A Reel Preview: Everything You Need To Know About THE OLD MAN & THE GUN

This week comes a film which has been unfairly flying under the radar; unfair because it involves one of today’s best working directors, along with a Hollywood legend in what may be his last bow. Here now is a preview, and everything you need to know about THE OLD MAN & THE GUN. 

What is this about? –THE OLD MAN & THE GUN is based on the true-life story of Forrest Tucker; a bank robber, career-criminal, and escape artist. In this yarn, Tucker is on what may be his final heist, when he comes across a possible romance while dodging investigators. 

Who is in this? – Robert Redford, in what may be his final film role, plays Forrest Tucker, and fellow acting legend Sissy Spacek plays the romantic interest. Casey Affleck plays the detective on the trail. The rest of the cast is rounded out by Danny Glover, Elisabeth Moss, Keith Carradine, John David Washington, and Tom Waits. 

Who is behind the camera? – THE OLD MAN & THE GUN is written and directed by David Lowery, who so far has a perfect film record. In 2013 he brought us the most-excellent contempary Western AIN’T THEM BODIES SAINTS. In 2016 he left the friendly confines of indie filmmaking for the big-studio, surprisingly good remake of PETE’S DRAGON. And last year, he brought us the mind-bending A GHOST STORY. 

Random but Important Facts – Robert Redford announced this film as his final role in August of this year * The script is loosely based on a 2003 article which appeared in The New Yorker by writer David Grann, who later recounted the story in his novel The Devil and Sherlock Holmes * The real-life Forrest Tucker robbed 18 banks, including four when he was 79 years old and living in a retirement community. He died in prison in 2004 at 83 * The film has a cast of four Oscar winners; Redford, Affleck, Spacek, and Carradine…and one Oscar nominee, Tom Waits * Spacek and Redford both won their Oscars in 1980; Spacek for COAL MINER’S DAUGHTER, and Redford for ORDINARY PEOPLE * Affleck appeared in Lowery’s AIN’T THEM BODIES SAINTS and A GHOST STORY, and Redford was in his PETE’S DRAGON * John David Washington also appeared in Spike Lee’s BLACKKKLANSMAN this year * The film re-uses footage from THE CHASE (1966), which stars a young Redford * 

What to expect – Starting with the story itself, the tale of an aging bank robber on his last heist has been told before, but there is something endearing about it; if a coming-of-age story can speak to us, then so should an end-of-age tale. And there is a certain, lovely poetic irony about Redford using this character and story to finally ride into the sunset. The rest of the cast is impressive and should deliver. Director David Lowery has pulled some great performances out of his actors and actresses in his prior films, and with this cast there is a lot of great acting to look forward to. Lowery’s writing has focused on what’s inside of his characters, and his gentle touch behind the camera makes for some patient, mature, and classic-feeling cinema…and his frames always look great; which is exactly what Redford deserves in his last bow. We say goodbye to a legend this week, and he couldn’t be in better hands. 

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THE OLD MAN & THE GUN arrives in theatres September 28^th.

Gary Kurtz: 1940 - 2018

Gary Kurtz, producer of cinema classics and favorites such as STAR WARS (1977), and THE DARK CRYSTAL (1982), has passed away at 78. 

Born Gary Douglas Kurtz in Los Angeles, Kurtz worked as an assistant director in the 1960’s, before his career was interrupted by the Vietnam War, when he served in the U.S. Marine Corps. Upon returning, he moved up the ladder of studio pictures, acting as an associate producer on films such as CHANDLER with Warren Oates, and TWO-LANE BLACKTOP in 1971. 

In 1973 he collaborated with a young and upcoming filmmaker named George Lucas, with their mutual friend Francis Ford Coppola to produce AMERICAN GRAFFITI. The nostalgia-fueled film was a sleeper hit and earned Kurtz and Coppola a Best Picture nomination. 

Kurtz would continue his work with Lucas, and together they would make the historic, and industry-changing STAR WARS in 1977. The cultural phenomenon would be the highest earner of the year and become the highest-grossing film of all time, along with 10 Oscar nominations. Kurtz’s final collaboration with Lucas would be in 1980 with the first STAR WARS sequel, THE EMPIRE STRIKES BACK. He would hit box office gold again in 1982 with the Jim Henson film THE DARK CRYSTAL. 

His other producing credits include SLIPSTREAM (1989), with Mark Hamill, and the STAR WARS tribute film 5-25-77 in 2017. 

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When a film wins the Oscar for Best Picture, the producer of that film is always the one that accepts the award, but despite that, the producing role seems to be one of the most thankless, and often overlooked role in a film production. While the director is the person on set, behind the camera barking orders, and spending endless hours in the editing room, the producer is the broad-strokes person; overseeing all aspects of production from casting, locations, personnel, financing, and much, much more. More so than the director, a producer takes on a film because they believe in it. Kurtz may not have a long list of awards and credits, but his bravery, and faith in a young and unproven George Lucas altered the flow of history; he believed in something new, something bold, and today’s cinema could use a lot more like him. 

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Read Reel Speak’s blogs on the 40^thanniversary of STAR WARS (HERE). 

A Reel Opinion: The Top 10 Cinematic Letdowns

Movies have that magic to inspire, educate, enlighten, sadden, and most of all…entertain. But they also can disappoint. Sometimes that happens due to unrealistic expectations, overhype, or the sum of the parts/talent involved not paying off. This year, Shane Black’s THE PREDATOR let a lot of fans down, and the disappointment of that latest entry into the 30-year old franchise has led to discussion of the biggest letdowns in cinema, and to Reel Speak’s very first Top 10 Cinematic Letdowns.

This list covers the last 40 years in film history, and uses criteria of critical and fan reception. Box office doesn’t matter on a list like this because even a very good movie can disappoint at the gate. About half of these selections come from this millennium, mostly because of Hollywood being stuck in franchise/sequel mode in the last 15 years…and franchises have the hardest task in creating good follow-ups. This is not a Worst Movie list, as all these films have at least some merit and their defenders; these are instead films that fell way short of expectations, broke hearts, and shattered dreams.

So prepare to re-live those disappointments all over again…

10. MAN OF STEEL (2013)

It may seem like low-hanging fruit to pick on Warner Bros’. continuing bungled attempts at adapting the DC Comics superheroes, but Zack Snyder’s take on Superman never met expectations. The trailers were magnificent; making the film seem like a transcendent, thoughtful work that nearly looked like an arthouse production or a Terrence Malick joint. What we got instead was a clunky and dour movie that never once felt like Superman, topped off with a finale that repeated itself to the point of nausea.

9. THE HOBBIT: THE DESOLATION OF SMAUG (2013)

Peter Jackson's follow-up/prequel trilogy to his historic and grand THE LORD OF THE RINGS got off to a shaky, but serviceable start with AN UNEXPECTED JOURNEY in 2012, but the second film is where the bottom dropped out and the new trilogy never recovered. Way too many storylines, Bilbo was lost in the confusion, and a third act showdown with Smaug the dragon that seemed like it lasted a thousand years.

8. THE MATRIX REVOLUTIONS (2003)

The Wachowski’s THE MATRIX (1999), was a genre-bending, generation-defining film, and there can be a raging debate over which one of its two sequels, both released in 2003, disappointed the most. The first sequel, RELOADED, did not reach the lofty heights of its predecessor, but it was still a moderate hit with fans and critics. The third film, REVOLUTIONS, was where the real letdown happened because it did not achieve its goal as a trilogy-capper of wrapping up all the storylines. Besides that, it just wasn’t a good movie.

7. DARK SHADOWS (2012)

By the time Tim Burton got around to adapting the 1960’s horror-soap opera to the big screen, we already knew that he was capable of making a bad movie, but the marriage of his knack for the strange and unusual and the show’s collection of goth, vampires, and werewolves seemed perfect. What we got instead was a dull slog and messy plot, topped off with a ridiculous end-battle with characters pulling shotguns out of nowhere. Not to mention the much-hyped cameo of the original cast-members which lasted 1.5 seconds.

6. INGLORIOUS BASTERDS (2009)

The trailers told us that we had never experienced war until we saw it through the eyes of Quentin Tarantino, and even after seeing the movie…we still haven’t. The trailers promised us war and instead we got a grinding snail-paced film in which the overhyped squad of American, Nazi-hunting soldiers barely showed up. One of the biggest lies in movie marketing right here.

5. STAR WARS EPISODE I: THE PHANTOM MENACE (1999)

The first film in George Lucas’ prequel trilogy has a lot to praise; excellent action, casting, production design, and a magnificent score by John Williams. But it’s faults, including acting, pacing, and a plot no one cared about dragged it down…and what was most disappointing is that it let STAR WARS fans know that their beloved, generation-defining franchise wasn’t always going to be perfect.

4. 1941 (1979)

By the time Steven Spielberg was making his WWII satire, he was the hottest kid in Hollywood; having made mega-hits JAWS (1974) and CLOSE ENCOUNTERS OF THE THIRD KIND (1977). His 1941 may not be as bad as the internet says, but it’s still bad with its over-the-topness and isn’t nearly as funny as it thinks it is. It’s a letdown because it let us know that Spielberg, like his buddy George Lucas, wasn’t always going to be hot.

3. THE GODFATHER PART III (1990)

When Francis Ford Coppola got around to making what he called the epilogue to his Best Picture-winning GODFATHER crime dramas, he did so only because of a dire financial situation; and that meant his heart probably wasn’t really into it and it shows. PART III on its own is a finely crafted film (it was nominated for seven Oscars, including Best Picture), but as a follow-up to its vastly superior predecessors it falls short. It suffered from lousy acting in places and a confusing plot that no one could understand.

2. PROMETHEUS (2012)

The return of Sir Ridley Scott to the ALIEN universe that he created was anticipated by everyone, with promises of an epic story involving human origins and galactic creation. What we got instead was a ridiculous and stupid movie with things happening for no reason, and the de-mystifying of the famed alien xenomorph creature clumsily handled. 

1. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)

There was no bigger heartbreak in cinema than what happened on a Spring night in 2008, when audiences left theatres shaking their heads, not sure what they had just witnessed. The return of everyone’s favorite hat-wearing, two-fisted, whip-swinging archeologist…along with principal players Harrison Ford, Steven Spielberg, George Lucas, and Karen Allen, was presented to us by way of a ridiculous storyline, stupid scenes, annoying characters and way too much cartoonish CGI and green-screen. It had no energy, no fun, and turned Indiana Jones into a dumbass. This wasn’t just a letdown, it was a nuking of everything that once made Indy so great. 

Reel Speak's Top 10 Cinematic Letdowns

1. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
2. PROMETHEUS
3. THE GODFATHER PART III
4. 1941
5. STAR WARS EPISODE I: THE PHANTOM MENACE
6. INGLORIOUS BASTERDS
7. DARK SHADOWS
8. THE MATRIX REVOLUTIONS
9. THE HOBBIT: THE DESOLATION OF SMAUG
10. MAN OF STEEL

A Reel Review: THE PREDATOR

In 1987, director John McTiernan and bigger-than-life star Arnold Schwarzenegger brought us PREDATOR, a thrilling mash-up of sci-fi, action, and horror which is today considered to be one of the best representing all three genres. Since then, the iconic camouflaging killer from space has suffered from lousy redundant sequels that just keep rinsing and repeating. Now we have writer/director Shane Black, who starred in the original film in a supporting role, returning to the franchise with a slew of new ideas for THE PREDATOR.

Set years after the events of the previous films, Army Ranger Quinn (Boyd Holbrook), encounters a Predator on the run during a mission. Determined to reveal this to the world, Quinn mails pieces of the Predator’s armor home, which is intercepted and activated by his mentally handicapped son Rory (Jacob Tremblay). The activation draws a massive, 11-foot tall Predator to Earth, which has the attention of a secret government agency seeking the alien technology, led by Traeger (Sterling K. Brown). Quinn falls in with a group of military prisoners (Trevante Rhodes, Keegan-Michael Key, Thomas Jane, Alfie Allen, and Augusto Aguilera), and a biologist (Olivia Munn), and set out to stop whatever the new giant Predator is up to.

One of the best, and classic forms of storytelling is the Man vs. Monster tale. The original PREDATOR and its sequels and spinoffs hung its helmet on that to the point of boredom. Aware of this, writer/director Shane Black tries to counter this by giving the Predators their own storyline to get through. The first Predator that arrives is revealed to be a rogue, who is being chased down by the super-big Predator. The reasons for the rogue are odd (he’s actually trying to help humanity, despite killing quite a few), and opens a door for a lot of convoluted de-mystifying of the creatures. The reasons for the Predators having an interest in our planet are mentioned, not quite explored enough, and seem to contradict what a Predator is all about. There are a lot of odd choices made in the plot, and while some of the ideas are interesting, they are never given a chance to grow.

But where THE PREDATOR falls apart is in the editing. Pieces of the film seem to be missing. Scenes begin abruptly, characters appear in places out of the blue and obtain weapons out of nowhere, and it overall has a very choppy feel. A lot of character work seems to have been left on the floor; Quinn’s reasons to mail home alien armor and weapons make no sense, and Olivia Munn’s scientist character somehow knows how to shoot machine guns and do Kung-Fu for no given reason.

When the action does start there’s some fun to be had. The Predators look great, and get to chop and hack bodies (and each other) into bloody messes; it’s by far the goriest of any PREDATOR film, and it earns its R-rating with plenty of blood-and-guts and swearing. Black has fun with his characters as his talent for witty dialogue is all over the film; the banter between everyone is a blast, and by far makes this the funniest PREDATOR film we’ve ever had. The group of misfits Quinn finds himself with earn their place in the film, although there are some choices with the mentally handicapped (Quinn’s son and Thomas Jane’s character who has Tourette’s) that come across as out of place. The practical effects are excellent, but the CGI is awful…the Predator dogs that travel with the big guy are like cartoons. Henry Jackman’s score is excellent; with some re-scoring on the original PREDATOR theme and his own stuff sounding like it came out of an action flick from the 1980’s.

The cast does well with what they have to work with. Boyd Holbrook is a bit of a plank but it fits his character, although some sort of emotion would have been nice. Olivia Munn is fine even though her character is all over the place. Young Jacob Tremblay is outstanding, and Sterling K. Brown steals the show as the ruthless government stooge. Thomas Jane is also very funny, providing audiences won’t get offended with his mentally-handicapped character providing laughs.

After all the messy editing and sloppy plotting, THE PREDATOR has a chance to redeem itself in the last act and sets itself up for an intriguing, end-of-film reveal. Instead, we get one of the dumbest and weirdest endings ever seen in a PREDATOR film or anywhere else. It’s so shockingly stupid and awkward it destroys any goodwill the film may have earned with its action and characters, and makes zero sense in the overall story. THE PREDATOR gives us something new all right, but it’s all bullshit. All of it.

BOTTOM LINE: Fuck it

A Reel Preview: Everything You Need to Know About THE PREDATOR

In 1987, the Arnold Schwarzenegger-led, John McTiernan-directed PREDATOR arrived on screens as a clever, and thrilling mash-up of sci-fi, horror, and men-on-a-mission genres. The film spawned one of the most iconic cinematic creatures of all time, and unfortunately, a handful of lousy sequels and spinoffs. Here in 2018, one of the former cast-members of the ’87 film returns to the franchise as director, and his new entry, titled THE PREDATOR, arrives in theatres this week. Here is a preview, and everything you need to know about it.

What is this about? – Set many years after the events of the first film, THE PREDATOR has a group of mercenaries defending a small town from an invading group of Predators, which are accidently summoned to Earth by a young boy.

Who is behind the camera? – THE PREDATOR is written and directed by Shane Black, who starred in the ’87 film as the doomed soldier Hawkins. Black has written films such as LETHAL WEAPON (1987), and LETHAL WEAPON 2 (1989), and has written and directed KISS KISS BANG BANG (2005), IRON MAN 3 (2013), and THE NICE GUYS (2016).

Who is in front of the camera? – Arnie is long gone, and this cast is a young group of new and moderate stars. It includes Boyd Holbrook (LOGAN), Trevante Rhoses (MOONLIGHT), Jacob Tremblay, Olivia Munn, Thomas Jane, and Sterling K. Brown.

Random Facts – THE PREDATOR takes place in the present day, following the events of PREDATOR, and PREDATOR 2 (1990), but before the events of the 2010 stinkbomb PREDATORS * Actor Jake Busey’s character is the son of the character played by his father Gary Busey, in PREDATOR 2. * This film is the sixth time the Predator creature has appeared in a theatrical release * Actor Edward James Olmos was cast, but his scenes were cut * This is the shortest movie in the PREDATOR franchise at 81 minutes *

What to expect – PREDATOR is a franchise that has the same problem as series such as JURASSIC PARK; one great movie followed by a bunch of duds that just re-tread the same ground. With that in mind, the first challenge for Shane Black is to come up with a storyline that justifies more Predators lurking around Earth and hacking up bodies…otherwise it’s same-old, same-old. Black has a solid reputation for witty dialogue and for injecting his films with a surprise or two, so we can expect some snappy character banter along with at least one good twist. Having a young kid in the film is an odd choice for an R-rated monster movie, but as Black proved in IRON MAN 3, he has a knack for not letting kid characters be annoying or superfluous. The lack of a real star in the lead is a concern, so this may have a focus towards a team-movie. There are a lot of questions, but at the very least it’ll be good to see the big killer on the screen again.

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THE PREDATOR opens in full on September 14^th, with limited showings on the 13^th. It is being released in standard and IMAX formats.

Reel Facts & Opinions: The Continuing Chaos of DC Films

The news dropped out of the sky today like a wounded superhero; an appropriate metaphor considering the state of DC Comics superheroes on film. Various media outlets have reported that actor Henry Cavill, who has held down the role of Superman/Clark Kent since 2013, is out of the picture. Parent company Warner Bros. (WB), had been trying to enlist Cavill for a Superman cameo in their upcoming SHAZAM! film, which is currently in production and slated for an April 2019 release. Reports said contract negotiations fell apart and Cavill was hanging up the cape. WB put out a vague statement later on which confirmed nothing.  

Is he in, is he out? Or just another PR fiasco from WB? Either way this has been the latest chapter in what has become the longest and largest trainwreck in cinematic history. Way back in 2013, director Christopher Nolan wrapped up his magnificent DARK KNIGHT TRILOGY, and in a desperate attempt to catch up with rival super-studio Marvel, WB fastracked their collection of DC heroes…starting with MAN OF STEEL with Cavill in the lead and director Zack Snyder at the helm. MAN OF STEEL had a promising cast and a decent foundation, but fell into a dull slog with a nauseating, redundant last half-hour. This was followed up with the joyless, confusing, boring, overstuffed BATMAN V. SUPERMAN: DAWN OF JUSTICE in 2016, which gave us a new Batman/Bruce Wayne (Ben Affleck), and Wonder Woman (Gal Gadot). DAWN OF JUSTICE, which was also directed by Snyder, had some of the dumbest moments and the worst villain in all of film, and ended with an un-earned and unneccesary death of Superman.

This was followed up by the messy and dysfunctional SUICIDE SQUAD in 2016, which idiotically gathered Batman’s greatest enemies together…with no Batman. And then came the oddity that was JUSTICE LEAGUE in 2017. Snyder left the film in the middle of production (some say he was fired, others say he left on his own), and Joss Whedon (THE AVENGERS) stepped in to complete it. Whedon re-shot and re-wrote half of the film, and the result was a choppy, disjointed movie which showed some promise but overall felt incomplete. Not to mention the lousy CGI work that was needed on Cavill’s face due to the reshooting, which made him look ridiculous.

WB’s problems with their DC brand extends past the screen. Their movies have not been embraced by critics and fans, and are far from the box office monsters they’re intended to be. They did strike gold with their most-excellent WONDER WOMAN in 2017, but for the most part their films are met with ho-hums. And behind the scenes it’s also been a shit show; the solo Batman film, titled THE BATMAN, is stuck in development hell with a change of directors, script, and likely a new Bat (Affleck is reported to be out as well), the solo FLASH film has had several changes in directors and seems to be on hold, and BATGIRL halted production and is also stuck in limbo.

And let’s not forget the heap of films that WB is throwing at us that no one cares about. This December brings AQUAMAN (not a great character), next year brings SHAZAM! (again, no one cares), and they also have two different JOKER movies in development, along with a BIRDS OF PREY film (more of Batman’s villains joining together…without Batman), and a teenage SUPERGIRL movie which also seems needless with the TV show performing well. With the exception of the WONDER WOMAN sequel slated for next year, their future lineup is a random pile that no one has asked for.

In the last five years many fans, critics, and bloggers who have been rough on the DC films have been criticized themselves for being too harsh. But how can they not be? The DC characters of Superman, Batman, and Wonder Woman are the most iconic in comic book history…and they deserve much, much better than this. Their fans deserve it, and the 75 years of history these characters have demands it. Where they go from here is a mystery, as after the WONDER WOMAN sequel they’re basically rudderless. It’s a shame, because Cavill’s Superman in JUSTICE LEAGUE was portrayed correctly; he was finally allowed to act as a beacon of hope, instead of the miserable sulk that Snyder made him do. There was much potential there, but it’s been fumbled, mishandled, dropped, and broken; perhaps beyond repair. Their messy films, lack of understanding of the classic DC characters, zero connection with audiences, and mishandling of their cast members make them what Nolan's Joker referred to as "an agent of chaos". And that is no way to make movies. 

A Reel Preview: The Year in Film 2018: Episode IX

The blasted heat of Summer may still be hanging around, but Oscar Season is underway with the arrival of September. Here are the notable releases for the month:

THE NUN – This creepy-looking horror flick which should be released in October is a spin-off to THE CONJURING 2 (2016), and the fifth film in the CONJURING franchise. This time the ghost-hunters uncover an unholy secret in 1952 Romania.

PEPPERMINT – Jennifer Garner (ELEKTRA), returns to the big screen in this action film, playing a vigilante seeking justice against those who murdered her family. Directed by Pierre Morel (TAKEN).

THE PREDATOR – Director Shane Black, who starred in the first PREDATOR film way back in 1987, directs the latest film in the sci-fi/horror franchise. This time, a young boy accidently triggers the arrival of several upgraded Predators to Earth.

A SIMPLE FAVOR – Director Paul Feig, who brought us the giant steaming turd GHOSTBUSTERS remake in 2016, tries his hand at a mystery thriller. Anna Kendrick plays a small-town blogger trying to solve the disappearance of her best friend. Blake Lively co-stars.

THE HOUSE WITH A CLOCK IN THE WALLS – Based on the 1973 novel of the same name, this fantasy film has a young boy discovering secrets in his uncle’s creepy old house. The cast includes Jack Black, Cate Blanchett, and Kyle MacLachlan. Directed by Eli Roth (HOSTEL).

WHITE BOY RICK – Based on the true story of a boy who in the 1980’s became the FBI’s youngest informant at the age of 14. It stars Richie Merritt, Matthew McConaughey, Jennifer Jason Leigh, Rory Cochrane, Bruce Dern, and Piper Laurie.

PATIENT ZERO – This action horror film involves a group of survivors looking for an antidote to a highly contagious virus which has turned mankind into a deadly species. It stars Matt Smith, Natalie Dormer, and Stanley Tucci.

I THINK WE’RE ALONE NOW – Two unlikely companions, played by Elle Fanning (SUPER 8), and Peter Dinklage (TV’s GAME OF THRONES) find themselves alone after an apocalypse. Paul Giamatti and Charlotte Gainsbourg co-star.

THE SISTERS BROTHERS – Based on the novel of the same name, Joaquin Phoenix and John C. Reilly play Old West assassin brothers who get caught up in the California Gold Rush. Jake Gyllenhall , Rutger Hauer, and Riz Ahmed (ROGUE ONE), co-star.

COLETTE – Keira Knightley plays legendary French novelist Colette in this biopic.

THE OLD MAN AND THE GUN – In his final role, Robert Redford plays a career criminal and prison escape artist. It co-stars Casey Affleck, Danny Glover, Tom Waits, and Sissy Spacek. It is directed by David Lowery, who brought us the outstanding films A GHOST STORY (2017), and AIN’T THEM BODIES SAINTS (2013).

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Next month, Reel Speak previews October. 

Burt Reynolds 1936-2018

Burt Reynolds, actor and sex symbol of the 1970’s, has passed away at 82.

Born Burton Leon Reynolds Jr. in Lansing, Michigan, Reynolds had early aspirations to be a professional football player, and attended Florida State University on a scholarship, playing halfback. After a serious injury ended his athletic aspirations, he turned to acting. He made his television debut in the 1950’s and his first film debut in ANGEL BABY in 1961.

He used his television work to secure leading roles in low-budget films, and landed the lead in the Spaghetti Western NAVAJO JOE in 1966. He would land his breakout role in 1972 when John Boorman cast him as the macho, de facto leader of a doomed group of vacationing men in DELIVERANCE. That same year, he would appear half-nude in a Cosmopolitan magazine spread which would cement his status as a 1970’s sex symbol.

Five years later, he would land his most iconic role…as the bootlegging Bandit in Hal Needham’s SMOKEY IN THE BANDIT. Reynolds’ charm and charisma, and all-American mustache made him look like he was born to drive a Trans-Am, and his chemistry with co-stars Sally Field, Jackie Gleeson, and Jerry Reed sizzled off the screen. BANDIT would spawn two sequels, with Reynolds only making a cameo in the third film. His on-screen reputation as a fast driver landed him in cross-country driving roles such as HOOPER (1978), STROKER ACE (1983), and THE CANNONBALL RUN (1981). He would return to his football roots in THE LONGEST YARD (1974).

Other notable roles included SHARKEY’S MACHINE (1981), THE BEST LITTLE WHOREHOUSE IN TEXAS (1982), STRIPTEASE (1996), and THE DUKES OF HAZZARD (2005). He would appear in Paul Thomas Anderson’s BOOGIE NIGHTS in 1997, and take home a Golden Globe win for Best Supporting Actor, and an Oscar nomination.

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Burt Reynolds often said that he took roles just to have a good time, and that was something that could be seen on screen at all times. He always looked like he was having fun, and that made him and his characters easy to like. As a wee-lad in the 1970’s, one of this Blogger’s favorite Hot Wheels toys was a black Trans-Am, which I sent flying under the refrigerator many, many times…as my imagination, inspired by SMOKEY AND THE BANDIT, had The Bandit in an endless chase from those pesky cops. As Reynolds drives off for the last time, myself and those from my generation will remember him in that way; having a laugh, and driving free with the top down.

A Reel 20: RONIN

“What’s in the case?”

This month marks the 20^th anniversary of John Frankenheimer’s RONIN.

A globe-trotting, espionage action-thriller in which a team of former special operatives are recruited by a secret organization to recover a mysterious case, RONIN was originally inspired by the novel Shogun. The novel by James Clavell was read by screenwriter John David Zeik when he was 15, and it gave him background on the ronin; a masterless samurai who wanders the country side as a mercenary to regain purpose. Zeik moved the concept from old Japan over to modern times, and gave the idea of a ronin to former special operatives without a country.

In the mid-1990’s, the RONIN screenplay came across the desk of director John Frankenheimer, who at the time had a reputation as the pioneer of the modern-day political thriller. His strong credits included BIRDMAN OF ALCATRAZ (1962), THE MANCHURIAN CANDIDATE (1962), GRAND PRIX (1966), FRENCH CONNECTION II (1975, and BLACK SUNDAY (1977). Filming began in 1997 with an equally strong cast which included Robert DeNiro, Jean Reno, Natascha McElhone, Sean Bean, Stellan Skarsgard, Jonathan Pryce, and Michael Lonsdale. Locations in France including Nice and Paris were used, providing some stunning visuals as the team of operatives hunt down, chase, battle, and shift loyalties in their mission.

Filmed years before CGI era took over visual effects, the film’s extensive and breathtaking car-chase scenes were shot for real with the actors in the vehicles…with Formula One driver Jean-Pierre Jarier at the wheel hitting speeds over 100mph. Frankenheimer used the same camera-mounts he had in GRAND PRIX. The film had a hyper-realistic aesthetic with no slow motion or overpowering music, to make it look and feel “realer than real”.

RONIN was a moderate hit, and finished 1998 as the 11^th highest grossing R-rated film. Warmly received by critics, it was Frankenheimer’s last film to earn positive reviews.

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RONIN may not have won any Oscars or set box office records on fire, but after 20 years it has not aged a day…and stands as a thrilling, thinking-man’s picture. It’s a men-on-a-mission film, crossed with a heist flick, and gets turned on its head with a few twists and turns…topped off with a whopper of a twist near the end. Robert DeNiro is as good as he’s ever been, and Frankenheimer’s eye for framing a shot and editing for tension is perfection. When it comes to global espionage thrillers, this RONIN has no master.

“No questions. No answers. That’s the business we’re in.”