2 items from 2015
Last week, it was leaked and subsequently confirmed that Jason Statham was in deep negotiations to play the villain Bullseye on the upcoming season 2 of Marvel’s Daredevil on Netflix. This news was probably the greatest moment of my whole life. Then not even 48 hours later, the talks broke down for whatever mystical Hollywood reason. Statham would not be playing the iconic villain of Bullseye, which was probably the saddest moment of my whole life, because we missed out on an opportunity to watch Statham be an action villain again.
The only thing better than Action Hero Jason Statham is Action Villain Jason Statham, and that’s a side of him that only 2 films have explored to date with 11 years between the two. We could have gotten up to Thirteen Whole Hours of Action Villain Jason Statham, and even more so on a show that had surprisingly great and excitingly choreographed action scenes. »
- Dylan Griffin
Writing on John Carpenter’s cinema usually adheres to a few safe subjects: his pulsating synth scores, his ingenious use of negative space, his signature 2.35:1 frame, (specious) comparisons to Howard Hawks, etc. Ideally, his oeuvre is ripe for analysis, so formally and tonally consistent is his cinema, so rigorous the progression of his favorite themes and subjects. Phases begin and end, roughly. Experiments can be recognized, one-offs noted, dozens of through lines traced. And yet Carpenter, among the most coherent of filmmakers in a variety of contexts, is seldom subject to thoughtful criticism, and if so, is largely marginalized to a handful of admittedly excellent but overly-canonized and under-representative works.
If clung to for bruising, relentless films like Halloween (1978), The Thing (1982), Assault on Precinct 13 (1976), Prince of Darkness, and They Live (1988), Carpenter comes off rather severe, even despairing. One cannot deny this element in his work, a powerful vein »
- John Lehtonen
2 items from 2015
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