A Reel 50: DELIVERANCE

“Sometimes you have to lose yourself before you can find anything…”

This month marks the 50^th anniversary of John Boorman’s DELIVERANCE. 

 

A survival thriller based on the 1970 novel of the same name, DELIVERANCE followed four city men who go for a canoeing trip in the Georgia outback and encounter terrifying encounters with inbred locals. 

 

The film was based on the 1970 novel of the same name by James Dickey, who also adapted the material for the screen. The film was primarily shot in Rabun County in northeast Georgia, with the canoe scenes filmed in the Tallulah Gorge and on the Chattooga River.  The four friends would be the driving force of the film, and names such as Gene Hackman, Lee Marvin, Jack Nicholson, and Marlon Brando were considered. The cast was eventually settled on Burt Reynolds, Jon Voight, Ronny Cox, and Ned Beatty. The latter two actors would be making their feature film debuts. 

 

The production became famous for cutting costs by not carrying insurance, and having the actors perform their own stunts. The film would also record a rendition of the decades-old musical piece Dueling Banjos, which would become a hit single. 

 

Despite its darkness and disturbing scenes, DELIVERANCE was well received by critics and hailed as one of the best films of 1972. It would earn three Oscar nominations (Best Picture, Director, Film Editing), and Dueling Banjos would take home a Grammy. It would finish as the fourth-highest grossing film of the year. Following release, a state film commission was established to encourage film and TV production in Georgia, which has continued into today. In 2008, DELIVERANCE was selected for preservation in the United States Film Registry by the Library of Congress. 

 

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DELIVERANCE carries the reputation of being one of the most shocking films ever made, with its grim nature, real-world horrors, and isolated terror. It explores themes of man vs. nature, city fellas vs. country boys, and stalks the idea of masculinity…thanks to an unforgettable rape scene. The film has made an impact in culture, not just because of the rape or the banjos, but the feeling of dread when entering an isolated area in the wilderness. This Blogger has often heard companions say “I hear banjos” whenever in the woods or feeling lost on a backroad, which speaks to the longevity of DELIVERANCE. 

 

“You don’t beat this river…”

 

Paul Sorvino: 1939 - 2022

Actor Paul Sorvino has passed away at the age of 83. 

 

Born Paul Anthony Sorvino in Brooklyn, NY, in 1939, Sorvino began his career as a copywriter in an advertising agency. He took 18 years of voice lessons, and would make his Broadway debut in 1964 in the musical BAJOUR. 

 

His big-screen debut would come in 1970 in the black comedy WHERE’S POPPA alongside George Segal. In 1973 he would re-unite with Segal with a prominent supporting role in the Oscar-winning romantic comedy A TOUCH OF CLASS. In 1984, he would star in his friend Jason Miller’s adaptation of his own play, THAT CHAMPIONSHIP SEASON…a play that Sorvino had acted in as far back as 1972. 

 

His most famous role came in 1990 when he appeared as caporegime Paul Cicero in Martin Scorsese’s mob drama GOODFELLAS. Sorvino would later play mobsters in DICK TRACY (1990), THE ROCKETEER (1991), and THE FIRM (1993). He would also play Henry Kissinger in Oliver Stone’s NIXON (1995). 

 

Other notable film roles included Carl Reiner’s OH, GOD! (1977), Warren Beatty’s REDS (1981), Baz Luhrman’s ROMEO AND JULIET (1996), BULWORTH (1998), MR. 3000 (1994), and KILL THE IRISHMAN (2011). 

 

He crossed over to television often, and played Sergeant Phil Cerretta on LAW AND ORDER for 31 episodes. He also appeared on MOONLIGHTING, MURDER SHE WROTE, STAR TREK: THE NEXT GENERATION, another version of THAT CHAMPIONSHIP SEASON, and THE GOLDBERGS. 

 

He was an accomplished sculptor, painter, author, and opera singer. His daughter Mira Sorvino is an Oscar-winning actress. 

 

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Paul Sorvino was one of those actors who always carried a huge presence in every film or TV show he did. In GOODFELLAS, his character did not move fast or say very much, but when he did…everyone listened and listened good. He seemed to carry that over to every screen appearance, and he never wasted a second. He was the quiet giant, and a good fella. 

 

 

 

 

David Warner: 1941-2022

Actor David Warner has passed away at the age of 80. 

 

Born David Hattersley Warner in Manchester, England, in 1941, Warner attended the Royal Academy of Dramatic Art in 1961, before making his professional stage debut at the Royal Court Theatre a year later, playing Snout in a production of Shakespeare’s A Midsummer Night’s Dream. He would join the Royal Shakespeare Company in 1963. 

 

In 1963, he made his screen debut as the villain Blifi in TOM JONES, and would launch a film and TV career that would span the next six-plus decades. He would appear opposite Gregory Peck in the horror classic THE OMEN (1976), and the 1979 thriller NIGHTWING. He would often play villains, including Jack the Ripper in TIME AFTER TIME (1979), THE THIRTY NINE STEPS (1978), TIME BANDITS (1981), and TRON (1982). 

 

He later appeared in STAR TREK V: THE FINAL FRONTIER (1989), STAR TREK VI: THE UNDISCOVERED COUNTRY (1991), TEENAGE MUTANT NINJA TURTLES II: THE SECRET OF THE OOZE (1991), and would have a memorable role as the henchman Mr. Lovejoy in TITANIC (1997). 

 

Other notable film roles include THE ISLAND (1980), THE FRENCH LIEUTENANT’S WOMAN (1981), THE MAN WITH TWO BRAINS (1983), IN THE MOUTH OF MADNESS (1994), SCREAM 2 (1997), WING COMMANDER (1999), Tim Burton’s PLANET OF THE APES (2001), and would play Admiral Boom in MARY POPPINS RETURNS (2018). 

 

In television, he would play opposite George C. Scott as Bob Cratchit in A CHRISTMAS CAROL (1984), provide voicework in BATMAN: THE ANIMATED SERIES, and would receive an Emmy for his work in MASADA (1981).   He would return to the STAR TREK franchise in a two-parter of THE NEXT GENERATION episodes CHAIN OF COMMAND; one of the most acclaimed episodes of the series. 

 

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This Blogger’s first memories of David Warner have roots in two films: TIME AFTER TIME from 1979, and the TV movie A CHRISTMAS CAROL from 1984. In the former, he gave a chilling performance as Jack the Ripper; a villain that came across as so dangerous not because he was deranged, but because he was calm and cool. Some years later, he switched from deadly to warm and loving as Cratchit in A CHRISTMAS CAROL, and it was hard to believe that was the same man who had played the Ripper. Those two early performances showed the great diversity Warner had; with his elegant delivery and distinctive voice…he could play anything anywhere. He was fearless; having no hangups in dancing to a Vanilla Ice song in a NINJA TURTLES movie, and gave a Klingon Chancellor a gravitas and weight. This Blogger can’t easily recall a time before David Warner; he was “that guy” and one of the best. 

A Reel Review: NOPE

Alien visitors and their flying saucers have taken on many forms in cinema. There are those who want to destroy (INDEPENDENCE DAY), make friends (E.T. THE EXTRA-TERRESTRIAL), or show us the way (ARRIVAL). After 70 years, the genre could use something new…and writer/director Jordan Peele has answered the call. 

 

After random falling objects result in the death of their father, Hollywood horse-ranch owning siblings O.J. (Daniel Kaluuya) and Emerald (Keke Palmer), attempt to capture photographic evidence of a nearby UFO…

 

To say much more of the plot would be a galactic crime, for NOPE is a tale loaded with twists and turns, misdirection, scares, thrills, and intrigue. O.J. and Emerald, in an attempt to save their ranch which has become a victim to Hollywood productions using CGI horses, seek to gain fame and money by getting the “impossible shot” of a UFO. To pull this miracle off, they enlist the help of a tech salesman (Brandon Perea), and a famous cinematographer (Michael Wincott). As the UFO comes and goes, hiding behind artificial clouds, people are abducted, and the siblings realize they may be next. 

 

The stakes seem low in NOPE, as the ultimate goal is to just get a picture of the craft. But Jordan Peele, never one to be A to Z, beefs things up with many themes. Man’s treatment of animals, our modern-day obsession with spectacle over substance, cinema history, greed, and trauma. Peele sets several lines of breadcrumbs through the film, using imagery, flashbacks, and mysterious happenings to bring it all together. Despite the on-paper simplicity, NOPE is a true thinking-person’s film. 

 

NOPE dips its toes into many genres, and could be considered a thriller, drama, a little bit of comedy, a touch of the Old West…and oh yes horror. For the latter, Peele films some scary-ass scenes, including one sequence in a barn that brings the chills and shit-your-pants. An extended flashback sequence involving a TV show monkey (which doesn’t make a lot of sense at first, requires some thinking to figure it out), is gruesome and creepy, and a quick scene showing what happens to the people after they are abducted is nightmarishly unsettling. Peele films a great looking movie, the pacing is brisk, and the score by Michael Abels is excellent. 

 

The cast is very good, although Daniel Kaluuya plays the part too stoic. Keke Palmer is an absolute delight. Keith David has a small role as the siblings’ father and is always excellent. The great Michal Wincott dominates the screen. 

 

NOPE brings together all of its many themes and breadcrumbs together nicely for the finale, although the final solution to the UFO problem/threat is a little hokey. It’s not a dealbreaker, because the film is layered enough to keep our minds going long after the credits roll. There are questions and discussions to be had about the characters and their morals at the end, making NOPE one of the best alien visitor films to arrive on screens. 

 

BOTTOM LINE: See it 

A Reel 40: THE SECRET OF NIMH

“We can no longer live as rats. We know too much.”

This month marks the 40^th anniversary of THE SECRET OF NIMH.

Based on the beloved children’s novel Mrs. Frisby and the Rats of NIMH by Robert C. O’Brien, and the first film directed by animation legend Don Bluth, THE SECRET OF NIMH was a modest box office hit, an award winner, and over time has earned a reputation as one of the finest animated films of all time. It followed the efforts of Mrs. Frisby, a widowed mouse, who needs to move her family and their home out of a field before plowing time. Her adventures take her through twists and turns, including a hierarchy of intelligent rats, family secrets, and dark magic. 

The film was first offered to Walt Disney Productions as far back as 1972, but it was turned down. In 1979, animator Don Bluth famously left Disney with 11 other animators to form Don Bluth Productions, with the intent of reviving the classical animation style of Disney. The new company had a goal of concentrating on strong characters and story, while experimenting with new techniques. The result on screen was a stunning presentation of fluid motion and lighting techniques. 

The casting process had a focus on the traits of each character. Oscar-nominated actress Elizabeth Hartman would be cast as Mrs. Frisby, and she would be joined by comedy legend Dom DeLuise, and well-regarded actors such as Peter Strauss, Derek Jacobi, Arthur Malet, John Carradine, and a young Wil Wheaton. The music was conducted by Jerry Goldsmith. 

Upon release, THE SECRET OF NIMH received critical acclaim, and would win Best Animated Film at the 10^th annual Saturn Awards. At the box office, it would perform better in its opening week than other titans of 1982 including POLTERGEIST, ROCKY III, and STAR TREK II: THE WRATH OF KHAN. It would have an even more successful run on home video.

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There were two animated films in the late 1970’s and late 1980’s that shocked this blogger into a new consciousness. The first was WATERSHIP DOWN (1978), and the second was THE SECRET OF NIMH. WATERSHIP DOWN was shocking (rabbits clawing each other to death, with blood on the screen), but THE SECRET OF NIMH took it to a new level. Characters battled each other to the death with swords (again, the crimson color of blood a shock to see in a cartoon), and creepy imagery including an ancient owl, dark magic, and a big fuck-you spider were the stuff nightmares were made out of. Years later, when TOY STORY 3 (2010) was criticized for being too dark, this blogger could only chuckle. 

But it would be unfair for THE SECRET OF NIMH to have a reputation for being a scary movie only. It’s a story about a mom trying to save her family, and despite the darkness, has a sweetness to it that gives it a balance. Even by today’s standards, the animation is excellent, and the focus on characters and story sets a bar that can be seen in today’s films from Pixar and Disney Animation. THE SECRET OF NIMH is a bold trailblazer and a gem. 

 

“Courage of the heart is very rare. The stone has a power when it’s there.”

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The year in film 1982 was a landmark for cinema. Read Reel Speak’s recap of the year HERE.

A Reel 25: MEN IN BLACK and CONTACT

 

This month marks the 25^th anniversary of two films that have become sci-fi classics. 

 

The first came over the July 4^th holiday weekend, when the Barry Sonnenfeld-directed MEN IN BLACK landed on the big screen. Based on the comic series of the same name, MIB followed the efforts of two agents (Will Smith and Tommy Lee Jones), working for a secret, alien-monitoring organization, to stop an incoming galactic threat. Co-produced by Steven Spielberg, MIB used the makeup and creature-creation wizardry of Rick Baker to bring the many diverse aliens to life, and sported a supporting cast of Rip Torn, Linda Florentino, Vincent D’Onofrio, Tony Shalhoub, and Jon Gries. 

 

MEN IN BLACK was a box office hit, earning enough to become the third-highest opening weekend of all time, and gave Will Smith his second consecutive July 4^th hit…having appeared in INDEPENDENCE DAY the year before. It would finish 1997 as the third-highest grosser, behind TITANIC and THE LOST WORLD: JURASSIC PARK. The film would do well with critics, and would earn three Oscar nominations: Best Art Direction, Makeup, and Original Score (Danny Elfman). It would win for Makeup. 

 

One week later, another sci-fi film would arrive that couldn’t be more different from MEN IN BLACK. The Robert Zemeckis-directed CONTACT. 

 

Co-written by famed astronomer Carl Sagan, CONTACT followed a scientist (Jodie Foster) who discovers a signal from space, which triggers a world-wide interest and conflict. Robert Zemeckis, who had won Oscars with FORREST GUMP (1994), and dazzled us with the BACK TO THE FUTURE trilogy, was brought on to direct and took advantage of real-world locations such as the MIR Space Station and the Very Large Array in New Mexico. The film had a strong supporting cast including Matthew McConaughey, James Woods, Tom Skerritt, Angela Bassett, Rob Lowe, Jake Busey, David Morse, William Fichtner, and the late great John Hurt. Alan Silvestri provided the score. 

 

Despite being a sci-fi film, CONTACT went for realism by using real-life news reporters and network news. Footage from then-President Bill Clinton was repurposed, which earned some controversy. Despite the minor uproar, CONTACT would do well with critics, with famed film writer Roger Ebert adding the film to his Great Movies collection. It would win the Hugo Award for Best Dramatic Presentation and several Saturn Awards. It would earn one Oscar nomination, for Best Sound. 

 

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Twenty-five years ago this month, we were treated to two sci-fi films that could not have been more different from each other. MEN IN BLACK was comedy and action, taking two mega-movie stars and throwing them into a fistfight with a space-roach. On the other hand, CONTACT was a thinker, unraveling a galactic mystery while debating the endless question of science vs. belief. Neither movie was wrong in the approach, as it was proof that sci-fi is, and maybe always was…a genre of film that can go in all directions. There are no limits to science fiction, and the combo of MEN IN BLACK and CONTACT took us there and beyond. 

A Reel Review - THOR: LOVE AND THUNDER

As often stated by This Blogger and his fellow film critics, one of the many reasons the Marvel Cinematic Universe (MCU), has succeeded so well is their ability to cross-breed superhero work with other genres of film. Over the past 14 years they have put their caped and masked heroes into war films, techno thrillers, fantasy epics, and even horror. For their 29^th film, THOR: LOVE AND THUNDER, director Taika Waititi finds a new genre to play in: The glorious 1980’s. 

 

Three years after the events of AVENGERS: ENDGAME (2019), Thor (Chris Hemsworth), travels the universe with the Guardians of the Galaxy helping those in need, when he encounters Gorr the God Butcher (Christian Bale), who is on a mission to slay the gods of the universe. Meanwhile, Thor’s ex-lover Jane Foster (Natalie Portman), is dying of cancer when she is called by the shards of Thor’s ex-hammer Mjolnir… 

 

THOR: LOVE AND THUNDER is a film saturated in 1980’s cinema; loaded with color, quirky characters, ludicrous-speed pacing, child actors, red leather jackets, and even rock music from the era. The style screams fun, but the stakes are dire and the character work operating on more than one level. Thor finds himself at a mid-life crisis; despite doing hero work he feels out of place, and re-uniting with his old lover puts him into even more of a conflict with himself. The heart of the story is a love triangle between Thor, Jane (who now wields the power of the Thunder God, despite her health failing), and even Thor’s weapons (his new battle-axe Stormbreaker is jealous of Thor’s fondness for his old hammer, in a clever manifestation). 

 

But it’s not all love and roses. Gorr’s hell-bent idea to slay the gods as a revenge for his daughter dying has huge consequences for the universe, and Thor has to get his thunderous ass in gear to meet the challenge. The journey takes Thor from planet to planet (including one location where every god in the universe hang out), and even into a stunning black-and-white color-palette planet; fighting battles, finding allies, and wrestling with his own demons. 

 

Director Taika Waititi, helming his second THOR film, swings for the fences in every aspect of the film, with most of it connecting very well. The humor is over the top, the tragic parts are hard to watch in places, and the wacky characters that show up have no restraint in their design or demeanor. It’s all a means to an end, as Waititi and Marvel are seriously drawing back the curtain on the cosmic side of the MCU…which gets bigger and bigger at every turn. The cinematography is stunning, and Michael Giacchino’s score is right in the ballpark of 1980’s sci-fi cinema and works very well.

 

Acting is excellent. Chris Hemsworth, in his eighth (!) outing as Thor, takes the character through some heavy emotions and at this point is probably the most complex MCU character we have. Natalie Portman is outstanding; looking and feeling the part perfectly and has a huge presence on the screen. Christian Bale as the Big Bad is chilling and gives the film a serious weight. The rest of the cast including Tessa Thompson and Russell Crowe (as Zeus!!!), are excellent…along with a few smile-inducing surprises. 

 

LOVE AND THUNDER embraces its influences and would feel right at home on a shelf-full of VHS tapes alongside FLASH GORDON (1980) or KRULL (1983), and fans born before 1995 may not get it. The ending is a tearjerker, and where Thor ends up and what the title of the film really means may not be what some fans want, but it works and is proper for the character. Thor made his cinematic debut way back in 2011, and this is the adventure with the most weight and best arc for him. All they had to do was go back to the past to set up a future for the God of Thunder…who will return again. 

 

BOTTOM LINE: See it 

James Caan: 1940 - 2022

Actor James Caan has passed away at the age of 82. 

 

Born James Edmund Caan in the Bronx, NY, in 1940, Caan picked up an interest in acting while attending Hofstra University, and would later transfer to New York City’s Playhouse School of the Theatre. He would appear off-Broadway before making his Broadway debut in Blood, Sweat and Stanley Poole. 

 

His first film role came in the 1964 thriller LADY IN A CAGE. He would land roles on television in THE ALFRED HITCHCOCK HOUR and WAGON TRAIN before hitting his first starring role: Howard Hawks’ auto-racing drama RED LINE 7000. He would then star in Robert Altman’s COUNTDOWN (1968), before meeting Francis Ford Coppola and appearing in his THE RAIN PEOPLE (1969). 

 

After appearing in the TV drama movie BRAIN’S SONG (1971), a role that would earn him an Emmy nomination, he would re-unite with Coppola by taking on the role of Sonny Corleone in THE GODFATHER (1972). Caan would earn an Oscar nomination for Best Supporting Actor, competing against his co-stars Al Pacino and Robert Duvall. He would reprise the role in a brief cameo in THE GODFATHER PART II (1974). 

 

Now established as a leading man, he would play in successful films and earn praise for his work in FUNNY LADY (1975), ROLLERBALL (1975), Mel Brooks’ SILENT MOVIE (1976), A BRIDGE TOO FAR (1977), and COMES A HORSEMAN (1978). In 1981 he would star as a professional safe-cracker in Michael Mann’s THIEF; a film that over time would earn a large cult following. 

 

Roles in the 1980’s into the 1990’s would include Coppola’s GARDENS OF STONE (1987), ALIEN NATION (1988), DICK TRACY (1990), MISERY (1990), and HONEYMOON IN VEGAS (1992). He would appear in Wes Anderson’s directorial debut BOTTLE ROCKET in 1996, star with Arnold Schwarzenegger in ERASER (1998), and be a gangster again in MICKEY BLUE EYES (1999). 

 

Other significant roles would include ELF (2003), DOGVILLE (2003), GET SMART (2008), and would provide voiceover work for the animated films CLOUDY WITH A CHANCE OF MEATBALLS (2009 and 2013). 

 

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For those of us who grew up with cinema in the 1970’s, our lasting image of James Caan would probably be his tragic and bloody character death in THE GODFATHER, when his character of gangster Sonny Corleone is gunned down at a toll booth. Just as JAWS (1975), had us all afraid of the water, his iconic scene at would have us looking over our shoulders at every toll booth in America. His death scene resonated because Caan made the character of Sonny a relatable one; not just a gangster but a protective big brother and son…temperamental but dedicated. It was one of many roles that Caan put everything he had into it; 100% and pedal-to-the-metal. From gangsters to footballers to fathers of Christmas elves, Caan created characters that no one could refuse. 

 

 

 

 

 

A Reel Preview: Everything You Need to Know About THOR: LOVE AND THUNDER

This week, the 29^th film in the Marvel Cinematic Universe (MCU), arrives on Earth in the immortal form of THOR: LOVE AND THUNDER. Here in this preview, is everything you need to know before voyaging to the theatre: 

 

What is this about – The last time we saw Thor, the God of Thunder, he was leaving Earth by hitching a ride with the Guardians of the Galaxy just after the events of AVENGERS: ENDGAME (2019). In this adventure, Thor takes on a new foe, Gorr the God Butcher, who is on a rampage to kill every god in the universe. Meanwhile, Thor’s old flame Jane Foster finds a way to harness the power of the gods to save her own life…

 

 

Who is in front of the camera – Chris Hemsworth reprises Thor for the 8^th time, having appeared in three solo films and four AVENGERS team-ups. His new enemy Gorr is played by Oscar-winner Christian Bale, who is widely known for his role as Batman/Bruce Wayne in Christopher Nolan’s THE DARK KNIGHT TRILOGY (2008-2012). Other cast members include the Guardians of the Galaxy (Chris Pratt, Pom Klementieff, Dave Bautista, Karen Gillan, Vin Diesel, Bradley Cooper), and Thor’s friend Valkyrie (Tessa Thompson). Natalie Portman reprises Jane Foster, and Russell Crowe (GLADIATOR), appears as Zeus. The cast also holds a few surprises. 

 

 

Who is behind the camera – LOVE AND THUNDER is directed by Taika Waititi, who helmed the previous Thor film, RAGNORAK in 2017. Waititi’s other directing credits include the Oscar-nominated JOJO RABBIT (2019), and several episodes of TV’S THE MANDALORIAN. 

 

Random Facts – LOVE AND THUNDER adapts elements from Jason Aaron’s Mighty Thor comic books, which sees Jane Foster take on the power of Thor * Chris Hemsworth achieved his biggest physique ever for the film * So far, Thor is the only MCU character to have four solo films * Hemsworth’s son appears in the film as a young Thor * Christian Bale is the second BATMAN actor to appear in the MCU, following Michael Keaton * Composer Michael Giacchino provides the score, having previously scored DOCTOR STRANGE (2016), and the last three SPIDER-MAN films * 

 

 

What to Expect – Starting with the director, Taika Waititi has shown to be one of the funniest, zaniest, yet efficient directors working today. He was allowed to take the cuffs off for his previous Thor film RAGNORAK, so we probably expect even more of that this time around. Star Chris Hemsworth, who also acts as a producer in LOVE AND THUNDER, has been adamant in making his character change from film to film. Progression for Thor is the name of the game, as we’ve seen him go from invincible to humbled to broken to reborn in the past, and the universe is wide-open for him this time. The addition of Christian Bale into the MCU is very exciting, and the large ensemble cast of MCU veterans nearly makes LOVE AND THUNDER feel like another AVENGERS assembly. When LOVE AND THUNDER strikes, we can expect some fireworks. 

 

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THOR: LOVE AND THUNDER opens in full July 8^th, with previews on July 7^th.