Posts Tagged ‘Brian Helgeland’

Salt

Friday, July 30th, 2010

tn_saltHey, have you guys ever noticed how alot of these so-called action movies they do now days make no effort to show any action in their action scenes? I think I might’ve mentioned something about that before, not sure.

Okay, it’s getting old for me to write about, and I’m sure it’s even worse for you to read about. But I feel like if we stop mentioning it it’s like we’re saying it’s okay. Whether it’s Michael Bay’s ridiculous edits or Paul Greengrass’s wobblecams that opened the floodgates, something happened, and old fashioned notions like geography, coherency, and visual storytelling got buried. The language and standards of action cinema that have evolved and developed over generations have been thrown out the window and it’s become acceptable to just have a quick smear of photography that sort of loosely implies the fights and chases that audiences used to pay money to actually see with their own eyes. I think there’s gonna be a backlash against this type of movie pretty soon, and it’s bubbling up in this new wave of DTV action we’ve all been enjoying. But still, you can’t just let it go. You gotta say something. (more…)

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Highway To Hell

Thursday, June 11th, 2009

tn_highwaytohellAfter determining that Brian Helgeland was responsible for the scene I loved in ASSASSINS I thought I should watch one of his movies that I haven’t seen before. But not his new one (the remaking of Pelham One Two Three) because life is too short for new Tony Scott movies.

So I went way back to this VHS-only cult oddity from Ate de Jong, director of DROP DEAD FRED. This is actually Helgeland’s last credit before ASSASSINS, but it came out back in 1991, when he was still considered a horror guy, having done NIGHTMARE ON ELM STREET 4, 976-EVIL, and some episodes of FRIDAY THE 13TH: THE SERIES. (more…)

Assassins

Wednesday, June 3rd, 2009

tn_assassinsASSASSINS: the word with two asses

Stallone, Banderas, Julianne Moore, Richard Donner. Not a bad roster, but I never heard anything good about this 1995 studio action picture. I’ve had it on my list for a while anyway because the script is credited to Andy & Larry Wachowski and Brian Helgeland. How do you go too wrong with that? Whoever’s script got ditched they were rewritten by somebody good. Either the MATRIX guys or the PAYBACK guy.

Well, overall the movie’s only okay, decent, watchable. Some nice touches, but fairly forgettable. But I gotta say, the first half hour or so approaches greatness. My favorite scene is actually right at the beginning. Stallone is leading another guy out into the woods at gunpoint, obviously to put him down like Old Yeller. Their faces are glum, like this is an inevitable conclusion they’ve dreaded for a long time. Both are wearing nice suits and ties, Stallone is wearing knee-high rubber boots.

Suddenly they get to a marsh. The guy’s shoe sticks in the mud. He laughs. “You know, when I saw you I wasn’t scared, but I did wonder why you were wearing those. Now I know.” (more…)

Only 1 person likes this post. Kinda sad.

Payback: Straight Up – The Director’s Cut

Tuesday, April 17th, 2007

I don’t know how familiar any of you are with Payback, the 1999 Mel Gibson-starring adaptation of Richard Stark’s The Hunter. That’s the same book that inspired one of the all time canonical works of Badass Cinema, Point Blank.

Well, Mel Gibson is no Lee Marvin and writer/director Brian Helgeland (A Knight’s Tale) is no John Boorman. But I think Payback is an underrated movie. It’s a good balance of vicious and funny. It’s got a bit of a ’70s throwback feel and lots of weird touches to make it an indistinct time period. There are rotary phones, and primitive credit card technology that makes fraud more convenient, and the film is washed out with bleach making everything have a pale blue tint to it. You’re not sure when this is supposed to be taking place, which in a weird way reminds me of the experience of reading the books. Most of it reads pretty modern but obviously you are dealing with armed robbers, there is money, communication and security technology that would make some of the stories impossible today. So I sometimes have to check the copyright dates to be sure when this would’ve happened.

Point Blank is the best movie based on those books, but it’s not really faithful to their tone. It’s much more arty, and “Walker” (as Lee Marvin’s Parker character is called) is much more emotional. There’s even a part where he sits on a couch being sad for a long time. They always gotta give Parker too many normal human attachments in the movie adaptations. I think Payback is a little closer to the feel of the book. You side with him, but he always does things that make you think, like James Coburn’s character says, “Man, that’s just mean!”

Let me give you an example of how tough this movie is. Right now the current movie everybody I know is talking about is Grindhouse. In that movie, Freddy Rodriguez plays a guy who is pretty much supposed to be the toughest, most skilled motherfucker on the planet. In Payback, Mel Gibson as “Porter” beats the living shit out of Freddy Rodriguez. He grabs him by the head and tosses him against a wall. Freddy pulls a gun, Porter quickly grabs it out of his hand, punches him in the stomach, nearly makes him puke. Then he turns him around and frisks him. Then he punches him four or five times in the kidneys. Then he rips out his nose ring. Watching the movie back in 1999 I thought “Jesus, they don’t make ‘em like this anymore” and watching it again the other day I thought the same thing. (more…)

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Payback

Saturday, January 1st, 2005

Well in late December as I was preparing to face down the ol’ Y2K problem I got to thinking about the old Mad Max and Road Warrior movies I used to like so much, and that got me thinking about Mel Gibson, the young Australian actor who played Mad Max.

Well okay, I admit that Mel hasn’t amounted to as much as we as a society thought he would back in those days, but that doesn’t mean you can Write the man off entirely. I know what you are thinking, this dude hasn’t done shit since Mad Max so just forget about him. But sometimes even after he’s considered washed up by the general public an actor or actress is still putting out high quality type performances with little recognition.

At the video store I found one Mel Gibson film called Ransom, about a kidnapping. I figured okay this will be good, it’s probaly about a cop named Ransom, I’m thinking most likely John Ransom. Well turns out he’s not John Ransom, Ransom is just the name of the movie and not Mel Gibson. He’s not a cop either, he’s just a rich guy. But his name isn’t Ransom. So I decided to give this one a pass and pickup Payback instead.

Turns out his name is Porter in Payback but at least he’s not some rich guy. He’s not a cop either but come to think of it why the fuck does the star of an action movie have to be a cop anway? I mean nothing against McClane but let’s face it, if you had to pick one occupation of guys you want to hang out with, it’s not going to be a fucking cop, jesus. That’s why I haven’t been watching as much TV lately, I mean if I want to see cops and lawyers I’ll just answer the door. (more…)

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Blood Work

Saturday, January 1st, 2005

This latest directorial work by our greatest Badass Laureate, Mr. Clint Eastwood, didn’t go over too well in theaters. It was barely advertised and it disappeared about as fast as Mr. De Palma’s great FEMME FATALE. I figured how could you go wrong – starring Clint, directed by Clint, written by Brian Helgeland who wrote the Outlaw Award winning picture PAYBACK. But everyone told me it wasn’t too hot, kind of boring, with a predictable plot twist.

Well now I’ve finally caught up with it and although it’s not an outstanding new high for Clint like FEMME FATALE is for Brian DePalma, there is nothing wrong with it at all. In fact any fan of Badass Cinema owes it to themselves to see it as one of the only american pictures relevant to our genre this year. It’s an old school cop thriller but for some reason it reminded me most of IN THE LINE OF FIRE. I think one reason Clint has stayed relevant (well, up until now I guess since nobody saw this one) is because he acts his age. He doesn’t pretend to be a young man even if he’s kissing gals who are younger than him. He is very conscious of being an old man.

So like IN THE LINE OF FIRE his age and health is a big part of the story. It’s based on a novel and apparently Clint had Helgeland write in more health troubles than in the book in order to fit his age better. Chasing down some asshole serial killer, Clint collapses. We cut to a couple years later and he is recovering from a heart transplant. So he’s retired.

But wait! You know he’s going to have to get back in the game somehow. What happens is a young gal tracks him down at his houseboat and shows him a picture of her murdered sister. The sister was an organ donor and this gal has figured out from articles that Clint had to have received her sister’s heart. So she guilts him into looking into this dormant case and seeing if he can solve it. (more…)

Only 1 person likes this post. Kinda sad.

Man on Fire

Saturday, January 1st, 2005

I gotta question I was wondering about. If you had to choose one Scott brother that was better (or not as bad), which would it be, Ridley or Tony? On one hand, Tony has never made a truly great movie like ALIEN or, you know, BLADE RUNNER is a good one too in my opinion. Both by Ridley. Tony’s got nothing on that level. But on the other hand, Tony has a couple okay movies: TRUE ROMANCE and CRIMSON TIDE are both pretty okay. I’m looking on IMDB here and– okay wait a minute, Tony Scott did TOP GUN? I forgot about that one. Never mind. I guess I choose Ridley. Congratulations on this great achievement, Ridley. I remember you seemed pretty pissed off that you didn’t get the best director Oscar for that corny gladiator movie you made. Maybe this great honor will cheer you up. Way to go, champ.

So I guess that makes Tony the underdog here, and he had one this year called MAN ON FIRE that seemed to show some promise as a film of Badass Cinema. Academy Award Winner Denzel Washington (”You shot me in the ass!”) plays an alcoholic ex-CIA killer guy who’s hard up for work so he becomes a bodyguard for a little girl in South America. People get kidnapped there more often than they don’t get kidnapped, so next thing you know she gets stolen and this motherfucker stops at nothing to get her back and/or torture, maim and murder the people responsible. And I don’t know if you ever saw the poster for this one but it was real good. No collage or nothing, just one giant picture of Denzel wearing a suit and sunglasses, looking real tough. Behind him you see nothing but fire and smoke, and he’s standing half way in front of this little girl, holding out one hand in front of her, and she’s wearing a private school uniform and hugging a teddy bear. (You know, for emphasis.) It’s like Chow Yun Fat with the baby on the HARD BOILED poster, only 9 years later. (more…)

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