted in Mystery, thriller with tags on September 26, 2012 by Mark Walker

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Director: Rodrigo Cortes.
Screenplay: Rodrigo Cortes.
Starring: Cillian Murphy, Robert DeNiro, Sigourney Weaver, Elizabeth Olsen, Toby Jones, Joely Richardson, Craig Roberts, Leonardo Sbaraglia, Burn Gorman, Jeany Spark, Karen David.

With his English language debut “Buried” in 2010, Spanish director Rodrigo Cortes proved that he could handle tension with limited resources. This follow up has him with a slightly bigger budget and some hefty weight behind him in the acting stakes. Again he proves more than capable in his abilities to build suspense and intrigue but fails miserably in bringing his story to a satisfactory conclusion.

Doctor’s Margaret Matheson (Sigourney Weaver) and Tom Buckley (Cillian Murphy) work in a scientific field where they investigate paranormal activities and expose the charlatans who are out to make a quick buck. So far so good, until Simon Silver (Robert DeNiro), a renowned psychic, who disappeared 30 years ago, comes out of retirement to make another public appearance. His abilities are said to be very powerful and the doctor’s decide to take him on and expose him but the last critic who tackled him, died under mysterious circumstances.

With a confident hand Cortes sets his stall up well and builds the tension slowly and assuredly. In the beginning he focuses solely on his two solid leads in Murphy and Weaver before teasingly introducing an enigmatic DeNiro as they all scramble around a script that comes off as an episode of the “The X-Files“. The trouble is, the material has about the same staying power as a 50min episode of that series and doesn’t nearly deliver as much satisfaction as the investigations of Mulder and Scully. It’s in the final third that the film starts to crack under it’s own weight and expectations and it becomes apparent that Cortes never really knew how to tie this story together in the first place. This is the most frustrating thing about this film as it certainly has a grip on you and keeps you at just the right length to maintain your interest. Realistically, it could only end two ways; either it’s a hoax or… erm… it isn’t. Once you realise this, it dawns on you that you might not be satisfied with either. But Cortes is also aware of this and as a result tries to pull the rug from under your feet. As it is, it’s one sleight-of-hand too many as he introduces a twist that goes against everything you’ve seen before. All the events are tenuously linked together in an unravelling that is, quite frankly, preposterous and fails to convince. The three leads in Murphy, Weaver and DeNiro do what they can with the material but ultimately their talents are wasted. As are the talented likes of Joely Richardson and Toby Jones in thankless roles. It’s not a complete right-off as, for the most part, the material is there and the premise very intriguing but it falls shamefully short and instead of being poor it’s, simply just frustrating.

At one point in the film, Murphy’s character says “The only way to pull a rabbit out a hat is to put it there first“. Well, the same applies to Cortes; he certainly isn’t as clever as he thinks he is and if he wants to pull off a good twist, he has to put a decent script there first.

Mark Walker

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BLOGATHON

Posted in Uncategorized with tags on September 25, 2012 by Mark Walker

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My good friend Ruth who runs the marvellous site Flixchatter has started a very interesting blogathon called “Small Roles… Big Performances” where I have been kindly asked to be involved. (As are you, dear readers). The aim is to highlight a specific performance by a lesser known actor that you feel deserves mention. To find out more about Ruth’s blogathon, or to get involved, go here.
In my contribution to this, I’ve chosen the very underrated actor Robert Carlyle and his iconic portrayal of Francis Begbie from Danny Boyle’s “Trainspotting“.

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By his own admission, Carlyle never wanted to move to L.A. and become embroiled in the glitz and glamour of Hollywood. He wanted to stay in his home town of Glasgow, Scotland and continue his work on more ‘authentic’ film’s and on his theatre company “Raindog” (named after the Tom Waits album). This type of integrity has to be admired amongst actors these days. As a result, Carlyle remains less known and under appreciated despite possessing a vast range beyond most UK actors.

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Francis Begbie is, quite simply, a highly volatile and unpredictable sociopath. In a film filled with detestable characters, Begbie is, without doubt, the film’s most terrifying and Carlyle delivers an inspired and virtuoso performance in capturing his arbitrary acts of sickening violence.

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However, despite his alpha-male status Carlyle himself believes that this was down to Begbie’s repressed homosexuality and his “fear of being outed”. As a result, Carlyle personally chose to dress in Pringle sweaters and stay-pressed trousers. It was a decision that, a surprised, Danny Boyle agreed to go with and even Irvine Welsh (the author of the novel) agreed that Begbie could be viewed in this way; Carlyle’s understanding of this volatile character seemed to be spot on.

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The skill in Carlyle’s performance though, is his ability to be malevolent yet do in it such a way, that his portrayal of this character also contains a lot of humour. All be it, in a nervous laughter kind of way. He manages that rare ability, to be both frightening and fun and he creates a genuine sense of unease and unpredictability whenever he’s onscreen.

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The entire cast of the film are on top of their game and it projected the careers of Ewan McGregor, Kelly Macdonald, Peter Mullan and to some extent Kevin McKidd, so for Carlyle to outshine them all is testament alone. He doesn’t exactly elevate this film from a poor standard (it’s already a brilliant film) but what he does do is add an extra dimension to it. He brings a volatility and sense of immediate danger that cannot be denied. He has been likened to a Scottish Joe Pesci who turns scary and violent at the slightest provocation. I couldn’t single out one particular scene with Begbie as whenever Carlyle appears onscreen, he’s outstanding in all of them.

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I’ve seen the film an abundance of times but no matter how often, I’m always gripped by the presence of Begbie and by that, I think there is no bigger compliment to an actor.

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TUESDAY’S TRIVIA TIDBITS

Posted in Uncategorized with tags on September 25, 2012 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: After “Once Upon a Time in America“, director Sergio Leone planned on casting Robert De Niro in a film he was working on about the siege of Leningrad in World War II, but that project never came about due to Leone’s death in 1989.

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2: Edward Norton was considered for the role of Andy Kaufman in “Man on the Moon“. Director Milos Forman could not decide between him and Jim Carrey and left the decision up to the studio. The studio decided to go with Carrey.

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3: All three lead actors in “Rebel Without A Cause“; James Dean, Sal Mineo, and Natalie Wood, died young under tragic circumstances: Dean died in a car accident, Mineo was stabbed, and Wood drowned.

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4: In “The Hunger Games“, the name of the main character, Katniss, is derived from the name of a group of edible plant species, genus “Sagittaria”, commonly known as “arrowhead”. This is a reference to the character’s archery skills.

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5: Arrested for trashing a New York hotel room. Johnny Depp claimed that an armadillo was responsible, saying that he had found the animal hidden in a closet and it had gone crazy, wrecking the hotel room before leaping out the window.

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6: In “Drive“, there are three hidden scorpions in the film: – When Driver is in the car right before the scene in the coffee shop where he tells the guy he is going to kick his teeth in. It is reflected in the window and makes a shape like a scorpion. – The second is when he goes to meet Bernie at the Restaurant. It is in the bottom right corner of the painting as he walks up to the table. – The third is when the Driver takes Irene and Benicio to the pond; they play with scorpion claws.

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7: A teaser trailer for the Coen brothers’ debut film “Blood Simple” was shot long before the movie was in production. It featured Bruce Campbell (filling in for the role later played by Dan Hedaya) bloody and crawling down the road, just like the movie.

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8: In “Inception“, If you take the first letters of the main characters’ names – Dom, Robert, Eames, Arthur, Mal and Saito – they spell “Dreams”. If you add Peter, Ariadne and Yusuf, the whole makes “Dreams Pay”, which is what they do for a mind thief – the very profession of the characters.

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9: Keanu Reeves’ first name is Hawaiian and means “cool breeze over the mountains”. When he first arrived in Hollywood, his agent thought his first name was too exotic, so during the early days of his film career he is sometimes credited as K.C. Reeves, Norman Kreeves or Chuck Spadina.

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10: There are only Nine male actors to ever have won the Academy Award for Best Actor twice; they include Fredric March (1932, 1946), Spencer Tracy (1937, 1938), Gary Cooper (1941, 1952), Marlon Brando (1954, 1972) Jack Nicholson (1975, 1997), Dustin Hoffman (1979, 1988), Daniel Day-Lewis (1989, (2007), Tom Hanks (1993, 1994) and Sean Penn (2003, 2008). Only five of them remain working today.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here.)

TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on September 18, 2012 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: In “Interview With The Vampire“, Christian Slater was given the role of Daniel the interviewer upon the death of River Phoenix, who was originally supposed to be Daniel. Slater donated his $250,000 salary to two of Phoenix’ favorite charities.

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2: There are only five performers to be nominated for an Oscar twice for playing the same role in two separate films: Peter O’Toole as Henry II in “Becket” and “The Lion in Winter“, Al Pacino as Michael Corleone for “The Godfather” and “The Godfather: Part II“, Bing Crosby as Father O’Malley in “Going My Way” and “The Bells of St. Mary’s“, Cate Blanchett as Elizabeth I in “Elizabeth” and “Elizabeth: The Golden Age” and Paul Newman as ‘Fast Eddie’ Felson in “The Hustler” and “The Color of Money“.

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3: Humphrey Bogart was involved in a serious automobile accident late in the production of “Beat the Devil“. Several of his teeth were knocked out in the accident, hindering his ability to speak clearly. Director John Huston hired a young British actor noted for his mimicry skills to re-record some of Bogart’s dialog during post-production looping. And although the talent of the young impersonator is such that the difference is undetectable while viewing the film today, it is a young Peter Sellers who provides Bogart’s voice during some of the scenes.

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4: Brad Pitt owns the rights to the Hong Kong thriller “Infernal Affairs“. He wanted it to be remade with he and Tom Cruise in the leading roles. The movie was eventually remade as “The Departed” and originally he was part of the cast as Colin Sullivan (the Matt Damon role). He later dropped out but continued to produce the film under his (and his then wife Jennifer Aniston’s) production company, Plan B.

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5: In “The Wizard of Oz“, at the end of the sequence in which Dorothy and the Scarecrow first meet the Tin Man, as the three march off singing “We’re Off to See the Wizard“, there is a disturbance in the trees off to the right. There was a long rumour that it was one of the crew committing suicide by hanging himself and that it could actually be seen in the film. It is in fact, a large bird stretching its wings.

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6: Steve McQueen was first offered the role of Capt. Willard in “Apocalypse Now” but he turned it down and Harvey Keitel was then cast. Two weeks into shooting, director Francis Ford Coppola replaced Keitel with Martin Sheen, stating he was not happy with Keitel’s take on the character and that the actor “found it difficult to play him a passive onlooker“. To make matters worse, Sheen had a heart attack during the filming and some shots of Willard’s back are of doubles, including Sheen’s brother Joe Estevez who was flown out specially. Coppola was so worried that backing would be withdrawn by the studio and distributor if news of Sheen’s heart attack leaked out, that he kept it quiet, even to the extent of explaining Sheen’s hospitalization as being due to “heat exhaustion”.

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7: In “Easy Rider“, Rip Torn was originally cast in the role of George Hanson (eventually played by Jack Nicholson). According to Torn, Dennis Hopper pulled a knife on him during a pre-production meeting. On “The Tonight Show with Jay Leno”, Hopper claimed it was Torn who pulled the knife. Torn sued Hopper for defamation and won.

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8: When engaged to Winona Ryder, Johnny Depp had “Winona forever” tattooed on his arm. After they broke up, he had the n and a surgically removed to simply say “Wino forever“.

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9: In 1996, during a traffic stop for speeding, Robert Downey Jr was arrested for drunk driving, possession of heroin, and possession of an unloaded pistol in his pickup truck. This was his first reported brush with the law at age 31. He was given a suspended sentence of 3 years, and granted probation with requirements of random drug testing and drug counselling. In 1999, he violated his probation with further drug and alcohol abuse and he eventually received his sentence of 3 years in prison.

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10: Roderick Jaynes, who is credited with editing most of the Coen brothers’ films, does not, in fact, exist. The name is a pseudonym for Joel and his brother Ethan.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

(For earlier editions of Trivia Tidbits click here)

Margaret * * * *

Posted in Drama with tags on September 14, 2012 by Mark Walker

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Director: Kenneth Lonergan.
Screenplay: Kenneth Lonergan.
Starring: Anna Paquin, Matt Damon, Mark Ruffalo, J. Cameron-Smith, Jean Reno, Matthew Broderick, Jeannie Berlin, Allison Janney, Keiran Culkin, Kenneth Lonergan, Olivia Thirlby, Michael Ealy, Hina Abdullah, Enid Graham, Rosemarie DeWitt, Adam Rose.

Margaret marks the second feature of writer/director Kenneth Lonergan after his Oscar nominated debut “You Can Count On Me“. It was actually made about five or six years ago but took a while to gain a release as there was a series of law-suits involved in the editing process. It boasts both Anthony Minghella and Sydney Pollack as producers – the two of which passed away before the film even seen the light of day. After all the legal wranglings were ironed out, the theatrical version released was supposedly edited by Martin Scorsese and Thelma Schoonmaker and despite some apparent structural flaws, this still comes out as a very emotional and interesting drama.

Lisa Cohen (Anna Paquin) is a 17-year-old high-school student who, one day, distracts a bus driver (Mark Ruffalo), resulting in the death a woman crossing the street. Through time, this tragic accident eats away at her and through her frustration and sense of guilt she begins to emotionally brutalise everyone around her, unaware that she’s harming herself even more so.

This is a film that has, without a doubt, a sense of realism. Even, at times, uncomfortably so but that’s credit to writer/director Lonergan and an exceptionally good cast. Everyone, no matter how small a role, really bring something to the table here but ultimately the film rests in the hands of Paquin. I’ve never been entirely convinced by her before but she delivers a heartfelt and desperate performance here. Her precociousness, coldness and occasional fits of emotional rage are highly destructive. This is essentially a right-of-passage tale but it can sometimes be a harrowing one, in what seems like a complete meltdown from the protagonist. Her motivations are never entirely clear and Lonergan refuses to spoon-feed us the answers either. This could be viewed as an exploration of teenage angst and the awkward progression to adulthood or even youthful idealism in the face of a very complex adult world. It could even be a commentary on the loneliness and need for belonging in a dense and detached society. There are regular slow and protracted shots of New York as a vast and vibrant city but also full of emptiness and lonely disengaged people – Lisa embodying this very detachment. Almost (if not) all of the characters in this film have difficulty connecting with people in one way or another. Everyone seems to be searching to belong somewhere. That being said, the protraction causes the film to meander towards it’s conclusion and leaves many questions unanswered. It’s hard to say whether this is down to the editing issues or just the style that Lonergan intended but it’s nonetheless an intriguing and thought provoking journey. It won’t appeal to everyone due to it’s deliberate pace and a 2 hr 30min running time certainly requires a level of commitment. At several times throughout the film, I even questioned whether it was just pure self-indulgent drivel or something of substance. After reflection, I decided on the latter. There is a depth here, even if I didn’t fully understand what it was.

A deep and melancholic character study that explores the themes of responsibilty, coming-of-age and an important sense of self. It can be difficult viewing due to it’s length and ambiguity but it’s still worthy of some attention.

Mark Walker

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Fantastic Mr. Fox * * * * 1/2

Posted in Adventure, Animation, Comedy, Family with tags on September 13, 2012 by Mark Walker

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Director: Wes Anderson.
Screenplay: Wes Anderson, Noah Baumbach.
Voices of: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Wally Wolodarsky, Eric Anderson, Michael Gambon, Willem Dafoe, Owen Wilson, Helen McCrory, Brian Cox, Garth Jennings, Roman Coppola, Wes Anderson, Jarvis Cocker, Adrien Brody.

Director Wes Anderson’s quirky indie humour and off-beat dysfunctional characters have been very appealing to me over the years. Upon the news that he was adapting a classic children’s novel, using animation, I thought he might have been going a little too far outside his comfort zone and wondered if his idiosyncratic style would actually transfer to a different medium. Thankfully, my curiosity was put to ease as this did not dissapoint.

Based on Roald Dahl’s story about a sly and egocentric fox that always strives for better things for himself and his family, while seemingly oblivious to the dangers his quest for status brings to his family. He sets out to rob the three local farmers Boggis, Bunce & Bean of their possesions and attracts a lot of unwanted attention for everyone in the process.

Anyone familiar with Anderson’s idiosyncratic style will know that, despite this being animation, his approach hasn’t changed at all. It still possesses his wit and charm in abundance. The stop-motion animation takes a little getting used to but once you’ve attuned yourself to it, there’s no let up in the pace of, not just, Anderson’s visuals but also the characterisation and his daring in not being constrained by the medium itself. His eclectic use of music and screen captions are also present, making this every inch a Wes Anderson adventure. Credit must also go the voice cast; each and every single one of them inhabit their characters and deliver the sharp and intelligent dialogue to perfection, bringing the little stop-motion animals to life. These little creatures have more zest and life than most live-action movie characters are ever afforded and they add to another odd collection of dysfunctional family members that seem to be Anderson’s forte and feature regularly in his oeuvre.
For many, this is actually their favourite Anderson film. Personally, mine still sits with “The Darjeeling Limited” but this is certainly one of his finest, eccentric and most unique moments.

Not only does this foray into animation not disappoint, it actually thoroughly impresses. This is how it should be done. A subversive, cerebral treat for adults and children alike. “Fantastic” indeed.

Mark Walker

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The Cabin In The Woods * * * 1/2

Posted in Comedy, Horror with tags on September 12, 2012 by Mark Walker

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Director: Drew Goddard.
Screenplay: Joss Whedon, Drew Goddard.
Starring: Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, Bradley Whitford, Brian White, Amy Acker, Tim De Zarn.

Decent horror movies are hard to come by these days. So much so, that the genre itself has become pray to parody. Wes Craven successfully managed it with “Scream” and recently the cult indie film “Tucker & Dale vs. Evil” took it even further. If your a fan of these types of films then this should be right up your dark and creaky stairwell but pure horror snobs may find it a bit too satirical for their liking.

A weekend break away for five college kids doesn’t quite turn out to be the fun-filled party they were expecting when they arrive at a remote cabin and discover an old diary that speaks of past foul play that took place on their very weekend premises. As expected, the foul play rears it’s ugly head again but in more ways than one.

Right from the beginning of this film the usual horror conventions are all on display; a motley crew consisting of the stoner, the jock, the bookworm and the sweet & sultry females all heading for… well… you know where. Perfect fodder for mayhem I hear you say? Indeed! After a short build-up though, the usual conventions are all but discarded and the film veers off in all sorts of directions. The details of which, I can’t divulge or you’ll be seriously pissed with me. This is most definitely a film that’s worth entering without prior knowledge as the surprises that it has in store are the very strengths which help it overcome it’s faults. One of these major faults is it’s inability to decide what it wants to be or what audience it’s targeting. Is it a parody? Is it science fiction? Is it horror? In fact, it’s all of these things and possesses a welcome mix of scares and humour. The crossover between both is not always a smooth one though, which lessens the impact it could have had. Added to which, it’s very far-fetched to say the least. However, it surprisingly still manages to hold it together to come out a success which is, thanks in large, to a very strong and exhilarating ending, making it hard to resist the film’s chutzpah.

A smart and satirical riff on the horror genre that manages to use the conventions but also cleverly play around with them. Not entirely successful but highly ambitious and appealing on many levels.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on September 11, 2012 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: Michael Clarke Duncan did bodyguard work for Will Smith, Martin Lawrence, Jamie Foxx, LL Cool J, and The Notorious B.I.G.; he let a friend take over for him the night Notorious B.I.G. got shot, which prompted him to quit that line of work.

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2: In “Lawless” Ryan Gosling, Amy Adams, Scarlett Johansson, and Michael Shannon were originally slated to top line the project together with Shia LaBeouf. After the movie was shut down, recasting was required.

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3: Bruce Willis was chosen to play John McClane in “Die Hard” because the producers felt he brought warmth and humor to an otherwise cold and humorless character. Arnold Schwarzenegger and Sylvester Stallone had turned down the role.

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4: Louise Fletcher who played Nurse Ratched in “One Flew Over The Cuckoo’s Nest” was so upset with the fact that the other actors could laugh and be happy while she had to be so cold and heartless that near the end of production she removed her dress and stood in only her panties to prove to the actors she was not “a cold-hearted monster”.

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5: Brian De Palma liked Oliver Stone’s script of “Scarface” so much that he dropped out of directing “Flashdance” to direct the film.

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6: Joaquin Phoenix was in car accident January 2006 on a winding canyon road that flipped his car over. Shaken and confused, Phoenix heard a tapping on his window and a voice say, “Just relax”. Unable to see the man, Phoenix replied, “I’m fine. I am relaxed”. Then managed to see that the man was famed, eccentric German auteur Werner Herzog, and Herzog replied, ‘No, you’re not’. After helping Phoenix out of the wreckage, Herzog phoned an ambulance and vanished.

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7:Moon” and “Source Code” director Duncan Jones was offered the recent film “Dredd 3D“, but turned it down. Not because he didn’t like the Alex Garland script (Jones said it was great), but because he had such a strong idea of what he wanted to do with a Dredd movie, that he felt he could not bring himself to take it on and not do it his way.

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8: In “The Shawshank Redemption“, Tim Robbins’ role of Andy Dufresne was originally offered to Tom Hanks but he turned it down because he was committed to “Forrest Gump” at the time – Hanks did, however, work on Frank Darabont’s next film, “The Green Mile“. Others considered for the role where Kevin Costner, Tom Cruise, Nicolas Cage, Johnny Depp and Charlie Sheen.

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9: Early in his acting career, Paul Newman was often mistaken for Marlon Brando. He claims to have signed around 500 autographs reading, “Best wishes, Marlon Brando.”

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10:Blade Runner” is, of course, loosely based on Philip K. Dick’s novel “Do Androids Dream of Electric Sheep” but the title itself comes from a book by Alan Nourse called “The Bladerunner“. William S. Burroughs wrote a screenplay based on the Nourse book and a novella entitled “Blade Runner: A Movie.” Ridley Scott bought the rights to the title but not the screenplay or the book. The Burroughs composition defines a blade runner as “a person who sells illegal surgical instruments”.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

Bernie * * * *

Posted in Comedy, Crime, Drama with tags on September 9, 2012 by Mark Walker

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Director: Richard Linklater
Screenplay: Richard Linklater, Skip Hollandsworth.
Starring: Jack Black, Shirley MacLaine, Matthew McConaughey, Richard Robichaux, Brady Coleman, Rick Dial, Brandon Smith, Larry Jack Dotson, Kay McConaughey.

Richard Linklater has always been a reliable “lesser scale” director. He made his name with impressive indie film “Slacker” in 1991 and since then he’s consistently delivered impressive shifts in genre. Although not exactly a household name, anyone aware of his work is rarely disappointed. His latest in Bernie, is yet another shift for him and, unsurprisingly, another success.

In the small town of Carthage, Texas, Bernie Tiede (Jack Black) is a generous and well respected undertaker who is directly involved with the local church and has a great rapport with the townsfolk. Marjorie Nugent (Shirley MacLaine) is also one of the locals but is disliked by many due to her bad attitude and vast wealth. After she is recently widowed, Bernie lends her his friendship and becomes directly involved in her affairs- eventually taking over as her carer. However, Marjorie becomes completely dependent on Bernie to the point where he increasingly struggles to please her and also continue his work in the local church going community.

With this film being based on actual events, I’d rather not reveal too much about it. Many will already be aware of the turns of events that take place (as was I) but I think this would work better with a slight element of surprise to it. Suffice to say that Linklater constructs it in a faux-documentary style and makes clever use of combining interviews with both actors and the real life people that lived through the events themselves. The lines between fact and fiction are skilfully blurred and it’s helped immeasurably by an exceptionally good cast; normally I’m not in the camp of Jack Black enthusiasts but here, he is very good indeed. This is a role that’s entirely suited to him and he mostly does away with his usual schtick of smarm and irritating humour and replaces it with an odd charisma and endearment. He’s more reserved and captures the essence of his character that is, on the one hand, very likeable, yet highly ambiguous in his intentions. Whichever way he comes across, it’s hard to be judgmental of him. It’s not just Black that shines here though; it’s great to see the marvellous Shirley MacLaine excel in a role that allows her to be a complete cantankerous bitch and there’s yet another role (this year) that allows Matthew McConaughey to display his talents. Love or loathe the recent film’s of McConaughey (and I admittedly fall into the latter), there’s no denying that he’s finally taking on roles that reflect his abilities. In fact, one of the slight let down’s with this film is that McConaughey is underused – he’s brilliant but just not in it enough.
Where this film succeeds though, is in it’s structure and the welcome touch of wry humour coursing through it, taking the edge off of what is essentially a disturbing turn of events. As much as this film is a character study, it’s also the study of small town mentality. A town that’s full of Chinese-whispers and curtain-twitchers, yet a major event is overlooked by near enough everyone, in order to maintain their facade and their delusional sense of goodwill. In this respect, Linklater and co-writer Skip Hollandsworth nail it and deliver an intriguing, low-key treat.

A quirky, off-beat and humorous little drama that possesses just enough of a dark undertone to keep almost everyone entertained.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on September 3, 2012 by Mark Walker

Welcome back to Tuesday’s Trivia Tidbits. For those of you out of the loop, this is a little compilation of 10 movie related facts that I will be posting weekly and info that I always find interesting. So without further ado, this weeks are…

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1: In “Goodfellas“, Tom Cruise and Madonna were the producers’ first choice for the roles of Henry Hill and his wife Karen. Ray Liotta and Lorraine Bracco were subsequently cast in those parts. Al Pacino was also offered the role of Jimmy Conway but he refused with the concern of being typecast. Robert DeNiro took over the role and it’s a decision that Pacino now admittedly regrets.

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2: As the shoot of “Jaws” ballooned from 55 days to 159, with the budget likewise spiraling, the film earned the nickname amongst the crew as “Flaws“.

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3: For “The Thin Red Line“, Billy Bob Thornton recorded a narration under the supervision of director Terrence Malick. However, the final print of the film has voice-overs by eight of the main characters in the film; none of the narration from Thornton is in the final print. In addition, several other stars who filmed scenes were left on the cutting-room floor, including Bill Pullman, Gary Oldman, Lukas Haas, Viggo Mortensen, Martin Sheen and Mickey Rourke.

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4: John Travolta’s role of Vincent Vega in “Pulp Fiction” was written for Michael Madsen but due to scheduling conflicts Madsen couldn’t do it. He did, however, play Vic Vega, in “Reservoir Dogs“. The characters are brothers and at one point Tarantino considered making a film about the Vega brothers with the intended title “Double V Vega“.

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5: In Nicolas Winding Refn’s “Drive“, the driver references the fable of The Scorpion and The Frog: the frog agrees to carry the scorpion across the river; the scorpion stings the frog, saying “it’s my nature” and both drown. Driver can be seen as The Frog of the story – he drives/carries criminals (scorpions) around in his car, but is inevitably dragged into their destructive world (stung) leading to everybody’s downfall. Driver’s jacket has a scorpion on the back, just as the frog carried the scorpion on its back.

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6: In “The Big Lebowski“, the $0.69 check The Dude writes at the beginning of the film is dated September 11, 1991, exactly ten years before the 9/11 attacks. While he is writing the check, George Bush can be heard on the television railing against Saddam Hussein. This film preceded 9/11 by 4 years.

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7: In 2007, Ernest Borgnine became the first male Oscar winner for Best Actor to still be alive on his 90th birthday, and in 2012, Ernest became the first male Oscar winner for Best Actor to still be alive (and working) on his 95th birthday. He recently died on 8th July this year.

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8: In “Toy Story“, the carpet designs in the evil kid Sid’s hallway is the same as the carpet designs in “The Shining“.

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9: Keanu Reeves was originally signed to play Chris Shiherlis in “Heat” but he lost the part when Val Kilmer was able squeeze it into his schedule while making “Batman Forever“.

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10: “Rosemary’s Baby” was released in 1968 and directed by Roman Polanski. Polanski’s pregnant wife, actress Sharon Tate, was murdered in 1969 by Charles Manson and his followers, who titled their death spree “Helter Skelter” after the 1968 song by The Beatles. One of that bands members, John Lennon, was murdered in 1980 outside the Manhattan apartment building where Rosemary’s Baby had been filmed.

So there you have it. 10 esoteric Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

The Raid: Redemption * * * 1/2

Posted in Action with tags on August 31, 2012 by Mark Walker

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Director: Gareth Evans.
Screenplay: Gareth Evans.
Starring: Iko Uwais, Ananda George, Ray Sahetapy, Yayan Ruhian, Joe Taslim, Donny Alamsyah, Pierre Gruno, Tegar Satrya.

If someone had told me that a Indonesian martial-arts movie directed by a Welshman was going to have much of an impact on the film going public, I have told them to stop shitting on my head until I’ve at least put a hat on first. As it turns out, no defecating took part in the build up to this film. What I was hearing through the grapevine turned out to be true. This is a very impressive action movie and it’s easy to see why it’s had mass appeal.

A slum housing estate in Jakarta is run by a ruthless drug baron who’s also secured the place into a high-rise fortress. A SWAT team is brought in to infiltrate the building and bring the crime lord down but when they enter, alarms are raised and the police find themselves under attack from an army of killers from all 30 floors.

As there’s not much on display as far as the narrative goes, it’s hard to write about this without throwing a plethora of adjectives at it. So I’m going to take the easy way out and do just that. Quite simply, it’s exhilarating, gripping, thrilling, exciting and exhausting. What it also is, is preposterous. However, it’s entertainment value cannot be faulted in the slightest. Is that enough to describe this film? If not, I apologise ’cause there’s not much else to say. Right from the off-set this film get’s going and wastes absolutely no time in getting down to business. It’s relentlessly energetic and unashamedly over-the-top but essentially, it’s over an hour an a half of people pumping some lead, bashing some heads and people screaming and writhing in pain. What fun it is though and this is coming from a person that’s not entirely enamoured with mindless action movies. However, credit must be given where it’s due. The display of martial-arts and action set-pieces are skilfully handled and it channels the type of kinetic pace that director John Woo was a master at. This is the quintessential ‘leave your brain at the door’ type of film. It demands very little and delivers plenty in return.

Some sublime action set pieces and bone crunching fights and although it’s wildly over the top, it delivers no less than it sets out to do. I had some fun with this one but action/martial-arts fans will enjoy it even more so.

Mark Walker

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The Assassination Of Jesse James By The Coward Robert Ford * * * * 1/2

Posted in Biography, Drama, History, Western with tags on August 30, 2012 by Mark Walker

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Director: Andrew Dominik.
Screenplay: Andrew Dominik.
Starring: Brad Pitt, Casey Affleck, Sam Rockwell, Jeremy Renner, Paul Schneider, Sam Shepard, Garret Dillahunt, Mary-Louise Parker, Zooey Deschanel, Michael Parks, Ted Levine, Alison Elliott, James Carville, Tom Aldredge, Pat Healy, Nick Cave.
Narrator: Hugh Ross.

In 2000, director Andrew Dominik exploded onto the scene with low-budget but powerful biographical film “Chopper” about Australian criminal Mark Brandon Read. It not only heralded the arrival of actor Eric Bana but also a new an uncompromising director. For his second feature he tackled another biographical feature about one of the wild west’s most notorious gunslingers and this time, Dominik took his uncompromising nature even further.

Retelling of the last months in the life of the legendary outlaw Jesse James and how his reputation was faltering. His gang had disbanded – either dead or in prison and Jesse was beginning to suffer increasing paranoia. After carrying out a train robbery he heads for Kentucky, only to reappear in Missouri for a bank robbery. Two brothers; Charley (Sam Rockwell) and Robert Ford (Casey Affleck) are part of his new gang but Robert has a dangerous and obsessive idolisation of Jesse and one that would finally be the outlaws undoing.

Few film’s ever get away with having a title as long as this one and even fewer get away with the manner in which this film is made. That’s testament to the skill of Andrew Dominik and the backing of Brad Pitt who refused to yield to Hollywood studios when they wanted to tinker with Dominik’s vision. Right from the opening, brutal, train robbery, this film’s style is apparent. It’s sense of realism is what commands your attention; it goes on to depict stark expansive landscapes, explosive bullet wounds and guns that don’t shoot straight but the actual gunslinging is kept to a minimum, while it focuses on the characters themselves. The pace of the film is deliberate, adding to the ethereal feel throughout and one that reminded me of the approach that director Terrence Malick would use. Roger Deakins’ cinematography is also a thing of absolute beauty. The entirety of every single frame of this picture is stunningly captured with meticulous attention to detail and Dominik’s direction is near flawless. He lingers long on shots and subtle facial expressions and captures the uneasiness in the characters and their situations. By using this methodical style, he manages to get under the skin of his two leading characters and allows both Pitt and especially Affleck the room to deliver sensational performances. Pitt is entirely commanding and charismatic, adding just enough of a glimmer of danger without losing the audience’s sympathy and Affleck is on top, creepy and unsettling, form. The chemistry between the two hints at all sorts of possibilities – including homoerotic tension. These two share an uneasy relationship and between them, there are contemporary issues at play; the nature of celebrity and hero worship and the difference between ‘the man and the myth‘. Even over 100 years ago they had this but although Dominik delivers this insight, he never fully explores it, leaving it all just a bit too ambiguous. I’m not looking for a film to spell everything out for me. On the contrary but for a film that languishes on detail and mood, it could have taken a little time to further explore these themes and the characters’ motivations. There’s a sense of bewilderment as to why James would even tolerate having Ford around when he, seemingly, knew that something wasn’t quite right about him. He was aware that sooner or later he would meet his impending fate but it’s unclear why he’d open himself up to it. Another area that lacks any attention, is the females in these men’s lives. They are fleetingly visited but are ultimately insignificant and the likes of Mary-Louise Parker and Zooey Deschannel are reduced to mere cameos. I can only assume that these issues could maybe make more sense in Dominik’s original 4 hour cut – that played at the Venice film festival before a widespread release reduced the film to it’s 2hour 40mins duration. That being said, this is still an aesthetically successful endeavour that, although not fully deserving of the masterpiece status that many consider it to be, it’s not far off it.

A contemplative and demanding film that requires the utmost patience. It’s highly ambitious, artistic and regularly poetic. Quite simply, it’s beautifully done and I found lots to admire but it meanders and like the title itself, it’s just a tad too long winded.

Mark Walker

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TUESDAY’S TRIVIA TIDBITS.

Posted in Uncategorized with tags on August 26, 2012 by Mark Walker

As everyone seems to have a recurring feature going on, I thought I’d add a little something too. I do have my “Let’s Have A Sit Down” feature but that takes ages to compile so I thought I’d contribute a little something easier every week. This little something will consist of interesting facts that have been attached to certain movies. I’m a sucker for behind the scenes movie info so I will deliver 10 facts each week in the hope that you enjoy these bits of info as much as I do. So without further ado, here are the first 10 of “Tuesday’s Trivia Tidbits

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1: In the forthcoming Steven Spielberg film “Lincoln“, Liam Neeson was originally attached to play the former president before Daniel Day-Lewis. He decided to drop out though as, according to Neeson, he felt he was too old to play the part after waiting so many years for the project to get the go-ahead.

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2:First Blood” was released in 1982 with Sylvester Stallone in one of his most iconic roles as John Rambo but beforehand there were other considerations for the role. Al Pacino was one but he refused it when his request that Rambo be more of a madman was rejected. Others included; John Travolta, Nick Nolte, Michael Douglas, James Garner, Jeff Bridges and Robert DeNiro. Kris Kristofferson was also considered as he was a former Airborne Ranger and some hoped that good friend Sam Peckinpah would direct. Initially Mike Nichols was interested in directing and wanted Dustin Hoffman to play the lead. Hoffman wasn’t interested, however, as he thought it was too violent.

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3: Despite all the publicity, “Citizen Kane” was a box office failure and was quickly consigned to the RKO vaults. At 1941’s Academy Awards the film was booed every time one of it’s nine nominations was announced. It was only re-released for the public in the mid-1950s before being heralded as one of the finest cinematic achievements.

4: Colin Farrell previously appeared in “Minority Report“, which was also adapted from a Philip K. Dick short story, and had originally been developed as a sequel to the original film version of “Total Recall“.

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5: In 1958, Alfred Hitchcock was embittered at the critical and commercial failure of his film “Vertigo“. He blamed this on James Stewart for “looking too old” to attract audiences any more. Previously one of his favourite collaborators, Hitchcock never worked with Stewart again.

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6: O.J. Simpson was considered for the role of “The Terminator” but the producers feared he was “too nice” to be taken seriously as a cold-blooded killer. In 1990 – only 6 years later – Simpson’s stood trial for the murder of his wife.

7: In Tony Scott’s “Crimson Tide“, Quentin Tarantino was brought in to do uncredited “punch-ups” of the dialogue. His major contribution was the comic book bickering.

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8: There are only two actors in the history of the Oscars who have won the award for playing the same character. Marlon Brando is one for playing Vito Corleone in “The Godfather“. Robert DeNiro the other, for doing the same in “The Godfather part II“.

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9: In “The Dark Knight Rises“, Leonardo DiCaprio, Ryan Gosling and Mark Ruffalo were considered to play John Blake before Joseph Gordon-Levitt was ultimately cast. DiCaprio was also one of the actors considered to play Robin in “Batman Forever” before Chris O’Donnell got the part.

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10:It Happened One Night” in 1934, “One Flew Over The Cuckoo’s Nest” in 1975 & “The Silence Of The Lambs” in 1991 remain, to this day, the only three film’s to win all top five Oscar awards – Best Actor, Best Actress, Best Director, Best Picture and Best Screenplay (Adapted).

So there you have it. 10 completely useless Tidbits to masticate on. Some you may know. Some you may not. If you have any thoughts, stick your donations in the comment box.
See you next Tuesday…

The Station Agent * * * *

Posted in Drama with tags on August 26, 2012 by Mark Walker

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Director: Tom McCarthy.
Screenplay: Tom McCarthy.
Starring: Peter Dinklage, Patricia Clarkson, Bobby Cannavale, Michelle Williams, Ravin Goodwin, Paul Benjamin, Richard Kind, Josh Pais.

Having just recently gotten into the HBO TV series “Game of Thrones” and finding the character and Golden Globe winning acting of Peter Dinklage very appealing, I decided to look back at one of his major leading roles in The Station Agent. I had seen this film years ago and liked it a lot but on a repeat viewing, I enjoyed it even more.

Fin McBride (Peter Dinklage) is a young man born with dwarfism that has consistently struggled to fit into society. He has a passion for trains and works in a shop selling such items but when his only friend and co-worker dies, he finds that in his late friends will, he has been left an abandoned train depot in rural New Jersey. Looking for solitude, he packs up his things and moves there only to find unusual friendships developing with local struggling artist Olivia (Patricia Clarkson) – trying to overcome a personal tragedy of her own – and Joe (Bobby Cannavale) an overly friendly Cuban hot-dog vendor, desperate for some form of interaction with people.

This plot summary might not sound like much but don’t be fooled into thinking this is an uneventful or boring affair. It’s far from it. Yes, not a lot is going on this film but that exactly the appeal. It’s filled with such attention to detail and strong characterisation that this film is plentiful. I’m a sucker for these type of low-key, subtle and observant dramas and this debut from director Tom McCarthy is a perfect example of that particular sub-genre. It’s a slow moving and thoughtful film that sensitively deals with feelings of loneliness and isolation. To embody the emptiness, McCarthy is aided with three superb lead performances which are poignant and heartfelt but more importantly, realistic. Not a lot is going on in their lives but that’s the very thing that holds your attention. It’s the bond and the relationship they develop with one another that gives this film it’s heart. McCarthy handles the material delicately and seems entirely aware of the appeal that these characters have, as are the performers; Dinklage is an actor with many qualities and it’s great to see him in a rare but well deserved leading role. Patricia Clarkson is always an actress I’ve admired and it baffles me why she isn’t seen more often. The biggest surprise though, is Bobby Cannavale who provides the comic-relief to the suffering of the other two. That being said, this film isn’t the slightest bit depressing despite the subject matter. In fact, it’s a charming and absorbing human tale.

An original and affecting debut from director Tom McCarthy that displays a genuine warmth and respect for struggling individuals. His ability to be both perceptive and humorous is rarely captured so well on screen.

Mark Walker

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Being Flynn * * * 1/2

Posted in Drama with tags on August 25, 2012 by Mark Walker

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Director: Paul Weitz.
Screenplay: Paul Weitz.
Starring: Robert DeNiro, Paul Dano, Julianne Moore, Wes Studi, Olivia Thirlby, Lili Taylor, Eddie Rouse, Thomas Middleditch, Chris Chalk, Liam Broggy, Dale Dickey, Michael Buscemi, William Sadler.

I think it’s fair to say that Robert DeNiro’s film’s over the last ten years or so have been pretty lacklustre. Regardless of this, I’m still that much of a fan that I will always venture into them anyway. If only, to see a glimmer of the great actor enjoying his work again. This might not be the return to form that I was looking for – at least in terms of end product – but it was in terms of his committed performance.

Nick Flynn (Paul Dano) is a young man in his 20’s who hasn’t yet found his vocation in life. He is a budding writer but can’t quite decide if he’s talented enough and the lack of confidence in his abilities stems from the harsh judgement of his estranged father Jonathan (Robert DeNiro) who considers himself a great writer destined for success one day. Just to fill his time, Nick takes a job at a homeless shelter in Boston, where his father – now down-and-out – makes an appearance and looking to become a resident. It opens up all sorts of wounds for Nick as he now has to face up to his own demons and their dysfunctional relationship.

The opening line of this film has DeNiro’s character delivering a voiceover, informing us that “America has produced only three classic writers; Mark Twain, J.D. Salinger and me“. The same could be said for DeNiro’s acting abilities; he is considered one of America’s classic actors and this is a welcome return to form from him. It’s one of the best roles he has had in years and he really seems to be enjoying himself again, instead of just phoning in a performance. There are glimmers of the master here and although it’s not quite up to his highest standards, he at least draws comparisons with his earlier iconic roles. With his vitriolic rants (as well as taxi driving) I couldn’t help but envisage an older Travis Bickle or, more closely, an older and equally delusional Rupert Pupkin. Again, DeNiro delivers a finely balanced performance of a deeply flawed individual with delusions of grandeur. As good as he is though, the always reliable Paul Dano cannot be ignored either. This is the second time I’ve seen Dano play up against a masterful actor (the other being Daniel Day-Lewis in “There Will Be Blood“) and come out looking very accomplished indeed. It’s in the duality of these two characters that the film benefits from it’s most original idea; having the double use of narration from them both. Each time either actor is onscreen they inform us of their take on life and the struggle that they have both faced in their estranged father/son relationship and how their lives will inevitably cross paths again. It’s through this clever narrative device and two commanding performances that the film is elevated above the unsure handling of Paul Weitz’ direction. The material is strong enough (based on Nick Flynn’s actual memoirs) but Weitz struggles a little with it and seems unsure of how to balance the humour and the pathos. There are tragic moments that don’t quite resonate as well as they should which could be a result of Weitz’ past credentials mainly consisting of comedies. It’s the actors that stand out here and in that respect Weitz at least deserves some credit in drawing two commanding deliveries as well as great use of music by “Badly Drawn Boy“.

This is a good film but had the potential to be better had it landed in the hands of a more experienced director. However, DeNiro chews up the screen like he once did in his prime and for that reason alone, this should be seen by his fervent followers.

Mark Walker

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