Logan: Comic Books Characters Transformed By The Movies (BRWC)

Those anticipating Hugh Jackman’s last roll of the dice as Wolverine will have noticed something different about the clawed crusader. Publicity for the film depicts Logan as he’s never been seen on the big screen before. With this fresh visual take on an MCU stalwart about to slash its way into cinemas, now is a good time to look back at other classic comic book characters who got a major makeover, courtesy of those handed the keys to their respective franchises.

Sometimes a visionary director will dictate a new style. Sometimes a new element will be brought in from the printed page, as yet unknown to a casual audience. And every so often sheer lunacy rules the day! Either way, the business of bringing these illustrated icons to life in a movie is one fraught with peril, as the beady eyes of comic book fans prepare to deliver their all-important verdict. Who got it right and who burned in the fires of online forum hell forever…?

Read on…

Advertisements

The Commitments At 25: Robert Arkins, Ken McCluskey & Dave Finnegan Interview (The Hollywood News)

tc1Extraordinary as it may seem The Commitments has reached its quarter century. This unlikely smash hit followed the fortunes of a group of young Dubliners scaling the cliff-face of soul to find fame and fortune. Their journey captured the imaginations of audiences around the world and made stars of its then-unknown cast.

The movie is a bittersweet story but one which had a happy ending for the actors, many of whom were given a unique opportunity by veteran director Alan Parker, bringing writer Roddy Doyle‘s novel to the screen.

We had the pleasure of catching up with Robert Arkins (band manager Jimmy Rabbitte), Dave Finnegan (mad drummer Mickah Wallace, who joined the interview part-way though) and Kenneth McCluskey (bass guitarist and butcher) for a trip down their respective musical memory lanes.

Robert Arkins

Robert Arkins

THN: Does it feel like twenty-five years?

Robert Arkins: We can’t forget! We’re reminded of it every day! (Laughs) You can’t avoid it, you can’t hide…well you can try! It would maybe seem like more to some people…

Ken McCluskey: It’s amazing isn’t it? Twenty-five years ago we were all young chaps and here we are now. The film is legendary, we’ve travelled the world. I don’t think there’s anywhere the movie hasn’t been.

THN: I presume you’re all good friends so it feels natural for you to get together…?

RA: Yeah exactly. It becomes a part of life, we have a bit of fun, but the film as films go is fantastic. It’s spread the word of the music to a lot of people and made a lot of people very happy so that’s the main thing.

Kenneth McCluskey, Félim Gormley & Dave Finnegan

Kenneth McCluskey, Félim Gormley & Dave Finnegan

THN: A big part of why the film succeeds is the way it combines a cast who were unknown back then with a seasoned director, Alan Parker. What was it like working with him?

RA: For me, the fact that he chose us individually and made up his mind gave me confidence to go in and do something I’d never done before. He was looking for a bit of this and a bit of that. A bit of light and shade. That was pretty much what he’d say most of the time for me! I don’t know, how do you feel about it Dave?

Dave Finnegan (having just entered the room): Feel about what?

THN: Is that Dave? Did you hear the question?

DF: No. (Laughs)

THN: I was just asking about the filming and how it all went…

DF: The movie was like an open thing. Usually with films actors have agents and it goes through that process. They advertised these auditions in shops and pubs so everybody went for it. I was spotted playing in a band, I didn’t even see the posters to be honest with you. The casting directors came and looked at us and said: ‘This section can go for this character, and that section can go for that character…’ Eventually when I met Alan Parker and auditioned he tried to get that aggressive character out of me, and he succeeded. He knew just by looking at people what he could get out of us, you know? And unfortunately I got the wild guy! (Laughs)

THN: Do you have an abiding memory of the shoot?

RA: There’s a scene where Joey “The Lips” (Johnny Murphy) is driving down the lane on his motorbike. I’m down the lane standing behind the camera with Alan and the crew and Johnny, who’s not very good at driving the motorbike, it was probably his first time… basically he comes down the lane, goes to try and park, smashes into the wall and falls over. We all cracked up and it ended up staying in the film!

tcTHN: A key element was creating a convincing band. How did that come together in terms of rehearsals and shooting the gigs?

RA: Well the film was shot in sequence. But we did two weeks of rehearsal where we ran through all the gig scenes and all the scenes where everybody was together as a unit, the backstage thing so we could get the synchronization working.

KM: Yeah, we got our characters to develop. Alan Parker actually started changing the book. Some of my lines were switched with Outspan (Glen Hansard) so he could develop it properly. When we were filming he’d say ‘I want you to say this instead of this.’ That’s the way he worked. He knew what he was doing, he had it all in his head. He was a genius, having all these characters in his head and knowing what he was going to do.

THN: Was Roddy Doyle involved much in the filming?

RA: No, I met him on set and had a chat. He just wanted to come down, he was curious. You know how it is, writers hand over the baby, depending on the deal. They don’t really have much of a look in after that.

KM: He wanted to come down to see what had happened to the characters. He seemed happy.

Ken McCluskey

Ken McCluskey

THN: The Commitments provides a nice antidote to the Simon Cowell method of nurturing talent. Do you think it’s a good film for aspiring musicians to watch?

RA: (Laughs) There is a good lesson to be learned for young people. If you’re going to get into it, get in for the joy and pleasure of playing the music and the craft. Then at the end of it the band breaks up, so the reality of it is not everyone becomes famous. It’s about luck. There’s a lot of people out there who are very untalented and become very successful. And then there’s the opposite, people who are extremely talented who don’t get lucky at all.

DF: That’s very true. The Commitments wasn’t a band as such, we all came from different kinds of bands. We were jamming in our bedrooms and playing in pubs. Nowadays it’s different.

This review appeared on THN.

“We’d wrap a work day and we’d all be covered in dust and snot and tears…” Jeremy Saulnier ‘Green Room’ Interview (The Hollywood News)

GR 3Jeremy Saulnier is a colourful director. I mean this in more ways than one – his breakout feature was the bloody and brutal Blue Ruin (a favourite here at THN) and he’s followed that up with Green Room, which takes the spectrum of violence to a whole new level.

The action horror thriller sees a group of disaffected punk rock youths (including Anton Yelchin and Imogen Poots) fall foul of a neo-Nazi movement at a gritty venue. Their gig takes a nightmarish turn when they stumble on a murder scene, putting them squarely in the firing line of an army of skinheads, led by the surprising choice of Patrick Stewart.

Praised by critics for its unflinching use of ultraviolence, it’s left its mark on gore fans and further established Saulnier as a helmer to watch. That’s if you haven’t clamped your fingers over your eyes against the carnage. We got on the phone with him for a chat about the distinctive cinematic thrashing…

GR 1

Where did the scenario for Green Room come from, and what made you decide on skinheads versus punk rockers?

The idea was gestating for a long time, it felt very natural. A lot of my films sprout from environments and I figured I wanted to do a movie set in the punk rocker hardcore scene, just because it’s such a part of my youth, I knew it very well and I don’t see it done in an authentic way very often. You set a film in that world and it often takes place in a venue. What if I could have my cake and eat it too, where I’m in a punk rock world and there’s a live performance happening, and it converges with a traditional genre movie, and to fuse those worlds together? So I thought the ideal place would be the green room backstage. It has a little access. It’s part of the world yet separate. And it’s the same reason I had skinheads as adversaries, because they’re part of the punk rock world. They’re natives, you see them at a show and it’s believable, but they’re also at the fringes and separate from the subcultures within punk rock. I saw them as soldiers. They would be the most likely to be organized in criminal activity, the structure and hierarchy – they take marching orders, they actually wear combat boots. It lined up pretty easily for me.

The film is incredibly violent. How did you work that out in terms of the choreography?

I’d pre-visualized the concert venue and we actually built that as a soundstage set, constructing the whole thing from scratch. Being able to design the environment meant a lot less of a translation problem when I went from script to screen and did the choreography. The blocking was already halfway there. I covered the action and make up because I grew up making movies that way, my partners and I were big into action and horror and zombie films and whatnot. That was really fun for me. I’ve used that skillset for twenty years.

Obviously it’s intense to watch. What was the atmosphere like on set?

The days were intense as we had to keep that level of emotional continuity. There were a lot of very intense exchanges, pleading and crying and screaming. So it gets to that level between takes, over and over to cover the whole scene. It’s emotionally and physically exhausting for sure. From the very beginning we cast the movie in a way where we knew we’d feel safe and comforted by each others’ mutual respect and investment in the characters and story we were telling. So it was really quite nice and supportive! We’d wrap a work day and we’d all be covered in dust and snot and tears… even some of the crew members would start crying because it was really intense to watch. Very harrowing and very real. But then we’d have a nice little decompression session and they’d get a bite or a drink. It’s a rare thing I imagine where every single actor is incredibly gracious and great to be around. It was a treat for me.

GR 2

Tell me about Patrick Stewart’s involvement. Did he have much input into his character?    

He came to the film late in the process, he kind of swooped in and saved the day for us. We wanted a real presence for the role of Darcy Banker and he was looking for material, and it was perfect for us in terms of the timing and our mutual intentions. He loved how dark it was, and the intense atmosphere. He just kind of jumped on board, it was very high risk. The only thing he wanted more of was a little insight into his backstory. He did his own research, which was great and we also gave him a narrative history of his character based on a lot of research I had put together. The great thing for me was he asked for nothing to be done to the script to accommodate him, he just needed to get his bearings and have a little more to dig into, so once he had that he was on a plane to Portland and he was making the movie, it was crazy!

How did you go about realizing the female side of the film in this testosterone-driven environment? Imogen Poots’ role for example…?

For Imogen’s character it was really about experimenting with the traditional female role in this kind of movie. At first we don’t pay her much attention. She emerges from the shadows and develops, becoming a lot more present, and that was really good to go there and have her take on a traditional male role. The thing about Green Room is that estrogen is just as powerful as adrenaline… or testosterone rather! (Laughs) But they can be joined together through adrenaline! And doing that in a pressurized scenario was really fun.

GR 4

This interview first appeared on THN.

Dem Bones In Da Movies

JA 2We’ve all got them. We just don’t like to think about them. Nevertheless bones are everywhere in the movies. Most commonly they’re used in horror flicks to get a quick and easy shock reaction. Nothing reinforces the grim reality of death better than a skull, or spectral finger pointed in the audience’s direction.

Dig a little deeper however and you’ll find bones have been employed creatively throughout cinema history. Whether entertaining children or even hinting at the nature of the universe, there’s a lot more to the matter than meets the eye… well, ocular socket anyway.

So make sure you’ve drunk your milk because I’m taking you on a rattling good tour of the various ways in which moviemakers have made us aware of what lies just under the skin…

INDIANA JONES & THE KINGDOM OF THE CRYSTAL SKULL

IJ CS​​Harrison Ford may find his next foray with a fedora and bullwhip rather poignant, as the pensionable adventurer excavates yet more danger and derring do for Indiana Jones 5. Spooling back to 2008 though, his last outing featured the remains of an ancient civilization, but one of the like he’d never seen before.

Kingdom Of The Crystal Skull brought Indy face to face with a bonce of unimaginable power, in a belated tale of father-son bonding, flesh-eating ants, Cate Blanchett going the full smoked ham and the important advice that you can avoid a nuclear blast by hiding in a fridge.

The big finale, set in an Amazon temple, saw the crystal artefact’s true purpose revealed – in a first for the series Dr Jones got introduced to aliens, and director Steven Spielberg wasn’t in the mood to make them cuddly. The producers put all their eggs in one basket for a climax that had something for everyone… and at its centre was that eerie, all-knowing skull.

CAPTAIN AMERICA: THE RED SKULL ​                                                            RS

The star-spangled shield slinger is really up against it in the Marvel Cinematic Universe at present. Having battled Ultron, he’s locking horns with former friend Iron Man for his third movie, Civil War. But there’s only one true nemesis for Captain America – old war foe The Red Skull.

His terrifying appearance was due to an attempt to become a supersoldier like Chris Evans’ title hero, an experiment which went ever so slightly wrong. Cap then took on Skull over possession of the fearsome Tesseract, a relic capable of giving its user unlimited energy.

This bald bad ass has the full complement of evil credentials. He’s a Nazi. He has an insatiable thirst for power. And above all he’s only got half a face. Woe bedtide the underling who suggests he needs a nose job.

DON’T BE AFRAID OF THE DARK: TOOTH FAIRIES

DBAOTD

Mad Mexican helmer Gullermo del Toro has a tendency to take established ideas and give them his own warped spin, to great critical and commercial effect. An obscure TV movie about goblins became a passion project for him forty-odd years after it first aired – 2010’s Don’t Be Afraid Of The Dark.

Handsome yet haunted couple Guy Pearce and Katie Holmes moved into a perilous pile of prime real estate that unbeknownst to them had a history of carnage, care of some child-seeking tiny creatures. The dark dynamo reworked these as tooth fairies, though left the directing honours to comic book guy Troy Nixey.

Why tooth fairies? Because they liked to feast on your pearly whites of course! The monsters enjoyed getting their teeth into your teeth, a concept del Toro had previously explored in Hellboy sequel The Golden Army.

ONE OF OUR DINOSAURS IS MISSING: APATOSAURUS SKELETON

OOODIM

​While you’re marvelling at the rampaging skinless T-Rex at the centre of the Night At The Museum franchise, spare a thought for the movie that came first in that predatory respect –  1975’s One Of Our Dinosaurs Is Missing.

The Disney classic featured the Natural History Museum as the venue for slapstick-fuelled mayhem. The multi-boned Apatosaurus exhibit was chosen as an unlikely place to hide a microfilm by crusading Brit Lord Southmere (Derek Nimmo). From there ensued a battle of wits between the Chinese government and, erm, some nannies.

The film is well-remembered for the spectacle of the former flesh eater being driven around London on the back of a steam lorry. The presence of Peter Ustinov as ethnically questionable character Hnup Wan – alongside Carry On stars Joan Sims and Bernard Bresslaw – also raised eyebrows.

THE NIGHTMARE BEFORE CHRISTMAS: JACK SKELLINGTON

JS

One of the most famous onscreen skeletons of all wasn’t made of calcium but modelling clay. Tim Burton proved the perfect candidate to create a heartwarming family tale based on his dark verse, which made Jack Skellington the all-singing, all-dancing focus. Henry Selick sat in the director’s chair, moulding the movie’s plasticine legs.

The story is as well-known as a Grimm’s fairy tale, but in case you’re out of the loop, here it is. Skellington was the toast of Halloween Town, until he stumbled upon Christmas Town, and his whole attitude to life changed as he attempted to bring the two sides of the coin together for a bizarre and brutal festive experience.

Jack had quite a pedigree behind the scenes – his elegant vocals came courtesy of regular Burton composer Danny Elfman, but his lines were delivered by Chris Sarandon, better known as vampire hunk Jerry Dandrige in the original Fright Night.

JURASSIC PARK: RAPTOR CLAW

JP

​Sometimes the smallest things can be the most powerful, an idea ably demonstrated by Steven Spielberg in 1993 game changer Jurassic Park. It wasn’t all giant scaly horrors running around the place gobbling up lawyers and giving Newman from Seinfeld a venom facial.

Before we even saw a “living” dinosaur we were introduced to rebel paleontologist Alan Grant (Sam Neill), who gave a mouthy young scamp an education on velociraptor hunting habits at a dig site. His illustrative tool? A rather nasty-looking claw. As the accompanying picture shows it wasn’t long before the kid was seeing those so-called relics in a whole new light.

It was in many ways a quiet scene, but one underscored by a playful bite. Neill’s laid back tones, contrasting with the vivid subject matter being described, set the scene for the theme park-based action horror fest to come. The actor returned for Jurassic Park III. Sadly the claw didn’t.

THE SKULL

PC TS

Though Hammer Studios made a lasting mark on the British horror film it’s easy to overlook the contribution of Amicus Productions, who specialized in gore-filled compendiums. These typically depicted several grisly chapters under the umbrella of one movie. In the mid-Sixties they had a go at beating Hammer at their own game in our next bony slice of terror, The Skull.

Based around the idea of the late Marquis de Sade’s noggin being detached, enabling the decapitator to use its evil powers, the story (by Psycho’s Robert Bloch) starred Peter Cushing as a supernatural anorak who came into possession of the title object, complete with terrifying telepathic abilities. This inanimate neck topper left a trail of death and destruction in its cranial wake.

The Skull has unfortunately not survived well against the likes of Dracula: Prince Of Darkness and The Devil Rides Out, but it carried a welter of talent both in front of and behind the camera: Christopher Lee and Michael Gough shared the screen with Cushing and Freddie Francis lined the lurid lenses.

2001: A SPACE ODYSSEY: BONE THROW

2001

​The most important bone on this list (stop sniggering) is also the most important in human history, according to Stanley Kubrick’s epic 1968 collaboration with Arthur C Clarke. Trying to get the story of 2001 down in one paragraph would be stupider than a neanderthal eating his own dung, but here are the basics.

Back at the dawn of intelligent life on Earth a monolith appeared, heralding a strange, ominous, mysterious and beautiful introduction into the world of an interplanetary power. Got that? Good. In a lengthy opening sequence we hung out with primitive humanity as they eked out their existence on the barren landscape.

One particular primate discovered the power of a bone as the way forward for his species – an emblem of Mankind’s capacity to create and destroy. He promptly chucked it into the air, where Kubrick cleverly cut from its spinning trajectory to that of a ship hanging in space. The scene straddled our primal past and hi tech future in one striking gesture.​

PREDATOR 2: XENOMORPH TROPHY

P2 AS

This nod to the Dark Horse comic looked like a throwaway thing, but turned out to be the biggest blink and you’ll miss it moment of recent times. ​It was just a fleeting appearance, but the in joke of a xenomorph skull on a spaceship in the latter’s Arnie-free sequel created a momentum that led to a whole other horror franchise.​

Danny Glover felt too old for the shit of Lethal Weapon, but was the right age it seemed for this crock of urban action, which relocated the title monster from the great outdoors to the City of Angels. The climactic scenes saw Glover access the Predator’s crib where he stumbled on its macabre trophy collection.

Over a decade later the potential was capitalized on with Alien vs Predator. It didn’t receive a red hot reception, but gave rise to a bizarre follow up, in addition to the dreadlocked death dealer taking centre stage again for Predators.

JASON & THE ARGONAUTS: UNDEAD ARMY

JA

Animator Ray Harryhausen was one of the driving forces behind stop motion production. If he hadn’t sat there patiently manipulating and snapping all those fantasy creations we wouldn’t have had the spectacles of the Sinbad movies or Clash Of The Titans. From Minotaur to Medusa, he gave generations of kids nightmares.

Jason & The Argonauts, my final entry, was one of his crowning achievements. The bronzed and bearded Todd Armstrong went on a quest across the exotic and creature-strewn Colchis, in search of the fabled Golden Fleece. He encountered various fully-poseable beasties, but Harryhausen saved the best and indeed boniest for last.

The final section of the film showcased a massive swordfight between Jason’s men and a team of skeletal warriors brought up from the earth by the evil Aeëtes​. He even used the teeth of the fearsome Hydra as seeds from which to grow the menace. This sequence is so perfectly executed, blending actors and effects, that it still looks as impressive now as it did back in 1963.

10 Film Sequels That Went In Wildly Different Directions (WhatCulture)

PS ICThe psychology behind a sequel is simple: more of the same, and usually bigger. After all, since the first film was a great success, why change a winning formula? While it’s generally accepted that a follow up won’t match the original, producers can always rely on dollar signs as a motivating force.

Over the years, scores of audience members have sat in the cinema only to emerge two hours later wondering why they bothered. The bloated spectacles of Speed 2, Bad Boys II and Escape From LA are testament to that.  However every so often that rule is broken, and a director will try something different with a new instalment. From a shift in tone to a complete change in storyline, there are sequels out there that mean more than an increase in budget and a digit jammed onto the end of the title. Here we take a look at ten of the best/worst examples…  Read more.

Brilliant But Blatant Movie Product Placements (The Hollywood News)

AS CTMUK TV viewers are currently being treated to the sight of Arnold Schwarzenegger being blackmailed by two nattily-dressed Eastern European meerkats. Tied in with the release of Terminator: Genisys, this is an advert for car and home insurance – now the T-800 has popped up in some odd places, but lending itself to a company that helps you when your water pipes burst? That’s a whole new level of terror. As the star reaches pensionable age, so the endorsements get more staid and sensible.

What with Sylvester Stallone flogging sliced bread and Jean-Claude Van Damme karate’ing his way round his own ice palace for a popular beer brand, it seems Eighties action stars are really starting to build those nest eggs. It isn’t a great surprise to see these commercially-minded butt-breakers sign up for the big bucks – after all Schwarzenegger, Stallone and Bruce Willis made a hefty mint out of the Planet Hollywood restaurant franchise. Yet when the likes of George Clooney, Cate Blanchett and even Al Pacino start appearing in your home hawking various products and services it opens a different chapter on the history of movie stars mingling with the Mad Men.

Bill Murray mildly spoofed stars who absconded to foreign territories to peddle rubbish in Lost In Translation. However these days the business of plastering your face onto a money-making exercize is viewed with less embarrassment, to the extent that Sean Penn weighed in to criticize his fellow actors for being quite so quick to open their wallets. Mind you, he’s a fine one to talk, as our list is about to demonstrate!

Here we take a moolah-strewn peek at the complex relationship between the film industry and advertising. Along the way we uncover some alarming examples of Hollywood shunting brand names front of camera, in creative or often just blatant fashion. This is the art of extracting cash from unsuspecting punters, and where better to start than our first choice, a man who earns a crust from being covert? Well, as covert as a handsome man in a tuxedo doing major stunts in capital cities can be…

JAMES BOND (1962 – present)

JB

The 007 franchise has been a bandwagon of luxury brand names for decades. From the Aston Martin he drives, to the Walther PPK he shoots people with, right through to the tipple he enjoys after a hard shift beating up bad guys and bedding beauties (Martini, shaken not stirred) this agent has a licence to print money as well as kill.

Today’s Bond is no different, with watch manufacturers, fashion houses and even purveyors of fragrances courting Daniel Craig‘s attention. Be it deploying one of Q’s gadgets, checking the time to see whether the bar is open or tearing up the streets of an exotic location, there’s a queue of corporations as long as Richard “Jaws” Kiel‘s arm waiting to put their stamp all over the latest adventure.

There are too many examples of product placement in the Bond movies to catalogue here, but my favourite was Pierce Brosnan‘s Nineties superspy driving a remote control BMW off a roof in Tomorrow Never Dies… landing it perfectly in the window of a Hertz rental shop!

CARRY ON UP THE JUNGLE (1970)

SJ

The Carry Ons epitomized the idea of a long-running film series way before the blockbuster entries of Hollywood. Featuring liberal helpings of irreverence and outright sauce, their approach was also characterized by the product placement on offer. It’s perhaps appropriate that iconic star Sid James became the arch exponent of this.

Known to be partial to a drop of Scotch whiskey, he took his interest to new extremes for studio-bound tropical romp Carry On Up The Jungle. In an infamous sequence he opened a cabinet, where an obscene amount of Johnny Walker Red Label was seen inside!

Ranking as one of the booziest movie scenes since Richard Harris and Richard Burton sat down for a chat and a vat of spirits in The Wild Geese, the unexpected and, more importantly, distilled addition to the shoot ensured both the actor’s representatives and his thirst were satisfied.

BLADE RUNNER (1982)

BR

Director Ridley Scott‘s visionary sci-fi epic impressed audiences in many respects, bringing them a neon-soaked urban landscape the likes of which they’d never seen before. One of the factors which rang true was the generous helping of brand names lit large amongst the giant geisha faces and the pollution.

Everyone recognized Coca-Cola, but the film also highlighted other logos that reflected the Eighties as much as a futuristic vibe. Atari and Pan-Am were two of the major entities on the list that either changed and vanished into the smog in ensuing years.

Interestingly, there is a “curse” associated with the machine-hunting masterpiece. A noticeable number of companies who got displayed prominently wound up going the way of the replicants! I wonder who’ll be queueing up to have their wares splashed all over the upcoming sequel like a robot’s brains…?

GHOSTBUSTERS (1984)

GB

Dan Aykroyd and Harold Ramis‘s lucrative comedy spawned a lot of merchandise, and these two savvy humour-mongers may have had their gameplan worked out to perfection – the ectoplasmic quartet were branded with a distinctive logo, Ray Parker Jr.‘s catchphrase-heavy title track became the anthem for a generation and the “ugly little spud” Slimer was a toymaker’s dream come true.

Yet the writers also cannily included everyday products in their concept, some of which must base part of their revenue on the basis of ‘Buster involvement. American sweet treat the Twinkie got a name check in a legendary piece of dialogue from Aykroyd’s Ray Stantz. And then there was the small matter of the Stay Puft Marshmallow Man.

A massive dude made of marshmallows dressed in a sailor outfit may have been fairly low on the list of global threats up to that point, but you can be sure the citizens of New York found him pretty damned horrifying after he tried to wreck the city in a fondant-fuelled rampage! How the incident affected Stay Puft’s profits has yet to be revealed.

U-TURN (1997)

UT

When you find yourself stranded in the middle of nowhere, in a dustbowl hotter than Ricky Martin’s jockstrap, you’re going to get thirsty, right? That was exactly the type of hard-boiled nightmare experienced by Sean Penn in Oliver Stone‘s vicious thriller U Turn.

While Penn’s character Bobby found numerous distractions in the remote community of Superior, most notably Jennifer Lopez‘s femme fatale Grace, it was the prominent appearance of a lower level brand name that gave viewers the impression they were suddenly watching the world’s harshest soft drinks commercial.

Usually a vending machine in an American movie is full of the all-powerful elixir that is Coke. However, when Bobby really needed to drench his parched throat after a battering Stone opted for the lesser-known Dr Pepper as the town’s speediest source of refreshment. Penn may well look back on this scene and shudder, bearing in mind he took A-Listers to task recently for their flagrant ties to advertising!

As long as the film business earns money, the big beasts of commerce will always be looking to make a deal. But it’s an interdependent thing between art and acquisition, that shows no sign of either party wanting to kick the other out of bed.

This feature appeared on The Hollywood News

Trash Blu-Ray Review (The Hollywood News)

Political corruption and intrigue form the backdrop to Trash, an involving action thriller set apart by two things. First, the unusual location – the slums of Rio De Janeiro, dominated by their mountains of litter. Second, the perspective – it’s seen mainly through the eyes of three kids who stumble upon a hotbed of deception that changes their lives forever.

Raphael (Rickson Teves), Gardo (Eduardo Luis) and the delightfully-named Rat (Gabriel Weinstein) earn their meagre living sifting through what society dumps quite literally on their doorstep. But when Raphael discovers an abandoned wallet pitched into a passing garbage truck by man-on-the-run José Angelo, he finds it contains a strange document. Unbeknownst to the boy, Angelo has been apprehended and murdered by the police at the behest of a prominent politician, and with no information extracted the authorities begin combing the trash heaps to recover whatever it is that holds their future in the balance.

Stephen Daldry is the director, which surprises as you don’t normally associate him with this type of movie. Even more eyebrow-raising is Richard Curtis‘s involvement, adapting Andy Mulligan‘s novel. Curtis has a well-developed social conscience but Trash is strong meat for the writer of Love Actually. The viewer needn’t worry as both men do a decent job – they’ve crafted a proper thrill ride, featuring some great chase sequences and moments of pulse-pounding suspense.

They opt to show the children commenting on the majority of the action via a video confessional made later in the movie, hence reassuring us of their safety throughout. This is just as well, as the film doesn’t do things by halves. Like with Slumdog Millionnaire the villains don’t go easy on the protagonists because they’re kids – one sequence in particular where Raphael is tortured by warped cop Gonz (Selton Mello) is very difficult to watch. Overall however the tone is well-judged, balancing pathos with a light touch (these are wayward boys after all), in numerous scenes which leap off the screen.

This is intended to be an entertainment first and foremost, so inevitably the social context fades into the background. For preference I would have liked more detail about the country and indeed the lads themselves as characters. To the filmmakers’ credit it should be noted they hammer home some stark truths in the closing minutes. Some extras about Rio’s upheavals would have been beneficial, but unfortunately the release carries just the film, which is a major missed opportunity. Another minor criticism is you don’t get a thorough understanding of what Angelo was opposing in the first place, beyond a general idea. But there’s certainly enough to go on and the piece has a strong ending, with a showdown in a cemetery as satisfying as anything from a Jason Bourne chapter.

Martin Sheen and Rooney Mara are good as a priest and a nun working in the slums, but really they’re providing support for Daldry’s trio of young actors, who are a triumph and the movie’s main selling point. By parachuting in two American faces the director has managed to realize what is essentially a foreign language film on the scale of a Hollywood outing. He could so easily have had everyone speaking English, but resisted the temptation to his credit.

Whether Trash will live on as a statement about the desperate situation in a little-seen part of the world, or if it’ll wind up as just another title on the DVD shelves remains to be seen. As an involving two hours it succeeds in spades. Its legacy on the other hand has yet to be judged.
This review appeared on The Hollywood News.