I use hands to help my fellow man / I use hands to help with what I can / But when I face an unjust injury / Then I change my hand into FIST OF FURY

Posts Tagged ‘Ed Harris’

The Truman Show

Wednesday, June 13th, 2018

June 5, 1998

Truman Burbank (Jim Carrey, THE DEAD POOL, PINK CADILLAC) thinks he just enjoys a normal white picket fence type life mowing the lawn and saying hello to the neighbors and putting on a suit to go work at the insurance company and all that type of shit. He has no idea that his idyllic town of Seahaven is actually a set built on a soundstage so huge it can be seen from space, or that everyone around him, from the random cars that drive past him to his own wife Meryl (Laura Linney, ABSOLUTE POWER, MYSTIC RIVER, SULLY), are hired actors, in on the deception. Literally everything in his life is staged for his benefit.

It sounds like a Twilight Zone premise, and it kind of is: there’s an episode of the ’80s incarnation of the show that’s pretty similar. In “Special Service,” written by J. Michael Straczynski (CHANGELING), David Naughton is shaving one morning when the bathroom mirror falls off the wall and he sees a camera behind it. A serviceman shows up and tries to make excuses but soon has to admit to him that his life is a popular TV show. He seems to be allowed to live in the regular world, though, and the people around him are just cool about keeping the secret until the cat’s out of the bag, at which point he gets mobbed by screaming women. He also got to grow up normal before they started doing this to him five years ago. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

mother!

Monday, October 23rd, 2017

mother! is the new movie! from Darren Aranofsky (THE WRESTLER) and it’s marketed as horror, because… I mean I don’t know what else you would call it either. It is in the business of exploiting our fears, but it’s not exactly a genre story, unless you count the occasional bloody wound festering in a wooden floor. Mostly it’s a heightened, surreal portrait of a marriage. And a house.

Jennifer Lawrence (AMERICAN HUSTLE) is the nameless female lead (credited as “mother”), married to an older man (Javier Bardem, PERDITA DURANGO, credited as “Him”) who’s a famous poet suffering from writer’s block while she looks after him and painstakingly rebuilds his house after it was destroyed in a fire. When some random doctor dude (Ed Harris, knightriders!) shows up at their door, the husband invites him to stay without taking her feelings into account, and this is the breeze that will become a tornado of escalation intrusions, insecurities and violations. By the end she’ll be (spoiler!) caught in the middle of huge riots and uprisings even though she will never leave the house. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Apollo 13

Tuesday, June 30th, 2015

tn_apollo13

RELEASE DATE: June 23
RELEASE DATE: June 30

20 years ago, in the summer of 1995, director Ron Howard (GUNG HO) looked back another 25 years before that to the year 1970.

What does 1970 mean to you? For mathematical reasons I have to think of it as the beginning of the decade of funk, of soul power, of blaxploitation and disco. The decade of Scorsese and Copolla and DePalma, and JAWS and STAR WARS. But really it’s more like a bridge from the ’60s. Sly and the Family Stone were still performing, Bruce Lee was on the rise, James Brown put out “Funky Drummer,” “Brother Rapp” “Get Up, Get Into It, Get Involved” and “Get Up (I Feel Like Being A) Sex Machine.” It was the beginning of PBS, Black Sabbath, Doonsebury and DJ Quik (who was born), but it was the end of the Beatles (who broke up, but released Let It Be) Janis Joplin (who went on the Festival Express, but died) and Jimi (who played the Isle of Wight Festival, but died). It was the year after Woodstock and the war was still going. It was the invasion of Cambodia abroad and the Kent State shootings at home. Basically it was a bubble of time floating in the middle of war and protest and multiple cultural revolutions.

Ever the square, Howard (who had spent part of his 1970 guest starring in a Lassie two-parter) made a period piece that’s a worshipful tribute to people completely removed from all of that. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Run All Night

Monday, March 16th, 2015

tn_runallnightAlthough he’d already done HOUSE OF WAX and GOAL II: LIVING THE DREAM, it was ORPHAN that brought director Jaume Collet-Serra to my attention. I gotta admire a director whose movie I go to thinking I’m gonna be all ironical on it and then it defeats me with its audacity and genuine cleverness. So far that’s the height of his output, but I keep going back.

I guess I’d be watching them anyway, because his ORPHAN follow up has been three Liam Neeson vehicles in a row. UNKNOWN was a somewhat forgettable twisty thriller with some good touches here and there. Apparently I forgot to even post a review of it, but the part I remember liking best was some awkwardness between Neeson and Diane Kruger where they laugh because they’re in her small apartment and hear sex noises from next door, and that turns out to be set-up that her walls are thin enough for him to throw a guy through. NON-STOP was more my speed, a fun take on a confined-location-high-concept with some pretty interesting political subtext. Now the third one, RUN ALL NIGHT, takes the collaboration in a different direction. There’s less emphasis on the thrillery gimmicks and more on the character drama.

Oh, hey, this might explain it: it’s a screenplay by Brad Ingelsby, the guy that wrote OUT OF THE FURNACE. That’s another movie that uses badass genre elements but is more interested in exploring relationships than in satisfying expectations. (Though this one does have shootouts and car crashes.) (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Gravity

Monday, October 7th, 2013

tn_gravityGRAVITY is the new one from Alfonso Cuaron, genius director who hasn’t done one since CHILDREN OF MEN seven years ago. You remember for that he and his criminally award-snubbed cinematographer Emmanuel Lubezki (THE TREE OF LIFE, THE CAT IN THE HAT [!?]) devised several completely jaw-dropping long take shots where the protagonists run through these crazy battles and go through all kinds of shit without any visible edits. Remember that scene where the car is rolling down the hill and they get attacked by a band of marauders, or the one where he has to fight his way up the stairs looking for his elephant? Or actually I think one of those was TOM YUM-GOONG. But even so there were some great ones in CHILDREN OF MEN, and for GRAVITY they took that to the next level, doing most of the movie in long unbroken takes. You just stop thinking about it, but apparently the first shot lasts 17 minutes. And this is in an era when 17 seconds without a cut would seem like a long time.

Like AVATAR, this plays like a live action movie but actually has more animation onscreen than organic human flesh. Sandra Bullock and George Clooney play astronauts who are out in their astronaut suits fixing a satellite or telescope or some scientifical type shit when debris from an exploded satellite wrecks the shuttle and kills the rest of their crew. They have no contact with earth, no space ship and limited resources they gotta try to use to get their ass to the International Space Station or whatever. One of those space joints they got up there. Stop me if I use too much technical jargon and what not. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Rock

Wednesday, August 17th, 2011

tn_therockNo man, I don’t got a problem. I just watch Michael Bay movies recreationally. I don’t gotta watch them when I wake up or nothin. It’s just every once in a while. I only watched PEARL HARBOR ’cause I was doing all the summer of 2001 movies. And TRANSFORMERS 3 because I thought it would be funny. Then people said I should watch this one. It’s not a big deal, man. That’s not that many. You don’t know what you’re talking about.

(read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Abyss

Saturday, November 14th, 2009

tn_abyssTHE ABYSS is probly James Cameron’s most original movie. It’s not primarily based around people getting killed by a monster or a bad guy. It’s more like man vs. scientific challenge, trying to fix things, to not run out of air, to survive the pressure (both literally and figuratively) of being deep underwater. Okay, so Michael Biehn snaps from a bad case of the Underwater Blues, and they gotta fight him, but most of it is more problem solving and scientific analysis like APOLLO 13 or QUATERMASS AND THE PIT. And then it turns into CLOSE ENCOUNTERS OF THE THIRD KIND. And a little 2001. But underwater, so it’s completely different. Water is different from space. You can’t drink space. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Appaloosa

Tuesday, January 27th, 2009

APPALOOSA does have a little post 9-11 political relevance, but for the most part it’s a straight ahead western. I’ve talked to some people who thought it was too slow or needed more gunfights, so if that’s what you’re looking for, beware. It’s a character piece about two gunmen who’ve gotten real good at dealing with assholes and cleaning up small towns overrun with bandits and bullies.

If the cast was just nobodies it might not work, instead we got Ed Harris (also director) as Virgil Cole, Viggo Mortensen (not director) as trusty sidekick Everett Hitch. Virgil has aspirations to become a legitimate lawman, Hitch has an 8-gauge shotgun. They come into the town of Appaloosa to work for the elected officials who’ve been shoved aside by Jeremy Irons, a tyrant whose big shot status comes from claims he’s friends with Chester A. Arthur (come on, everybody uses that one). Him and his gang run the town, everybody’s afraid of them, the usual. So our boys become marshals and to everybody’s shock they have the balls to start arresting people, and the shit and fan quickly become intimates. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Brace yourselves! Vern reviews Cronenberg’s A HISTORY OF VIOLENCE!!!

Friday, September 23rd, 2005

SPOILER ALERT !!

Ahoy, squirts! Quint here with our own Vern who tells ya’ straight about David Cronenberg’s A HISTORY OF VIOLENCE, a film I was scheduled to see last night, but I ended up sneaking into a test screening for a much anticipated horror flick instead. I figured I can see HISTORY OF VIOLENCE much sooner than I’d see this other film, so I ditched out of the screening. I’m dying to see it, though!

Now Vern’s review doesn’t go into any deep spoilers, but he talks about a little bit of stuff not in the trailer, so I went ahead and smacked a spoiler warning for the purists out there. As always, Vern did a bang-up job and wrote a piece that had me laughing along. Enjoy!

Harry and friends,

First of all Moriarty, to finish up that debate we were having over in your talkback, porn is not boring. At least not if you’re jerkin off to it. And if you’re not jerkin off to it you’re not giving the picture the respect it deserves. That’s like doing a crossword puzzle during a subtitled movie and then saying the movie didn’t make any sense. I know Alberto Gonzales recently declared a “war on porn” one of the administration’s highest priorities, but don’t write off the merits of hardcore porn without giving it a fair chance. Let’s show some class here, bud. That’s first of all. Second of all, I got a review of David (JASON X) Cronenberg’s excellent new picture A HISTORY OF VIOLENCE starring Viggo Mortensen. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Absolute Power

Friday, January 14th, 2005

Okay, so everybody in their right mind loves the old Clint Eastwood pictures, and most people and critics love the Serious Clint Eastwood Pictures like Unforgiven, Mystic River and now Million Dollar Baby. But the period between Unforgiven and Mystic River is kind of an ignored period. The in between period is not as Serious or Important as those movies and they usually get mixed reviews. Well I was busy at the time so I missed most of these but now I decided to catch up starting with 1997’s Absolute Power.

Now this is a suspense thriller and the way it unfolds, it almost reminds me of a less flashy Brian DePalma. It even has the old DePalma voyeurism. But what I’m talking about is it takes its time setting up all the pieces and giving you the information you need a chunk at a time. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.