Review: "Looper"

An abridged version of this review was originally posted in my column at Towleroad 

"Time travel hasn't been invented yet," Joseph Gordon-Levitt warns us from 2042 in LOOPER's voiceover. "But in the future it will be." In 2072 crime lords send their victims back in time to be killed by "loopers"  like Joe since it's the only way to get away with murder. (Apparently infallible forensic science has also been invented in the future!). 

Loopers dispatch their prey unceremoniously with a crude descendant of the shotgun called a  "Blunderbuss" which is useless at long distances but impossible to miss with up close. When each Looper's contract expires, his older self is sent back to his younger self for execution which is called "Closing the Loop". In this case that's Bruce Willis sent back in time to meet his death at the hands of Joseph Gordon-Levitt in Bruce Willis drag. (Joe's makeup effects, though extraordinarily non fake-looking are initially distracting -- JGL doesn't look like that!) 

Nothing kills genre films quicker than exposition. When you have to pass out glossaries to the uninitiated or explain the rules over and over again, a story can sputter and die or, at the very least, bore you stupid the second time through. Looper, however, is a wonderfully nimble exception given the size of the learning curve. More...

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Take Three: Brad Dourif

Craig here with the last ‘Take Three’. For this final, and slightly differently themed, entry I chose Brad Dourif, perhaps one of the finest character/supporting actors. Next week there will be a special wrap-up post for this third season of Take Three.

Take One: Dourif & Auteurs
The sign of a great character actor can often be seen in the directors they work with. Of course not all will be universally lauded names (character actors don’t get to pick and choose like A-list stars), but when they repeatedly work with filmmakers of high regard you know there’s something special about them. Dourif has worked with some of the most visionary and celebrated directors working. The likes of Werner Herzog and David Lynch, whose off-kilter approach perfectly chimes with Dourif’s, have cast him time and again. Herzog first cast him in the mountaineering-themed Scream of Stone (1991) which led to The Wild Blue Yonder (2005) and the 2009 double The Bad Lieutenant: Port of Call New Orleans and My Son, My Son, What Have Ye Done (in the former he had a one-off scene as Nic Cage’s bookie and in the latter he played Michael Shannon’s ostrich-farm-running uncle). But his most mesmerising performance for Herzog was as The Alien in Yonder, where he talked us through documentary footage, ice ages and space missions with oddball charm and an innate ability to unnerve.

He was Lynch’s go-to character actor in a pair of his ‘80s films, Dune and Blue Velvet. [more...]

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Review: "Total Recall"

This review originally appeared in my column at Towleroad

It's hard not to feel sympathy for Colin Farrell. His secret movie star weapon is those long, thick unmistakable eyebrows. When he's in distress his brow lifts and pulls them up into a converging point, creating a perfect triangular frame for big brown orbs of boyish angst. "Help me!" is written all over his eyes. That same furrowed brow expression with just minor flickering shifts can also say "Please love me!" and "Aren't I funny?" and "..." His capacity for impish excitement and moral confusion were a perfect match for his best star turn to date in the hitman seriocomedy In Bruges (2008) and it helps the TOTAL RECALL do-over more than it should.

Farrell plays everyman Doug Quaid who doesn't realize he's actually someone else because his memory has been erased. A trip to the fantasy memory banks of "Total Rekall" (a reversal of Eternal Sunshine's "Lacuna Inc" since the company aims to give you false memories rather than take real ones away) upsets his reprogramming and suddenly he's killing soldiers with the trained might of a futuristic Jason Bourne. Returning home his formerly loving wife (Kate Beckinsale) tries to kill him.

Quaid realizes he's completely lost in a false life with no memory of the real one. Cut to: plentiful moments of Farrell Furrowing!

But you shouldn't have time to think about the magic and mystery of physiognomy while you're watching an action movie. If you do your mind wanders and questions come cascading in like...

"When did Kate Beckinsale's Hair becomes self-aware like SkyNet?" When?!?

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Take Three: Barbara Steele

Craig here with this week's Take Three: Barbara Steele

Barbara Steele in Federico Fellini's immortal 8 ½

Take One: Black Sunday (1960)
In Mario Bava’s Black Sunday (also known as  La maschera del demonio or The Mask of Satan) Steele plays Princess Asa Vajda, a woman put to death by her brother in Moldavia, 1630 only to be resurrected 200 years later as a vampire-witch. Steele also has a second, key role, as local woman Katia Vajda. Princess Asa’s eager to wreak the long-promised revenge upon her descendants – thus proving Sunday is far from a day of rest for the undead. Black Sunday, highly influential and memorable to future horror like Bloody Pit of Horror, Bram Stoker’s Dracula and Sleepy Hollow, features some of Steele’s best work.

That's particularly true in the film's gory opening prologue where she meets her first death. Many horror fans recall with wicked grins this moment that most likely lead to Steele favouring the horror genre throughout much of the ‘60s. (See also 1965’s Nightmare Castle where she also played dual roles and 1966’s The She Beast, where she’s memorably possessed by the titular lady-ogre.) She conveys an immense sense of terror with impeccable assurance. More crucially, she does so with formidable levels of hysteria apt for a future grande dame of horror cinema. Her cries resound in the prologue like guttural shrieks from beyond the grave, but she manages to rattle off a thrilling, yet oddly wordy, pre-death warning to her condemners

My revenge will strike down you and your accursed house!”

[Two more takes, one of them Cronenbergian, after the jump...]

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Kiki's Melancholia (& Other Saturn Triumphs)

Though I haven't yet seen any photographs of the Saturn Award event, held in Burbank this week and the last of the 2011 Film Awards -- arriving even later than the MTV Awards each year  -- we must rush to congratulate the one and only Kiki for her Best Actress win for Lars von Trier's apocalyptic arthouse amazement Melancholia. You may recall we also honored her right here in our Best Actress list. The Saturn Awards don't have anything like a prestigious reputation (often a problem with awards organizations voted on by fans) but they do have a long history (38 years!) which counts for something and you have to hand it to them this year that they're the only large non-critics awards group to honor Kirsten Dunst for her indelible embodiment of Planet Sized Depression though she did win the top Actress prize at a few film festivals (including the very definition of Prestige Reputation: the Cannes Film Festival) and was also honored by two critics orgs one minor and one major: Kansas Film Critics and the National Society of Film Critics. 

A complete list of winners after the jump but if you're too lazy to click, please note that they seemed to love Super 8 best even though it didn't win any of their four Best Picture prizes. Wins and commentary if you...

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