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byneddiedingo · 1 year

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Tom Hanks, Edward Burns, Tom Sizemore, and Jeremy Davies in Saving Private Ryan (Steven Spielberg, 1998) Cast: Tom Hanks, Tom Sizemore, Edward Burns, Barry Pepper, Adam Goldberg, Vin Diesel, Giovanni Ribisi, Jeremy Davies, Matt Damon, Ted Danson, Paul Giamatti, Dennis Farina, Joerg Stadler, Nathan Fillion, Harve Presnell, Dale Dye, Bryan Cranston, Harrison Young, Kathleen Byron. Screenplay: Robert Rodat. Cinematography: Janusz Kaminski. Production design: Thomas E. Sanders. Film editing: Michael Kahn. Music: John Williams The criticisms usually leveled at Saving Private Ryan are that its framing scenes of the elderly Ryan visiting the cemetery in Normandy are superfluous and sentimental, that it trades on war-movie clichés such as the ethnically mixed company of soldiers (an Italian, a Jew, a Brooklynite, a Bible-quoting Southerner, and so on), that it eschews any portrayal of the enemy as other than cannon-fodder, and that there's no overall originality of vision on its director's part. And they're all valid criticisms. Are they outweighed by the sheer brilliance of Steven Spielberg's movie-making -- and that of his usual team of cinematographer Janusz Kaminski, editor Michael Kahn, and composer John Williams? As a lover of movies I have to say they are. I would like Robert Rodat's screenplay to be edgier and more intelligent. I would like for the film to provoke thought and to give us a new vision on World War II. But each time I watch the film I come away admiring the way Spielberg and company push my reservations about it into the background as I'm caught once again by the masterly way they manipulate both the medium and its audience. I have learned to ask more of movies than Spielberg gives us -- the unique personal visions of Ozu and Hitchcock and Tarkovsky, for example -- but I'm also content to suspend my expectation that all movies should aspire to that standard and to let myself be manipulated into temporary submission to simple wonder at mastery of the medium.

#Saving Private Ryan #Steven Spielberg #Tom Hanks #Edward Burns #Tom Sizemore #Jeremy Davies

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nightmareonfilmstreet · 6 years

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We Took A WRONG TURN 15 Years Ago Today

It’s hard to believe that 15 years have passed since Rob Schmidt’s Wrong Turn hacked and slashed its way into theatres. Since its debut, the gruesome film has kind of become a modern-day classic for horror fans. It is the humble opinion of this horror fan that Wrong Turn, along with Rob Zombie’s House of 1000 Corpses, and even the remake of The Texas Chainsaw Massacre, helped make 2003 a bold year for horror.

At the time, it was considered to be one of the most shocking new horror films with a wide-spread release. Zombie’s 1000 Corpses is arguably more shocking but Wrong Turn had a larger budget, wider release, and major studio backing. The film helped prove to the post-millennium world that horror was both a financially and critically acclaimed genre in the realm of big budget films.

The film boasted a young cast of promising talent, which already consisted of the awesome Eliza Dushku (Buffy the Vampire Slayer) and Desmond Harrington (Ghost Ship). The trailer teased a return to the gritty roots of 1970s-style horror and it also promised a TON of gore and suspense.

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The Direction We’re Heading

As far as fans were concerned, Wrong Turn delivered on all its promises. It was never marketed to be anything other than a fun, gory, suspense-filled horror film that would show respect to its influences by inserting loads of homage moments into the movie.

The plot is simple and to the point. Chris Flynn (Harrington) is driving through the state, trying to make it to some bigshot interview. Seeing that his route is delayed, he tries a shortcut. Speeding through the sparse mountain back road (which doesn’t have a posted speed limit), he rounds a bend and crashes into a vehicle sitting in the middle of the road. This is where he meets up with five friends with a flat tire; Jessie (Eliza Dushku), Carly (Emmanuelle Chriqui), Scott (Jeremy Sisto), Evan (Kevin Zegers) and Francine (Lindy Booth). Stranded in the middle of the Virginian wilderness with no cars or working cell phones, a trio of cannibalistic Mountain Men come running.

Road Trip Buddies

The movie holds up quite well after fifteen years and this is likely due to the fact that all of the cast are likable, fully fleshed-out characters. With the exception of the two snotty stoners Francine and Evan, who are killed off almost immediately. Everyone else you root for until the end.

There is something about this formula that just plain works! It’s the tried and true way of the slasher film. We all cared about Laurie, Annie and Lynda in John Carpenter’s Halloween and that’s what makes the tragedy that befalls them all the more tragic. Lead characters need to be above all thins interesting. The audience needs characters to sympathize with, other than just created walking, talking butcher fodder for the masked killer.

Along with a great cast, Wrong Turn also has a killer script.

The Nuts and Bolts

The dialogue is witty, sarcastic and entertaining before the frantic scenes of macabre and tension unfold. The perils, the reactions to those perils, all feel real. At no point does anyone make any ludicrous decisions that might rub the audience the wrong way. By this, I mean to say that it is not a film filled with pointless screams and unrealistic choices. In fact, there is only a handful of screams in the entire film and this may have been a deliberate act.

In the opening scene, two rock climbers, Rich and Halley, are shown traversing a jagged rock face. Rich makes it to the top of the cliff first and Halley attempts to follow, slips and falls. She screams but then her safety line pulls tight and she grabs back onto the wall. Rich sees that she is alright, from the top, and says to her, “I don’t know why you’re screaming. We’re fifty miles from anyone that could hear you.” By doing this, the audience has a pretty good idea that this movie won’t be filled with a whole lot of screaming idiots just running around and annoying us all.

Crash and Burn

Last but not least, the villainous Mountain Men; Three Finger, Saw-Tooth, and One-Eye, are played to menacing perfection by Julian Richings, Garry Robbins, and Ted Clark. The three baddies of the film are essentially characteristic nods to horror icons Freddy, Michael, and Jason. But all of them share the appetite of the chainsaw wielding Leatherface.

It could be argued that Saw-Tooth is the Michael of the three. The reason for this is simple. Saw-Tooth wields the more intricate of the weaponry which is a rifle. He appears to be the most in control and the only one that can drive – a skill that Michael also possesses. One-Eye appears to be the Jason of the group. He’s big, lumbering and wields a large axe. His face is deformed to the point of one damaged eye like the monolithic Jason. Lastly, Three Finger is easily the Freddy. He is not as lumbering as the other two cannibals but he is much more menacing in how he stalks his prey. He is constantly smiling and giggling and seems to take pleasure in a more slowed and agonizing pursuit of his victims like Freddy did.

Just as with those that influenced them, the Virginian Mountain Men don’t have a large and convoluted back story. The audience is given some hints and suggestions but nothing very concrete. This too is something of a lost technique in modern horror. People tend to want explanations these days and Wrong Turn (at least the first one) kind of refuses to give in to that.

What makes Wrong Turn such a great horror film, is not only its simplicity but also its respect to all the other great “Old School American Horror” that came before. This is a horror film but it is also a love letter to older horror films. While watching the West Virginian tale of terror, one can find obvious nods to films like The Hills Have Eyes, Deliverance, Friday the 13th, Halloween, A Nightmare on Elm Street, The Texas Chain Saw Massacre, and even The Evil Dead.

The director of Wrong Turn, Rob Schmidt and the screenwriter, Alan McElroy let their influences shine through. By acknowledging these influences and showing a fondness and respect to genre classics, Wrong Turn has certainly earned its place in the pantheon of gruesome horror.

The post We Took A WRONG TURN 15 Years Ago Today appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.

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theoneloneblogger · 4 years

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Retrospective Rumours Part Six: The Holy Kingdom

Perry’s Retrospective Rumors: Part Six - The Holy Kingdom

Note: Some of the following is a fictional and romanticized version of true accounts and should not be held to historical scrutiny.

It’s a funny thing, devotion. those who draw their belief in the physical world find power in the certainty of this. People such as the Swedenborg and Mesmer developed the system we now know as spiritualism in the mid-17th century. The assertion therefore in the absolute divinity of a single King these days meets with that of ludicrous condemnation and disgust. Though towards the late 19th century others like Carl Jung and Durkheim, a psychologist and sociologist respectively, laboured long to try to convince people that the world should be viewed from a purely scientific basis. For instance, such scholarship as has been seen recently as luminaries bustle for recognition against each other.

Thomas Moore, just before his execution on grounds of treason wrote to his daughter of his reservations on the divinity of a single King. “I staunchly refuse to pledge any oath to her authority. Nor indeed to recognize the so called divine right of King Henry himself to hold the throne in such a fashion. His split from Rome is blasphemous at best and devilry at worst. As a consequence of such I must die tomorrow. Though I consider myself innocent of the crimes of which I have been accused it is the judgment of my King and therefore God that I die upon Tower Hill. Be true to your King despite his insistence on being the supreme head of a new English Church. I love you both with all my heart.” Such were the last words of a man who looked a self-appointed God in the face and told him to go to hell.

There are a number of the population that still do see the Royal Family as an institution of adoration even in 2018. This despite the assertion that they bring in much needed revenues in tourism having been debunked this outlook is still maintained. Brand Finance seems to recon that the Royal Family's net worth to the economy is approximately £1.155 billion in 2018.

The flow of velvet and gold created a swishing and sweeping air of authoritive tumult Thomas strode across the cell in the turret of the Tower. With a deep sigh at his impending inevitability he drew up his strength and seated himself on the stool by the slight window. Allowed to draw up a final note to his children. It was the 6th of July 1535 and Thomas Moore took up his quill and rested the parchment on the alcove before him; a little unsteadily he began to write the previous note.

Of course we don‘t have to worry about being decapitated if we worship the wrong deity today so that’s a bonus. August 2017 and Prince Phillip, Duke of Edenborough bowed out of public duties as he decided to end his official obligations to our crown. At 96 and sporting a bowler hat and raincoat he felt it necessary to mark the occasion by signing out at Buckingham palace to a round of “For He’s a Jolly Good Fellow”. Interesting.

Further this contribution is scowled upon by the anti-Royalists of the nation as it presents a disparagement between the amount it costs to maintain them. It is estimated that Sovereign Grant, security and maintenance of palaces, are netted off against sources of income including the uplift to the tourism, all generated by the Crown Estate. Basically there not worth the bother in some quarters of our great nation. This might be true. Though what would we become without our national identity? Some might say we’d be phenomenally better off. Financially speaking they’d be right.

Even the much vaunted theories of inbreeding, treason and paedophilia are not enough to deter many from advocating a system of absolute Monarchic Meritocracy. Faith is the answer I think. Faith and hope. These two underestimated truths, excestencial or not, are the fundamental basis upon which all life is founded. We all have faith and are religious about something whether we like it or not. It is possible to be religious about not being religious for example. Very cold attitude but then the ways in which human relations within grief have evolved are cold. The other side of the equation is just as irrational as the practical. Wouldn’t it be nice to be certain of your place in life?

Much has been written and theorised on theories of the existence of what we call the afterlife; great scholars and thinkers have scribbled late into the evening and night to illuminate the subject. While both scholars and thinkers are very much of the same mind on some topics they can be drawn into two distinct categories on others. For example, such thinkers tend to be academics of a varied sort who labour to distinguish life as a functional and distinct plain in which matter interacts with its brother and creates bigger and better matter, while doers on the other hand tend to be of a slightly different order.

Wouldn’t it be sweet to wake up in the morning and know what you believed was right and true beyond all doubt and the variations of opinion in the world, which create so much discrepancy and argument, were a blasphemy to human thought. Your truth was the correct one and there was no variation. It would also allow the boon of always having fodder in your material bank for writing purposes. Of course we do not have to worry about being decapitated if we worship the wrong deity today so that’s a bonus, but there is still a stanch need for identifiable origins to validate our historical perspective on life. As such some are of the opinion that Royalty is needed in England today. Many are in agreement with that fact although they do concede that their income should be scrutinished and capped. It is to be noted despite this that the man in the street do find themselves on the end of the serpent’s tooth if they are wearing last year’s wardrobe. I personally prefer looking like I stepped out of 2009 than losing my ability to throw up at the sight of today’s equivalent of Sir Moore. A title that Messer’s Trump and May have to contend with, although they seem to do it with alarming alacrity. Perhaps one’s place in life depends on one’s perspective towards it. Remembrance perpetuates through skin and bone, flowing through clan, families and home.

My name will die with the earth.

· Video

· The Tudors, Michael Hurst, Johnathan Rys Myers, Jeremy Northiam, Showtime, April 2007

· The Tower Of London, UNESLO, May 24 2013

· The World Within – CG Jung – In His Own Words, Psychology Library, Feb 1 2017

· Sociology - Emile Durkheim, Gringa Video Audio, May 1 2015

· The Royal Wedding Ceremony At Westminster Abby, The Royal Family, April 29 2017

· Royal Family of the Beast, Shocking Look into the Antichrist Bloodline, John 3:16, Vid Ministry, June 3 2018

· The Tower of London Documentary, Doc Spot, Feb 24 2018

· Prince Phillip Carries Out Last Formal Engagement, BBC News, August 2 2017

· End The Monarchy Now! For The Baby! Russel Brand, The Trews, Feb 10 2014

· Crown Estate Hits Record Profits with Queen Set To Benefit, Bloomberg, 7 July 2011

· Political Reasons Why Monarchy Is Good, Frith Mister, June 2 2017

· Engineering Miscode Structures, With Distinct Dynamic Implications, New Journal Of Physics, December 11 2012

· Service Charge, Beaton Edwards, January 12 2011

· Trump and May Hold Press Conference, Sky News, July 13 2008

Indo-European Origen, CroPedroForever, August 24 2012

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