Category: Movies (Page 378 of 498)

A Chat with Mitch Pileggi

You may know him as FBI Assistant Director Walter Skinner on “The X-Files” or, more recently, you may have thrilled to his recurring role on “Stargate: Atlantis” as Col. Steven Caldwell, but either way, if you’re a sci-fi fan, you probably recognize the face of Mitch Pileggi. Pileggi’s resume is wide and varied – he’s recently popped up FX’s “Sons of Anarchy,” has turned up on CBS’s “CSI” and “Cold Case,” and was a regular on ABC’s short-lived (but thoroughly brilliant) “Daybreak” – but now it’s The CW’s turn. After a one-off turn on “Reaper,” Pileggi has found his way onto a flashback episode of “Supernatural,” playing Sam and Dean’s grandfather. We spoke to Pileggi in conjunction with the episode, which airs on Oct. 2nd, which gave him the opportunity to praise the cast of that show, speak to the variety of work he’s done, and stand bemused at people’s fondness for his 1989 cinematic collaboration with Wes Craven.

Stay tuned for…

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Bush gets Stoned in new GQ interview

Admit it: you were too busy drooling over Megan Fox on the cover of the October issue of GQ that you completely forgot to check out director Oliver Stone’s candid interview about his new film, “W.” It’s all right if you haven’t, because the brief chat can also be found online, and let me tell you, it’s well worth reading. Though it may seem like Stone is gunning for the incumbent president with his self-proclaimed political satire, the veteran director actually appears to have a good understanding of the man. In the article, Stone admits he’s cut from the same cloth as Bush, and if it weren’t for the fact that he took a completely different route growing up, he may have turned out the same way. Oh yeah, and “Vietnam drove out whatever arrogance [he] carried.”

The rest of the interview covers everything from the difficulties of making such a film to his long-running problems working within the studio system. Posted below are some excerpts, but to read it in full, click here.

On his first choice for the lead role:

“Originally I went for Christian Bale. We did some rigorous prosthetic tests and spent a lot of dough—thousands and thousands of dollars—and then Christian said, “I just don’t feel like I can do it.” I met Josh and liked him. He was more rural Americana. But man, he was scared shitless.”

On why “W” could be considered a comedy:

“Well, it has to be done with an ebullience and a certain fun, because the guy is goofy. He’s a goofball! And I think he endeared himself to people because he couldn’t get anything right. Kubrick was an idol of mine. I grew up on “Strangelove” and movies like “Network,” and they made a big impact on me. So yeah, W. is a satire.”

On the state of his Mai Lai massacre project, “Pinkville”:

It can probably only come back if UA would give us the movie without paying them the money they’ve already spent. We started to make the movie. I mean, we built a whole village in Thailand! We have tons of stuff sitting in crates! There’s $6 million against the movie. And I don’t have that kind of money. They didn’t even pay all the bills. They stuck us with a bunch of them.

First they kept cutting our budget. We had our locations, we had our actors, we had everything picked out, and it was a very reasonable plan. Then Bruce Willis walked, and they were thrilled, because that gave them the final excuse to call it, even though we got Nicholas Cage. That was three weeks before shooting and right before Christmas. Let me remind you, that’s 120 Americans and 500 Thais put out of work right before Christmas. It was a cruel, heartless decision, and it was probably made because “Lions for Lambs” was perceived as a mess, a failure, and we were linked to these Iraq movies that weren’t working.

Brand Upon the Brain

It’s over-simplifying, but there’s no way around it: Winnipeg surrealist Guy Maddin works the same general territory as David Lynch. But while Lynch is still, in his unique way, a creature of Hollywood, Maddin has remained a Manitoba miniaturist whose films are both overtly psychological and proudly melodramatic. Oddly enough, Maddin’s movies are often more accessible than Lynch’s – at least partly because the filmmaker is an unabashed fan of the primal storytelling style of silent movies. “Brand Upon the Brain” builds upon the director’s fandom by being Maddin’s second actual silent film, and was originally presented as a theatrical event with a live orchestra, sound effects artists, and narrators. This typically lavish Criterion DVD includes both studio recordings and crisp live audio tracks with seven different narrators, including Isabella Rossellini (“Blue Velvet”), professional weirdo Crispin Glover, and the great nonagenarian character actor Eli Wallach (“The Good, the Bad, and the Ugly”).

The movie itself combines elaborate fantasy and confessional filmmaking, at least on the level of metaphor – the main character is named “Guy Maddin” and the director has described the film as “97% true.” It’s not a drag, though – there’s a pleasing and funny jumble of genre elements ranging from teen detective to grand guignol horror, some nudity (both the sexy kind and the not so sexy kind, in this case involving a male corpse) and Ms. Rossellini’s narration is literally a scream. Featuring a deliberately herky-jerky editorial approach (a new wrinkle for Maddin that I’m not wild about), “Brand Upon the Brain” works for the most part, but for me this doesn’t quite add up to Class A insanity. I would have happier with a bit more melodrama and a bit less psychosexual metaphor.

Click to buy “Brand Upon the Brain”

Mandingo

When this deeply strange tale of cruelty and interracial sexual exploitation on a pre-Civil War Southern plantation directed by Richard Fleischer (“Soylent Green,” “20,000 Leagues Under the Seas”) was released in 1975, it was greeted with hoots of derision and ridiculed as cheaply sensational – and possibly racist – not only by critics, but on a raucous “Saturday Night Live” skit. More recently, writers like the outstanding cinephile blogger Dennis Cozzalio have been urging a critical reappraisal. While I admit this attempt at a sort of satirical tragedy has been misunderstood to a degree, “misunderstood” is not the same thing as “good.”

“Mandingo” stars aging screen legend James Mason as Warren Maxwell, a hateful Southern patriarch. His relatively sensitive son, Hammond (Perry King), runs into deep trouble when he takes on a new wife (Susan George) while practicing the prerogatives of a Southern “gentleman” and keeping a slave mistress (Brenda Sykes). Meanwhile, he finds himself feeling somewhat protective toward Mede (boxer Ken Norton), a fighter he has bought in much the same way a man of that time might have purchased a fighting cock. I almost wrote “fighting dog” but the double meaning here seems correct. It is the dehumanizing effects of slavery that is the laudable focus of “Mandingo,” but sensationalized 70s-style sex is the primary vehicle and selling point. (Not that there’s anything wrong with that.) Unfortunately, Fleischer’s film is somewhat crude stylistically, but also too polite in telling its brutal story. Worse, it’s badly marred by some weak acting, not only from acting novice Norton, but also by a shockingly mannered and subpar performance from the usually superb, British-born Mason. Although the melodrama events make for a compelling final half-hour, it’s a long, long road getting there.

Click to buy “Mandingo”

Robotech: The Shadow Chronicles

As a casual fan of anime, you’d think that I would have come in contact with “Robotech” before now. The sci-fi series is easily one of the most popular franchises in the medium, and yet somehow, it’s managed to slip through the cracks while other shows about giant robots (“Transformers,” “Neon Genesis Evangelion,” etc.) have found their way onto my television set. It’s too bad, because I probably would have enjoyed “Robotech: The Shadow Chronicles” even more had I known what to expect. Originally released in 2006, the feature-length film exists as a sequel of sorts to the original series from the 80s. In fact, it even picks up at the end of the final episode with the exiled human forces making one last push against the Invids, an alien race that has invaded Earth for the sole purpose of harvesting an energy source called protoculture. The humans, in turn, have made an alliance with another race called the Haydonites so that they may use their special shadow technology to cloak their ships. But what they don’t realize is that the Haydonites are really the bad guys, and they’ve been lying in wait for the right time to strike.

Robotech

As you can probably imagine, the best parts of “Shadow Chronicles” are the epic space battles scattered throughout, and though the integration of CGI has hurt other properties in the past, it doesn’t look half-bad here. The film also does a pretty good job of jumping straight into the action without making the uninitiated feel completely lost, but let’s face it, “Shadow Chronicles” is primarily for the hardcore fans who have been demanding more “Robotech” for a while. It’s still not clear whether the film will serve as a pilot to a new series or simply as a standalone movie, but if there’s one good thing that comes out of the film’s Blu-ray re-release, it’s that a new generation of “Robotech” fans will be born… and just in time for the upcoming live-action movie.

Click to buy “Robotech: The Shadow Chronicles”

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