Tag Archives: Ray Stevenson

Review: Thor: The Dark World

The_The_Dark_World_Poster1“Thor: The Dark World” is simply Marvel’s most fun movie.

Way back when, Odin’s (Anthony Hopkins) father, Bor, supposedly annihilated a race called the Dark Elves, thwarting their attempt to shroud the universe in darkness using a weapon called the Aether. Trouble is, the leader of the Dark Elves, Malekith (Christopher Eccleston), and a few cohorts abandoned their race mid-fight and managed to escape so they could get another chance to see their plan through in the future. In present day, about two years after the events of “Thor,” Thor is reveling in the success of his efforts to bring peace to the Nine Realms. However, before the Asgardians can enjoy this universal accord, the Nine Realms align, portals open, and the Dark Elves return.

“Thor: The Dark World” is easily one of Marvel’s most entertaining films. It’s got action, adventure, heart and some of the best superhero movie comedy. There are some logic issues, but the film is such a joy and thrill that the pleasure of the illusion leaves no room for misgivings.

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Review: Thor

As someone who isn’t up-to-date on her comic book reading, these films tend to be a bit of a blur. However, lately, that sensation fades after the films’ releases. Thanks to Marvel, over the years, I’ve gotten to know tons of endlessly fascinating characters like Iron Man, Spider-Man and more. Of course there were less memorable ones like Daredevil and the Punisher, but rest assured, Thor certainly earns his place in the latter group.

Meet Thor (Chris Hemsworth), the son of Odin (Anthony Hopkins), the king of Asgard. As the aging Odin approaches the end of his reign, he must select one of his two sons, the all-powerful Thor or the magical Loki (Tom Hiddleston), to assume the throne. While Thor’s seemingly the favorite, his decision to travel to the world of the Frost Giants to violently put an end to their long-term feud with the Asgardians, leaves his father no choice but to banish him for the threat his reckless behavior poses to their people.

Thor arrives on Earth via a charged tornado, the force setting off the radars of a local cosmologist, Jane (Natalie Portman). Jane rushes out to the scene of the action with Dr. Erik Selvig (Stellan Skarsgard) and their college intern, Darcy (Kat Dennings). That’s when she literally drives her truck straight into Thor. While Thor tries to figure out the oddities of this foreign realm, Jane and her team take him to be a guy who’s just out of his mind. However, as she starts to piece together the facts of his arrival and simply get to know Thor as a man, she’s compelled to believe.

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Interview: Kill The Irishman’s Ray Stevenson

Ray Stevenson has a knack for battling mobsters. He took on Jigsaw’s army in Punisher: War Zone back in 2008 and now, he’s targeting the real deal, Cleveland’s criminal underworld. In Kill the IrishmanStevenson stars as Danny Greene, a mobster who one day decides enough is enough and that he wants to run the show himself. When he wasn’t setting off car bombs or putting guns to his enemies’ heads, Greene fought for dockworkers’ rights via the International Longshoremen’s Association, tended to his family and enjoyed jogging. He wasn’t all that bad.

In fact, that’s one of the elements that drew Stevenson in to begin with; amidst all of the crimes Greene committed, he still maintained a code of conduct and managed to show a bit of heart, too. In honor of the film’s March 11th release, Stevenson sat down to tell us all about his experience making this film. He touched on everything from developing the character to working with the impressive ensemble cast, which includes Val Kilmer, Christopher Walken, Linda Cardellini and more, as well as his new hair and mustache. Check out the highlights from the roundtable interview in the video below.

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Interview: Kill The Irishman Writer-Director Jonathan Hensleigh

Writer-director Jonathan Hensleigh is a lucky guy. It’s quite surprising that a filmmaker hadn’t snatched this story up sooner. Danny Greene had one heck of a life that came to an end on October 6th, 1977, but it isn’t until March 11th, 2011 that we’re finally getting the chance to see that story play out on the big screen in Kill the Irishman.

We meet Greene (Ray Stevenson) when he’s just a boy battling it out on the streets alongside his pal, Joe Manditski (Val Kilmer). From there we fast forward to adult Danny working as a longshoreman on the docks of Cleveland. Unhappy with the working conditions, Danny takes it upon himself to challenge the union leader in order to make a difference. He winds up assuming that position himself, but rather than focusing solely on his noble intentions, he gets involved in the mafia and from there, it’s a power struggle packed with car bombs.

With the film’s release fast approaching, Hensleigh took the time to sit down and tell us all about the entire process from adapting a true story, to working with such a talented cast, to shooting in Detroit and much more. Have a glance at the roundtable interview for yourself in the video below.

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Review: Kill the Irishman

You’d think having some source material to work from would make a screenwriter’s job pretty easy. Well, that’s certainly not the case and that’s incredibly present in Jonathan Hensliegh’s latest piece, Kill the Irishman. The film was inspired by the book To Kill the Irishman: The War That Crippled the Mafia by Rick Porrello, which was based on the true story of Danny Greene, a fearless man who went from nothing to toppling the Cleveland mob. The film’s got solid roots, but a painfully weak life-to-book-to-film transition turns this extraordinary story into something that’s not only forgettable, but hard to remember, too.

Ray Stevenson is the infamous Danny Greene. As a kid, Danny wreaks havoc on Cleveland, getting into fights alongside his pal, Joe Manditski (Val Kilmer). But as the boys grow up, they also grow apart, Joe joining the Cleveland PD and Danny, well, continuing to wreak havoc. When Danny becomes fed up with the conditions at the docks where he works as a longshoreman, he opts to take on the union leader, eventually taking over the position himself. At first glance, his intentions are noble, ensuring the workers are happy and the facilities are properly maintained, but really, he’s becoming deeply entrenched in mafia dealings and quite enjoying the monetary benefits. Eventually he’s ousted by a reporter, removed from office, jailed, released and heavily fined.

Apparently the situation has zero effect on him because soon enough, Danny is at it again with yet another mafia scheme involving waste removal. He’s hired by the high-up loan shark, Shondor Birns (Christopher Walken), as an enforcer, but ultimately decides he’s not the type of guy to take orders, rather to be all-powerful and at the top himself. Clearly the local mobsters take issue with Danny’s ego and an all-out meltdown ensues involving assassination attempt after assassination attempt and ultimately, to the collapse of the mafia in Cleveland.

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Review: The Book of Eli

Religion in film is always a testy subject. Even if a movie isn’t directly about faith, organizations manage to find minute details to point fingers at. The Book of Eli isn’t one of those movies. Denzel Washington’s name may be plastered all of the posters, but the Bible is at the film’s core. It’s a hypothetical story that makes no harmful allegations, yet its religious connotations will make it impossible for some to accept. On the other hand, for those willing to completely dismiss reality, it’s an enjoyable and action-packed dose of illogicality.

The Book of Eli is about just that, Eli’s book. Okay, it’s a little more complex. Thirty years post-apocalyptic occurrence, Eli (Denzel Washington) stumbles across a bible. Why is this so significant? Because after the apocalypse the men and women remaining turned their back on religion and destroyed every copy. Well, every copy except one and that one belongs to Eli, a seemingly indestructible wanderer wielding a massive machete.

The first twenty minutes of the film are fantastic. The Hughes brothers’ attention to detail is astounding. Everything from the contents of Eli’s pack to the beads of sweat glistening on his forehead makes him endlessly fascinating. But there’s just so far sequences of close-ups and dreary landscape shots can carry you and the brother know it. The first action sequence combines extraordinary choreography with mesmerizing cinematography to show that Eli is capable of far more than moping about the desert.

Eli is all serenity and pacifism when he arrives in the rickety town run by Carnegie (Gary Oldman) obsessed with finding a particular book. Naturally, it doesn’t take long for someone to push Eli’s button forcing him to brandish his weapon and give the townsfolk a serious beat down. Carnegie catches a glimpse of Eli’s talent and tries to enlist him in his team of goons. While hanging out with Solara (Mila Kunis), the daughter of Carnegie’s wife (Jennifer Beals), Eli mutters some verse of the bible, which she innocently repeats in front of the boss man. Oops! That book Carnegie is so desperate to get his hands on? The Bible. And now he knows Eli has the sole copy.

Yes, the plot sounds ridiculous and what I’m about to say is going to sound cliché, but IT’S A MOVIE. Eli walks around with a semi-busted iPod, the country is packing major artillery and everyone has a trendy pair of sunglasses, yet the Bible is nowhere to be found? If you get past the impossibility of the scenario, it’s endlessly entertaining. There’s few people left who know of life pre-destruction and the old-timers left share zero information about the concept of creed. Carnegie thinks that if he can get hold of a Bible, he can spread the word of God but not for the betterment of humanity, so that he can expand his empire.

Oldman is the ideal villain. He’s creepy and ruthless leaving you uneasily awaiting his every move. Carnegie’s every hope and dream relies on getting a copy of the bible and you feel his burning passion for domination. Oldman’s ability to bring Carnegie to life so vividly leaves Washington in a haze. You’re content with Eli muttering and milling about at first, but once more vibrant characters are introduced, like Carnegie, he’s kind of boring. Luckily Solara befriends the brooding hero bringing out more the buried elements of his personality. Kunis is also responsible for infusing the film with some much-needed heart. The battle between Eli and Carnegie keeps your heart races, but it’s Kunis’ story that makes it endearing. Solara’s portion of the film is really a coming of age story. You want her to survive and thrive, which ultimately makes you deeply concerned for Eli’s safety.

Solara’s story gives The Book of Eli some heart, but in the end it’s just a nonsensical action movie. The finale will be extremely difficult, if not impossible for some to digest, but for those who can push practicality aside, it’s a rewarding culmination. Having to put your brain on cruise control to appreciate a movie is never a good sign, but in The Book of Eli’s case, letting yourself go for two hours is well worth it.

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Review: Cirque Du Freak

CirqueDuFreakPosterSpectacular trailers are the ultimate double-edged swords. They get you incredibly hyped for the movie, but also set expectations far too high. At first I had no clue what Cirque Du Freak was, but after seeing the trailer I was hooked. Everything about it from the music to the fades to black as the main characters ride their bikes to the theater, make my spine tingle. Even after seeing the movie, the trailer still gives me chills. Sadly, the film didn’t have the same effect. My love of Cirque du Freak fell, but fell much harder as a result of my high hopes.

Darren (Chris Massoglia) is every parent’s dream. He’s polite, gets great grades and even does his chores. The part of Darren’s life that mom and dad don’t approve of is his friendship with Steve (Josh Hutcherson), a troublemaker with an unstable family. When they find out about a mysterious freak show called the Cirque Du Freak, both boys are psyched to go check it out. Naturally, Darren’s parents don’t approve of the idea and refuse to let him go. Well, that’s nothing a bedroom window can’t fix. Darren sneaks out of the house to see the show.

A one-night event turns into a life changing experience after Darren meets an actual vampire, Larten Crepsley (John C. Reilly). Unlike Steve, Darren doesn’t care much for vampires and finds himself in a sticky situation after stealing one of Crepsley’s prized possessions. Darren winds up making a deal with Crepsley in order to save Steve’s life and agrees to be turned into a half-vampire. He fakes his own death and goes to live at the Cirque’s camp where he befriends Evra the Snake Boy (Patrick Fugit) and Rebecca the Monkey Girl (Jessica Carlson). Meanwhile, Steve is busy getting caught up with the evil vampire faction called the Vampaneze. Vampires like Crepsley make a small incision in their victims and just get a quick sip, but the Vampaneze ruthlessly kill their victims taking as much blood as they’d like. These two warring groups are currently at peace, but that tranquility is about to break down with Darren and Steve right in the middle of it.

Cirque Du Freak is a lot of fun, but far too childish to be taken seriously. The danger is there, but never feels real enough to make you uneasy. Even when Darren is in danger, it’s implicitly implied that he’s going to be okay. Yes, in most films we know the protagonist is going to make it out alive, but there’s never even a hint of peril. The fight scenes are so packed with a campy CGI ‘swish’ trail the speedy vampires leave behind, you can barely even see the battles.

Not that you’ll even care if Darren is injured in the fights; he’s a terrible hero. The fault is mainly Massoglia’s. He’s unengaging and frequently manages to fade into the background even when he’s the primary character on screen. Even when he becomes half-vampire and sheds his nerdy image for his ‘cool’ look consisting of slicked back hair and a red leather jacket, he’s still a bore. I’d rather have seen more of Hutcherson. Yes, his role is packed with typical good-friend-gone-evil clichés, but at least he brings him to life. I was more concerned for Steve than Darren. Crepsley isn’t anything great either. His wittiest lines don’t pack enough of a punch and, overall, he’s far too unlikeable. He’s meant to be hard on Darren, but mocks him to excess. You never get the sense that Crepsley is wise enough to be Darren’s mentor making him hard to respect. Even with that fiery orange hair Reilly doesn’t pop onscreen as he usually does.

Picking apart Cirque Du Freak and examining each element makes the film look like an utter failure, but considering the film as a whole, sheds a better light upon it. The concept is intriguing. It’s got some of the same vampire junk we’ve been bombarded with, but throwing in the Cirque, sets the film far apart from the rest. The Cirque Du Freak is the best part of the film. The characters are fascinating and the camp they live in is vivid and captivating. It’s a blast meeting all of the characters and getting a look at their wacky abilities. Did you ever think you’d see Salma Hayek with a beard?

If only Cirque Du Freak could stay afloat on its general appeal alone. It lacks the depth and sincerity of others of its kind like the Harry Potter and Twilight series. Cirque Du Freak is far too juvenile. The Harry Potter and Twilight books are meant for young adults yet still have a dark side; there’s no reason Weitz and co-writer Brian Helgeland couldn’t have done the same with this film. In fact, that’s exactly what Cirque Du Freak needs in order to be considered a good film; mature dialogue. Realistically the story is ridiculous, but you’re not supposed to be thinking about that while you’re watching the movie. A more serious undertone would get audiences to take the film sincerely. As it is, I expect many to just brush it off as a mere children’s film.

Cirque Du Freak is based on the first of four trilogies making up Darren Shan’s The Saga of Darren Shan collection. There’s no doubt Universal Pictures has hopes to turn the film into a series, I just don’t know if it’s going to happen. The potential of a second film completely rides on the success of the first, which is going to be a toss up. It may be on the childish side, but Cirque Du Freak is entertaining and deserves a second go-around.

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