Author Archives: Jay

Housebound/Creep

2 scary movies for the price of 1! (actually I bought Housebound from Amazon for $5 and watched Creep on Netflix, but anyway.)

Housebound: Kylie faces a fate worse than prison when she’s arrested for stealing to feed her houseboundaddiction: house arrest, with her mother. Sober, presumably. Exactly the reason she did crack to begin with. But we pretty soon see that it’s not just her Corrie-loving mother and silent-as-a-stump stepdad she’s avoiding – there’s a fourth presence in the house, and lately it’s making itself known. The visiting psychologist has a thing or two to say about this of course (it may land her in a psych ward if she’s not careful) but the dude who’s monitoring her ankle bracelet is more keen – turns out, Amos is a bit of a paranormal savant.

Housebound is given to us by way of New Zealand, which means it’s a horror-comedy hybrid, and it actually delivers on both fronts. Gerard Johnstone is a newbie director and he’s not too flash but he’s got all the creepiest angles down pat.

Creep: God-damned found footage. I wouldn’t even have attempted this one if it wasn’t for the charming Mark Duplass, who has cast his spell on me ever since I first came upon him on The creep-2014-movie-review-mark-duplass-josef-tubbie-time-bathtub-sceneLeague. There are two actors in this movie, but since one is behind the camera, this is really Duplass’s show, and it succeeds on his performance. Having placed a Craigslist ad for a cameraman’s services for the day in order to record some words of wisdom to his unborn son before cancer takes him away, the two men find the transaction not going quite as advertised.

Patrick Brice, the guy behind the camera, is in fact the director, and the two wrote (or improvised) the piece together. It’s truly minimal, low on blood but high on creep. I won’t say much more because it’s good to go in blind, but this is not exactly horror, so much as…unease? Anxiety? Terror? Something like that. Something interestingly outside the genre.

The Preppie Connection

A gifted teenager from a working-class family gets accepted into a hqdefaultfancy prep school, with scholarship, without ever having applied. His mother has certain pretensions you see, and wants to see her family move up in the world. So she did the applying, and the accepting, for him (her depression and classic guilt trips assure compliance). But Tobey (Thomas Mann) knows he doesn’t belong there – “Before I even started Sage, I knew he was finished.”

A Columbian exchange student lets him know how to fit in (copious amounts of Lacoste go a long way – it’s 1984) and a pretty blonde girl, Alex, (Lucy Fry) gives him the motivatiimagesCAZ3G5GCon to stay. She’s in love with the preppiest, poppiest collar of them all though, so that spells trouble. How to get into the inner circle? Well, keeping in mind it’s 1984, Tobey figures it out pretty quickly: cocaine. Lots and lots of blow.

This movie is actually based on a true story of how a high school kid smuggled $300k of uncut cocaine into the US (remember that conveniently Columbian friend he made on the first day of school?).

You may have cut school once or twice in your day. What kind of shenanigans did you get up to? Pot? Sex? Soap operas? This kid flies to a foreign country and makes friends with a drug cartel. You can probably guess that things kind of get out of hand. The reason to watch this movie is to find out two things:

  1. Did he have fun while it lasted?
  2. Was it all worth it?

I really liked Thomas Mann in Me and Earl & The Dying Girl, and Screen+Shot+2014-10-27+at+8_44_22+PMagain in The Stanford Prison Experiment (he even popped up in Welcome to Me); this kid is someone to keep your eyes on. He’s excellent in this, effortless.

Director Joseph Castelo went to boarding school himself in the 80s, and remembers hearing about this story. Ultimately, it broke on 60 Minutes and then the whole country knew, and were aghast. Reflecting on his own experience, Castelo says “I was looking back on many of my own experiences and my own feelings of being an outsider in a boarding school. I wasn’t from a wealthy family and I was experiencing culture shock when I went to boarding school, just like Tobey experiences culture shock. You know you very much want to be a part of tThe+Preppie+Connection+Casthose circles, and it’s like any kid in high school, you need to figure out what’s the way in, how do I get into that inner circle, how do I become a part of this system that you have suddenly been thrust into and either you rebel against it or you work at being a part of it, and in a way, Tobey did both which is interesting. It made me think about my own impulses and my own thoughts and feelings when I was in boarding school. It really was cathartic. I really did feel like I worked through a lot of my own life.”

Sam Bisbee, the film’s music composer, adds his own personal touch, having worked and toured during the 80s. He says he “jumped at the chance” to work on the film because “the world and universe of the film is the same universe I grew up in, at almost the same time as the film’s setting. In the mid 1980’s I was a boarding school student at a New England prep school, and this was the time when I fell in love with music (I, also, clearly remember when the real life scandal happened at Choate).”

This film debuted just a few weeks ago at the Hamptons Film Festival, and was an excellent choice for the New Hampshire Film Festival as well. It’s not your average coming of age story, but it’s funny how even a rags to riches high school drug kingpin can still feel relatable and familiar. Maybe it has something to do with the intimacy of the film – it feels like we’re very close to Tobey. We know what he’s thinking before he says the words. We’re really inside his head, but there’s a cinematic wash, an 80s patina if you will, that still gives the movie an interesting sense of style.

I really enjoyed this one, and I’m pretty sure you will too. It’s playing at the St. Lawrence International Film Festival this weekend – Saturday October 24th in Potsdam, where it is receiving the inaugural Empire State Award, for excellence in filmmaking for either a New York Story or a New York Filmmaker. I’ll keep you posted on its wide release date – this is an independent movie that deserves to find its audience.

New Hampshire Has Reason to be Proud

Sean and I made the beautiful drive down to New England last Thursday for a long weekend of film festing in Portsmouth, New Hampshire.  We also made a frenetic drive back on Sunday in order to cover a local happening (The Monster Pool Horror Anthology – review coming soon) last night and because today is election day here in Canada, and there’s no way we were missing that.

I’m finding that our coverage of the New Hampshire Film Festival is going to read a lot like a love letter to the city of Portsmouth. Home to about 21 000 residents, it’s bursting with IMG_2951historical charm and significance. And I mean it’s just sick with quaintness. The downtown is distinctive and beautiful and eminently walkable. It feels cared for. And I suppose this is what has distinguished the New Hampshire Film Festival for me: it has a real sense of community. Don’t get me wrong, it’s attracting plenty of outside and international interest as well, and I think that trend will only continue as this little festival is landing some pretty major films. But each screening was attended by many locals who clearly took pride in this festival. We were greeted warmly everywhere we went. The volunteers were friendly. And though we found this festival to be well-organized and well-run, there was this pervasive feel of the insouciant. This is the laid-back film festival, perhaps a tribute to the unflappable New Englanders who have done an impressive job of making this look easy – and I tell you now, it is not. But the wrinkles, if there were any, were invisible.

portsmouth nhffPortsmouth bustles with tourists in the summer, but I think she may look her best in the autumn. Its historic seaport still sparkles, but I loved seeing leaves on the grounds of architectural highlights, including Colonial, Georgian, and Federal style homes. The city is replete with fall colours and decorative touches – it starts to feel like the set of an idyllic small-town, except when you sit down to eat, at which point it tastes like the very best of big-city eating.

IMG_2950The seafood. We sampled local oysters from Franklin‘s, scallops from The District, and the best-ever clam chowder from Robert’s Maine Grill (Kittery, Maine being 2 minutes across the river). And don’t get me started on the lobster rolls. The movies at this point were incidental – this trip was already a culinary and sight-seeing success.

Okay, I’m lying. The movies are never unimportant. We’re Assholes: it’s what we do and why we came. We’ll get to those. First, though, the venues.

We rolled up to Discover Portsmouth Center first, a visitor center (this is me taking pains to spellIMG_2767 centre the American way) extraordinaire. It’s a gallery, a gift shop, a museum, a gateway to the Black Heritage Trail – really the cultural heart of the city (which seems to have attractions worthy of a city  many times its size), and also serves as the vital headquarters of the New Hampshire Film Festival, which is how it got to host a meet and greet with John Michael Higgins and Jimmy Dunn.

Both of these fellows are New Englanders; Jimmy Dunn you’ll know as a stand-up comedian who also appeared on the sitcom The McCarthys, as Joey McIntyre’s (fraternal) twin brother. John Michael Higgins, as we’ve already covered, is an absolute favourite of mine because of his fantastic charactermgs in many of Christopher Guest’s best (like Best In Show), but this guy gets hired for everything, from Pitch Perfect 2 to Broadway plays, to roughly half of all running sitcoms, including Arrested Development and Happily Divorced. More on them later (they were part of a lively and crazy-quotable comedy panel alongside Tom Bergeron and Juston McKinney).

On to our first film of the festival, Touched With Fire. This one screened at The Music Hall, which immediately requires me to derail this review in order to gush about the venue instead. It was recently declared an “American treasure” – and yes, it is. It’s a 900-seat theatre that you’ll immediately waTMS Music Halllk into and think: how dare you be so charming? It’ll make you think twice about ever setting foot into a dirty old Cineplex ever again, I’ll tell you that much. Built in 1878, it’s the oldest operating theater (American spelling!) in New Hampshire and the 14th oldest in the United States. It’s clearly been lovingly restored and it’s rocking character like a boss. It’s a venue-of-all-trades, home to intimate concerts (Suzanne Vega), readings (John Updike), and of course, independent cinema (we saw a poster for upcoming screenings of Grandma, a film which weIMG_2952 heartily approve). The lobby makes a strong statement, and the auditorium is lovely, but it might just be an area usually unsung that wins you over: after using the facilities, Sean declared the washrooms to be “the best ever” and insisted that I had to pee. I have never heard Sean remark upon washroom facilities in my life, and am usually skeptical about any men’s room, but when I visited the ladies’ quarters, I saw instantly what he was talking about, and they ARE magnificent. Obviously, we Assholes are in the business of reviewing movies, not restrooms, but just to prove to you we’re not nuts, appreciation for these washrooms is such that they’re actually nominated for Best Restroom literally in all the land, and I urge you bathroom-575x346to vote now (until October 31st) – even if you haven’t peed there yourself,  you can take my word for it, I promise. (I was too shy to snap a photo, but thanks to braver souls and the Internet, check em out!)

So, here we are: a thousand words about the New Hampshire Film Festival, and still not a single movie review. It’s your fault, Portsmouth, for being a unique place to discover and enjoy in your own right. You don’t need a film festival to earn tourists, but I’m sure as heck glad you have one, because not only were we impressed by your lineup this year, we can’t wait to come back and do it again in 2016.

NHFF screened something in the neighbourhood of 100 movies, and like any festival, you can’t see ’em all. We missed some with regret but regretted none we saw, and I guess that’s the greatest compliment you can pay a festival. Our selections:

Touched With Fire

The Preppie Connection

The Second Mother

Experimenter

A Light Beneath Their Feet

Bridgend

Chicken

Mississippi Grind

The Witch

Check back for more coverage of NHFF including the comedy panel and the red carpet, and for reviews for each of the films.

Touched With Fire

We saw four movies on Friday at the New Hampshire Film Festival, and this was Sean’s favourite of the bunch. Starring Katie Holmes and Luke Kirby as two bipolar poets who meet in group therapy while unhappily committed to a psychiatric ward, they feed each other’s mania and explore the possibility that maybe their illness is actually a gift.

imagesCAVJ8VDGThe movie derives its name from the book that examines the relationship between bipolar disorder and creativity, citing lots of artistic minds assessed as probably having suffered this or a similar disorder: Ernest Hemingway, Edvard Munch, Jackson Pollock, and Vincent van Gogh, to name a few.

Two things about bipolar disorder:

  1. It’s a serious disease. But it is a disease, and like many diseases, it can be managed with lifestyle choices and medication. It used to be called manic-depression but those two moods are misleading because not everyone experiences them like they’re often depicted in the movies. The mania is not always energized3d Bipolar disorder backgroundfun – some people get very irritable and paranoid during their manic phases. And other people will be angry and violent during the down phase, rather than depressed and sad. Medication and psychotherapy help a lot, but just like a diabetes, it’s a hard illness to manage. It’s a life-long commitment, and they’ve got the disease actively working against them at times – often just when they’re doing well, it starts whispering that they’re fine, they can get off the meds. That’s not really the case, but since the medication can make people feel sluggish or not quite like themselves, it’s really difficult to battle against those thoughts. And just like someone with heart disease who knows darn well they should cut down on red meat and stress, people who suffer with bipolar disorder can relapse, but for some reason we’re always harder on people with mental illness compared to other bodily illnesses. Bipolar disorder doesn’t get cured, but I have known people to live happy lives with it. I really salute them because it takes a lot of care and diligence and support.
  2. There does seem to be some kind of link between bipolar disorder and genius\creativity. I can’t tell you what that means because science has no fucking clue what it means. I can tell you that it doesn’t guarantee anything, and it isn’t true of everyone with bipolar disorder, or even most. But during the manic episodes, people have racing thoughts that can lead to all kinds of ideas and links and thinking outside the box. If you are a writer or musician who gets inspired and does your best work during this phase, think about what it means to have to give it up in order to “get well.”

touchedwithfireSo that’s what this movie explores: that fine line between wanting to get well, but also wanting to keep the aspects of the disorder that make you unique. Carla and Marco, in the movie, are both poets of a sort, and are transfixed by this sacrifice they’re being asked to make.

I am happy to report that this movie was not reckless. It did place value on medication, but it did it within a questioning context, which I think is important.

Let’s consider, for a moment, Vincent van Gogh. He’s one of the most acclaimed and famous artists ever. Was he bipolar? His “diagnosis” is only in retrospect since the disorder wasn’t even named or classified during his time. He certainly showed many of its dispositions. You know that during one of his “episodes” he mutilated his own ear, after which he checked himself into an asylum and spent there a fruitful year during which he painted many of his most prominent pieces, including the irises, his blue self1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project-portrait, and this one, A Starry Night, which was the view from his asylum room (minus the bars on the window, of course). This is what a night sky looks like to a “sick” brain. Isn’t it something? The world, our culture, places great value on this remarkable painting, and yet it would not exist had he been “well.” Doesn’t that make you think?

On the other hand, manic episodes are often accompanied with impulsivity, and poor judgement; sometimes even psychosis. About half will experience delusions or hallucinations, which can lead to violence. And the higher the high, the lower the low. The depressive state can include feelings of sadness, anxiety, anger, guilt, self-loathing, helplessness, and morbid thoughts of suicide. You wouldn’t wish this part on  your worst enemy, and it makes it tough to maintain the relationships and support network so crucial to health. Half of those suffering with bipolar disorder will attempt suicide or self-harm.

I valued this movie for asking the right questions, even if we don’t have all the answers. It felt like a pretty honest look at the disorder, the good and the bad, and the fallout that hits those that love them (Christine Lahti contributes a solid performance as a mother constantly on the brink), and I can see it being enlightening for audiences, and a good conversation starter for a disorder that’s often misunderstood.

MV5BODY2MjUzNzQ2NF5BMl5BanBnXkFtZTgwMjk0MDc4NDE@__V1_SX640_SY720_This film was written and directed by Paul Dalio, who was going to school in the Graduate filmmaking program at NYU, where he was discovered by his professor, who just happened to be Spike Lee (Lee believed in the work so much that he’s the executive producer on this film). Dalio made this film after overcoming his own struggles with the disorder as a way of reconciling the beauty and horror that comes from it, and dedicated it his fellow suffering artists.

 

 

Live from Beautiful Portsmouth – NHFF 2015

There’s actually a lot to see in Portsmouth besides all the stellar movies playing this weekend. It’s practically idyllic in its autumnal glory, just stupidly beautiful. One of the main venues is on Chestnut street, and I can’t believe that something so quaint actually exists outside of a TV set. How lucky are we? The Asshole in me is actually itching to find fault with this place!

Now for a few more of the New Hampshire Film Festival’s bountiful offerings:

A Light Beneath Their Feet: A high school senior must choose between enrolling at the college of her dreams (across the country, natch) and remaining at home to take care of hLightBeneathTheirFeet-W1-210x157er bipolar mother. This movie is proudly packed with strong women – the mother is played by Taryn Manning (Orange Is The New Black, Hustle & Flow); the fabulous SNL alum Nora Dunn appears as a good doctor; director Valerie Weiss started her film career while completing her PhD in Biophysics from Harvard Medical School, you know, in her spare time; and screenwriter Moira McMahon has shown herself a fan of working with strong females as production staff on Grey’s Anatomy, and as a writer and researcher on Private Practice. It’ll be nice to see these ladies hard at work, and kudos to NHFF for highlighting so many female directors this year!

The Witch: Robert Eggers, first time film writer and director brought home the prize for Best Director at Sundance this year, and this is why. The Witch is set in New England, circa 1630. William and Katherine lead a devout Christian life, isolated on the edge of an impassible wiluntitledderness, with five children. When their newborn son mysteriously vanishes and their crops fail, the family begins to turn on one another, unraveling within their own fears and anxieties, leaving them prey for an inescapable evil…or, you know, it’s just their overactive imaginations. You know the kind of shit that went down in New England back in the good old days (*cough*Salem*cough*). This one sounds super duper creepy!

Founded in 2001, NHFF began as a small, grassroots organization to support local, regional and student filmmakers. It now attracts over 10,000 festivalgoers to Portsmouth each year, and holds a place as a viable and recognized festival that showcases the brightest talent on the international film festival scene.

 

 

NHFF:

The New Hampshire Film Festival is screening all kinds of really great movies we’re looking forward to seeing and talking about.

Manglehorn: starring Al Pacino as the titular character, an eccentric manglehorn_ver2small-town locksmith heartbroken by the woman he loved and lost many years ago. Now he’s only got his cat for companionship but a kind-hearted bank teller (Holly Hunter) might just thaw his crusty little heart. This one’s brought to us by director David Gordon Green, a man with a resume so varied it features Our Brand is Crisis and Pineapple Express – for real. Pacino’s career has taken some interesting turns of late (yes, that’s a euphemism) but I was kind of into Danny Collins, and I like him embracing these older, washed-up, gritty kinds of characters, so who knows – maybe there’s hope.

The Wolfpack: this documentary’s about 6 brothers who were Wolfpack_film_posterraised in total isolation in the middle of Manhattan. Their parents are eccentric, let’s say. So these boys have seen very little of the world outside their home, and have compensated by falling in love with the movies. They recreate entire scripts with realistic costumes and a lot of heart. The film doesn’t offer a lot of commentary but is fascinating all the same.

Anomalisa: Sean and I were lucky enough to see this one at TIFF last month but we’d completely be up for seeing it again because it’s a db4e513121bfa9988da95cbd27409b69_largebeautiful film, and one of Charlie Kaufman’s best – and I believe that’s saying a lot. He and co-director Duke Johnson use stop-motion animation to breathe life into a quirky, smart script full of dark humour. I can’t wait for this to hit wide-release so we can all chat about it, but I’m telling you, if you have love for movies that think outside the box, you need to keep your eyes peeled for this gem.

The Stanford Prison Experiment: we were just discussing this one a couple of weeks ago (in fact, I’m still sporting the same cold that MV5BMTUyNDIyMTA4NV5BMl5BanBnXkFtZTgwODM2MDMxNjE@__V1_SX214_AL_caused me to dump an entire bottle of Nyquil into my purse during this movie, and my phone has still not completely recovered), so let me refresh your memory. Billy Crudup plays the real-life Stanford professor who recklessly recruited students to re-create a prison. He pitted the young men against each other – prisoners vs. guards and the situation got mental in less than 24 hours. It’s still a black mark on psychology research and an important lesson in personality vs environment. This one’s really well-acted and faithfully recreated.

The New Hampshire Film Festival

Live from the lovely town of Portsmouth, New Hampshire is the 15th annual New Hampshire Film Festival. What sets this one apart from others is its genius focus on independent film. Yes, it showcases some great international films such as Anomalisa (so good!), The Witch (can’t wait!), and Chicken, but it gives the opportunity to lots of local talent to highlight their own independent films as well, and I hope to catch plenty of those while I’m here.

NHFF_logo-2015

 

 

 
Over the past few years alone, it’s screened some of my favourite foreign movies, like The Broken Circle Breakdown, and Force Majeure, and also some major award contenders, like Boyhood, Blackfish, Life Itself, and Last Days in Vietnam.

There’s a lot to look forward to this time around, but is it crazy that one of the things I might be most anticipating is a comedy panel featuring John Michael Higgins.

17493977-standardIf you don’t know his name, you’ll certainly know his face. He’s Elizabeth Banks salty-tongued co-host in Pitch Perfect, appeared in almost every great TV series – including his turn as “professional” lawyer Wayne Jarvis on Arrested Development, and of course if you know anything about me at all, I’m extra partial to everything he’s done with Chris Guest, including Best in Show and A Mighty Wind. This guy is a real scene stealer, and funny as heck, so seeing him will be a real treat.

Danger on Set

Not to get all morbid on you, but movie sets aren’t always made of pillowy mounds of cotton candy and chocolatey rivers. And even when they are, things can still go wrong.

The most famous death on a movie set is arguably that of Brandon Lee, while working on The Crow. In 1993, at the North Carolina Film tumblr_lglbb13t1q1qg1dnpo1_500Studios, with just 8 days left of filming, the scene where Lee walks in on his fiancée being raped by thugs was being shot. Michael Massee, playing the villain, fired his prop gun as directed. Unfortunately, a real bullet unseated from a dummy round was lodged in the barrel of the handgun unbeknownst to anyone. A blank was loaded without anyone noticing the real bullet, and when the gun was fired, the real bullet hit Lee in the abdomen. He underwent 6 hours of surgery but succumbed to his wounds.

Things were more difficult in the early days of film, when capturing scenes we wouldn’t think twice about today amounted to a lot more peril. In 1914, while shooting a horseback river crossing for the movie Across the Border, cast member Grace McHugh and camera operator Owen Carter both drowned in the Arkansas River. A decade later, an actress named Martha Mansfield would die when a match, tossed by a fellow cast member, ignited her Civil War costume of hoopskirts and ruffles while filming The Warrens of Virginia. Leading man Wilfred Lytell saved her face by throwing his ben-hurheavy overcoat on her, and her chauffeur badly burned his hands trying to beat out the flames and remove her clothing. Her burns were too substantial and she died of her wounds. The next year, a stuntman died in Rome filming Ben-Hur when the wheel of a chariot broke during the race scene. And three people died in 1928, among a slew of other injuries and dismemberment, when several hundred extras were caught in the Noah’s Ark great flood scene. This led to a lot of safety regulations in the industry. But since this list continues, clearly not enough.

During aerial filming for the film Such Men Are Dangerous off the coast of Southern California, two camera-planes collided over the ocean. All ten men on board the two planes were killed, including director Kenneth Hawks, assistant-directors Max Gold and Ben Frankel, cinematographer Conrad Wells, and cameraman George Eastman.

Producer and co-director Varick wanted more footage of the Labrador ice floes for his film The Viking. He and a small film crew joined a seal-hunting voyage which became trapped in ice near Horse Isles and dynamite stored on board (intended for breaking up ice floes) accidentally detonated, destroying the vessel and killing 27 men, including Frissell and cameraman Alexander Penrod.

While filming the charge sequence of The Charge of the Light Figure4Brigade, a stuntman was killed when he fell off his horse and landed on a broken sword that was lying on the field, unfortunately wedged with its blade was sticking straight up. Also, due to the use of trip wires, three dozen horses had their legs broken and had to be shot during filming, resulting in laws to protect animals used in motion pictures.

During the filming of Shark!, a 1969 actioShark-Reynolds-620x400n flick starring Burt Reynolds, a stuntman was mauled and killed by a shark who was supposed to have been sedated. The production company used his death to hype the film. Not learning the valuable lesson that wild animals are dangerous, sound technician James Chapman was mauled to death by a lion during production on the South African film The Last Lion. And in 1979’s Comes A Horseman, during the scene where Jason Robards’ character is dragged to (presumably) his death, stunt man Jim Sheppard was killed when the horse that was dragging him veered off-course and caused him to hit his head on a fence post. The scene made it into the movie, cut right before the horse passes through the gate which killed Sheppard. So it’s respectful, guys!

A.J. Bakunas performed a fall flawless while doubling for George Kennedy in the movie Steel – a tumble from the ninth floor of a construction site. But when he learned that Dar Robinson had just broken his record high fall, hubris got to him. He once again performed his fall from the top of a 300-ft construction site expertly, but this time the air bag split open and he was killed.

On the set of For Your Eyes Only, while filming a memorable high-speed chase in the BobsledRunChasebobsleigh run, the four-man bobsled came out of the run at the wrong turn and hit a tree. A young stuntman named Paolo Rigon, was killed.

Another unlucky stuntman, a profession that clearly doesn’t get paid enougThe Right Stuff 1h, met his death while filming a scene for The Right Stuff. In it, he recreates Chuck Yeager’s escape from a stalling NF-104. In real life, Yeager’s helmet caught fire from the ejection seat’s heated exhaust in mid-air. The stunt guy carried a smoke canister during his free fall to simulate such fire. However, this seems to have intoxicated the stuntman, causing him to lose consciousness. He failed to open his parachute and fell to his death.

In a segment of Twilight Zone: The Movie (1983) directed by John Landis, a helicopter was flying too low on set and failed to avoid the MSDTWZO EC001explosions and pyrotechnics being used. A blast severed the tail rotor, sending the helicopter into a tailspin toward the actors. Vic Morrow and Myca Dinh Le (age 7) were decapitated by the blades while Renee Shin-Yi (age 6) was crushed to death when it landed on her. Legal action raged for a decade, and Hollywood shied away from helicopter stunts until the CGI revolution of the 90s. The incident also severed the friendship between Landis and Steven Spielberg, who’d already been angered by Landis’ many code violations.

Art Scholl was a renowned aerobatic pilot and no stranger to airplane stunts, so when the script for Top Gun called for a flat spin1435437010_top-gun_2 he was the go-to guy for such camerawork. Unfortunately, Scholl entered the spin as usual but was unable to recover from it and crashed his Pitts S-2 into the Pacific Ocean off the Southern California coast. No one knows what caused the crash.

Veteran stuntman Victor Magnotta drowned while performing a car stunt for The Squeeze  in which he drove the vehicle off a Hoboken pier and plunged into the Hudson river. The stunt left him pinned in the car and he could not escape before drowning.

waterworldA worker died when he was crushed between two lighting equipment cranes during filming for The Bodyguard. One of the extras was lost at sea during the filming of the jet ski scene in Waterworld . Lost. At. Sea! Over Waterworld.

A stuntman for Vin Diesel in xXx was killed in 2002 while filming a stunt that had already been completed without incident. During the second take, however, Harry L. O’Connor was supposed to rappel down a parasailing line and land on a submarine but when O’Connor failed to rappel down the line fast enough, he a pillar of the Palacky Bridge (in Prague) at high-speed and was killed instantly. His death was caught on camera, and apparently director Rob Cohen decided to include the footage of the scene – with the final moments edited out – out of respect for the stuntman’s final act. Obviously.

Cameraman Conway Wickliffe was killed in 2007 on the set of The Dark Knight, as he rode in a pickup truck driving parallel to a stunt car; the pickup missed a 90-degree turn and crashed into a tree, killing him.

Not all jobs on a set are created equal. Some are inherently more exciting, others more dangerous, and some decidedly less glamorous. A set dresser is the person working under a set decorator and production designer, who physicallyjumper-movie-stills-06 places furniture, hangs pictures, and puts out the knickknacks. Jumper, a 2008 sci-fi thriller starring Samuel L. Jackson, used a mixture of frozen sand, earth, and ice for special effects in exterior set pieces. Set dresser David Ritchie was pronounced dead on the scene after a large piece of frozen sand and gravel fell on top of him while dismantling the set in frigid winter temperatures.

You might have gotten the picture from this non-exhaustive list that half of all injuries on set are to a stunt person, and for roughly every 2000 injuries there are 5 deaths, helicopters still leading the way in cause of death – between 1980 and 1990 there were 37 deaths relating to accidents during stunts; 24 of these deaths involved the use of helicopters. So think about that the next time you see a beautiful aerial shot. Someone risked their life for it.

 

 

 

Beetlejuice

A young couple, spiky-haBeetlejuice-beetlejuice-the-movie-32800707-500-700ired Alec Baldwin and plump-lipped Geena Davis, get into a car accident and come home depressed and sodden, their vacation off to a bad start. And they don’t know the half of it!

A handbook for the recently deceased mysteriously appears in their home and they get to wondering if maybe they didn’t survive the crash after all.

First rule of death? You can’t leave your house. First rule of real estate? When the previous owners die, a new family will move in (cue: pale and deliciously high-strung Catherine O’Hara, creepy as ever Jeffrey Jones, and strange and unusual Winona Ryder). The ghosts of the old owners plus the thoughtfull new owners makes for a very crowded house. We all know that if you want to rid a house of ghosts, you call an exorcist – but what if the ghosts want to rid a house of the living?

beetlejuiceBefore he was Birdman, even before he was Batman, Michael Keaton was Beetlejuice, the afterlife’s leading bio-exorcist. Free demon possession with every exorcism! Keaton goes all out in this film, and he’s the absolute stand-out, despite the fact that he’s in all of 17 minutes on-screen. He’s ghoulish and manic and clearly having a lot of fun leaping into improvisations.

Makeup artists Ve Neill, Steve LaPorte, and Robert Short won the 1989 Academy Award for Best Makeup for their work on this film. Watching it now, it feels a little dated, but that’s nothing in comparison to the weird, stop-motion stuff that Burton dreamed up for the afterlife.

beetlejuice-2-michael-keaton-winona-ryderI was a kid the first and last time I saw this, and I had to work hard to convince my mom to rent it for my little posse of pony-tailed friends. Beetlejuice was perfect sleepover fare: creepy, with the illusion of the illicit, but overall harmless fun with an inspired Calypso soundtrack perfect for sleeping bag shenanigans all night long. Rewatching it now, I have a new appreciation for how dark and funny it is, and for the formidable Catherine O’Hara, whom I always love, but who rarely looks as stylish as she does in this movie.

The movie ended up being successful enough to spawn a cartoon series and whispers of a sequel that remained in the works for years but seemed to die off until they were recently dusted off for us in 2015. It’s been terribly hush-hush, Burton unwilling to confirm except that he’d only consider it if Keaton is on board – and he is, and so is Winona. Seth Grahame-Smith (Dark Shadows, Abraham Lincoln: Vampire Hunter, Pride & Prejuidice & Zombies) has been working on the script since 2012. Chloe Grace Moretz (rumoured to play Winona’s daughter) and Samuel L. Jackson have reportedly already begun filming.

As for Delia Deetz, style icon, I present you:

She wears mostly Japanese designs by Mitsuhiro Matsuda, Issey Miyake, and Comme des Garçons. James Acheson took home the Oscar that year for Dangerous Liaisons, and I can’t argue that, but I do think it’s a crime Aggie Guerard Rodgers didn’t even get a nomination for her work here.

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Jeffrey_Jones_plays_Edward_R._Rooney_in_Ferris_Bueller's_Day_OffAnd while I’m engaging in some movie history revisionism, can we please start a campaign to digitally erase Jeffrey Jones from our favourite movies?  You want to know why he was so convincing as Feris Bueller’s  creepy principle? Because he’s a real-life pedophile. In 2003 he pled no contest to the felony charge of taking sexually explicit pictures of a minor, and possessing child pornography. He’s a registered sex offender. Can we maybe take him out family movies like this one?