Tag Archives: Mickey Rourke

Ticket for One

Nightmare Cinema

by Hope Madden

Horror short compilations can be tricky business. Mick Garris, far better known for being a horror fan than a horror filmmaker, collects a handful of new shorts for Nightmare Cinema.

As he did with Masters of Horror, a sometimes wonderful and generally competent cable program he produced in 2007, his latest effort pulls in the talents of a few of his pals.

The through-line “The Projectionist” ties the disparate group of shorts together as, one after another, individuals see their names on the lonely marquee of a single screen theater and wander in to sit alone in the dark and watch as their nightmare unspools, controlled by the man in the booth (Mickey Rourke—shirtless, natch).

Those nightmares boast the direction of Joe Dante (The Howling), Alejandro Brugués (Juan of the Dead), David Slade (Hard Candy), Ryuhei Kitamura (The Midnight Meat Train) and Garris himself.

Things open briskly with Brugués’s “The Thing in the Woods,” a slasher/SciFi mishmash with a bit of novelty hiding behind the mask of The Welder, the seemingly unkillable marauder stalking a group of good looking college kids in the woods.

What the short lacks in originality it mainly makes up for with humor, blood and an entirely unexplained basement full of corpses.

Important tangent: If you have not seen Brugues’s glorious 2011 caper Juan of the Dead, you should feel compelled to do so right now. Right now.

Dante’s “Mirare” plays like a particularly corporeal Twilight Zone, with a predictable outcome but a fairly wild journey.

Kitamura’s “Mashit” offers the most compelling visuals and nothing else. It’s just one more tired, lazy entry into the tedious “Catholicism is so bad” subgenre.

Slade’s “This Way to Egress” impresses. Feeling like a genuine nightmare with that same kind of illogical logic and terrifying vaguery that frustrates the dreamer, the short follows Helen (Elizabeth Reaser) through a moment of madness set in a doctor’s office that’s increasingly marred with filth and populated by disfigured janitors grunting through their endless cleanup.

A mysterious plot, Reaser’s wonderfully committed performance and some unsettling imagery combine to make this one the most intriguing of the shorts.

Garris’s own “Dead” completes the lineup with a bland “I see dead people” drama that collides with the framing “The Projectionist” to remind viewers that Garris is better at enjoying horror than he is at creating it.

https://www.youtube.com/watch?v=g-lMGKO9MnQ

When the Going Gets Weird, These Guys Get Going…

Sure, you probably caught Woody Harrelson and his shaggy blond wig in Catching Fire, the number one film in the country today (and for the foreseeable future). But this weekend,Woody sneaks back into theaters as the Appalachian meth dealer/bare knuckle boxing organizer Harlan DeGroat in Out of the Furnace. Though you might not notice it at first blush, the two characters have something in common. They’re weirdos. Is that intentional, or is it difficult for Harrelson to do anything else? He’s a tremendous character actor, a welcome sight in any film, but let’s be honest. The dude’s always and forever playing weirdos.

Well, we love that about him, and today we wish to celebrate all those reliable oddballs, freaks and weird dudes. A tip of the hat to Harrelson and his effortlessly peculiar brethren: cinema’s ten best weirdos.

10. Udo Kier

Who’s Udo Kier, you may be asking? We’re sorry for your loss, because you have apparently missed out on the smorgasbord of oddballs that have made up this man’s nearly 50 year career. Between his overly large eyes, wet lips and impenetrable accent, he brings a pervy air to every role, which he’s used to great effect in hundreds of performances.

http://www.youtube.com/watch?v=Hvpz88YYego

9. Michael Shannon

Shannon’s size, his quietly observant style, his delayed nasal speaking, his judging eyes all give him a creepy quality perfect for weirdo roles. Luckily for everyone, he’s deeply talented, imbuing each of his unique characters with the fragile humanity that spawned the freaky behavior in the first place.

8. Sam Rockwell

Rockwell’s a huge talent, and with his trademark quirky charm he’s basically invented the niche of oddball leading man. There’s a childlike quality to his performances, and a laid back but somewhat scornful humor that reminds us at times of Woody Harrelson and Bill Murray. He brings a magnetic but quirky humanity to every role – drama or comedy, lead or supporting.

7. Tom Waits

That gravely, smoker’s voice, the Eraserhead-esque hairstyle, a face and body that appear to be all angles – Waits cuts an unusual onscreen image. He’s put that to fine use over the years in roles that call for something a little unusual.

6. Mickey Rourke

Back in the day, Rourke brought a uniquely smoldering charisma to roles. He was never a cookie cutter leading man, always a bit off. His current hulking appearance and years of bad decisions have thrust him into the niche of the lumbering nutjob, but you know what? He handles it with aplomb.

http://www.youtube.com/watch?v=2FokjNH7Gw8

5. Dennis Hopper

Dude! It may have been Hopper’s own bad wiring that helped him bring a little mania (sometimes a lot) to scores of roles: the wacked out hippie in Easy Riders, the wacked out zealot in Apocalypse Now, the obsessive investigator in Texas Chainsaw Massacre 2, the Southern madman in Paris Trout, the drunken father in Hoosiers. But he owns it in among the all time great freakshow performances, Frank Booth in Blue Velvet.

4. Willem Dafoe

Dafoe brings a malevolent comic ability to roles – including his supporting turn opposite Harrelson in Out of the Furnace. His performances tend toward fearless, and he contorts his own physical presence to bring out the demonic or the strangely comical – or both – in each role.

http://www.youtube.com/watch?v=mvE-_utxEzc

3. Christopher Walken

The great. Whether he’s requesting cowbell on SNL, adding a peculiar charm to a comedy, or staring down a man about to die in a drama, Walken’s staccato delivery, blank stare and musical timing ensure that every line he delivers feels  profoundly, often unsettlingly weird.

2. Crispin Glover

The thing about Crispin Glover (McFly!) is that you get the feeling this is just how he is. He’s drawn to the characters that most closely resemble his own unique personality. I’m not saying he eats cockroaches, but a romantic lead is probably not in his future, on camera or otherwise.

 

1. Nic Cage

Cage wins this contest because he appears to have trouble not being a weirdo. Channeling his inner normal guy seems to sometimes be too great a task for the actor. Those ridiculous wigs only hamper any effort to mask his natural freakishness, but we say don’t hide it, Nic! Let that freak flag fly.





A Cup of Nog for Your Queue. Maybe Two.

 

Just in time for holiday imbibing, Drinking Buddies releases to the home market today. Easy to mistake for a rom-com, the film – boasting Olivia Wilde’s best performance – is a meandering observation on slacker generation relationships. It’s clever, assured, and forever surprising.

For a bleaker set of drinking buddies, check out the 1987 gem Barfly. This Charles Bukowski penned, Barbet Schroeder directed tale of ne’er do well Henry Chinaski is classic skid row glory (so, classic Bukowski). Mickey Rourke was never better (though his cadence takes some getting used to), and his screen chemistry with Faye Dunaway makes this the most faithful rendition of Chinaski to be found onscreen. Too bad you can’t get the movie from Netflix. Guess you’ll have to watch the whole thing here.





Funnier than Twilight

Java Heat

By Hope Madden

The low-rent exotic thriller Java Heat is best if viewed as a comedy. It does, indeed, get off two intentionally funny lines, flanked on all sides by hundreds of unintentionally yet no less hilarious bits.

Kellan Lutz (the weirdly muscular vampire from Twilight) is Jake, an American beefcake suspiciously on hand when a suicide bomber kills the Sultana of Indonesia. Hashim (Ario Bayu) – the last good cop in Java – reluctantly teams up with the pec-tasatic American because this crime scene doesn’t pass the smell test.

Can the reserved and spiritual Hashim teach the hotheaded American to listen first, act later? Might it have been possible for the moderately skillful Bayu to teach the utterly talentless Lutz to act, period?

Nope and nope.

Lutz ably undresses, shouts Semper Fi, smirks, undresses again, frowns. The real problems arise when he tries to deliver lines.

Lutz is bad in a way that exposes a profound lack of talent. As the flamboyant villain Malik, Mickey Rourke is bad in the manner of a genuine talent whoring himself out after a career of bad decisions. Think Brando in The Island of Dr. Moreau, only with a sketchy interest in little boys and a wildly ludicrous French accent. I believe it was supposed to be French. He  has that Pepe Le Pew thing going on.

Given his unnatural appearance, Rourke has been relegated to the role of a freak in basically every gig since the mid Nineties. I doubt he even delivers scripted lines anymore – just puts on a leopard print poet’s blouse and some Zubaz, affects a project-inappropriate accent, and fondles an exotic pet. The films just kind of happen around him.

What happens here is a poorly written exercise in culture clashing and learning to appreciate our differences. Because it’s not religion that’s tearing us apart, it’s greed. Except when it is actually also religion.

Writer/director Conor Allyn’s high concept about human dignity and cultural respect is admirable. I’m sure it must have seemed downright adorable to Rahayu Saraswati, who plays the hooker that’s riddled with bullets while handcuffed in her underpants.

Jave Heat is not the kind of film you expect to find on a big screen. It’s the kind of film fans of Jean-Claude Van Damme and Michael Pare might expect to see in their Netflix recommendations. Between the big release and loads of laughs, it’s already an unexpected success.

Verdict-1-5-Stars

http://www.youtube.com/watch?v=3YChHiWgJd8