The Standoff at Sparrow Creek

January 30, 2019 by  
Filed under Kiko, Reviews

Starring: James Badge Dale, Happy Anderson, Robert Aramayo
Directed by: Henry Dunham (debut)
Written by: Henry Dunham (debut)

Give some credit to first-time screenwriter and director Henry Dunham on his attempt to make a steadily paced thriller reminiscent of Quentin Tarantino’s debut film, 1992’s “Reservoir Dogs,” without falling into some of the cliché trappings most novice filmmakers might deem enticing.

In “The Standoff at Sparrow Creek,” Dunham’s focus is on his characters and the interactions they have with one another throughout the film’s short, 88-minute runtime. Leading the all-male cast is actor James Badge Dale (“Shame”) as Gannon, an ex-cop who is now a member of a local militia group in rural Michigan that is not shy about their distaste for police.

Gannon and the rest of his fellow militiamen are called to meet one evening at their secret headquarters inside a lumber warehouse when they learn that a mass shooting has just taken place at a cop’s funeral. After slowly piecing together what occurred, the seven men realize that one of their assault rifles, grenades and other gear is missing from their arsenal. This, of course, leads everyone to believe a member of their own militia is responsible for the shooting.

With his law enforcement background, Gannon becomes the de facto investigator of his own crew and begins to interrogate each of the men to find out their alibis and whether they had anything to do with the killings. This includes Morris (Happy Anderson), an ex-Aryan Nation terrorist, and Keating (Robert Aramayo), a young recluse who never speaks.

As a writer, Dunham proves to have a way with words as he matches Gannon up against each of the men in different areas of the compound. In some cases, it’s a battle of the minds. In others, it’s all about which man can puff his chest out more. Either way, Dunham keeps the exchanges tense, although when the aforementioned Keating finally does open his mouth, his long-winded monologues are too clever for their own good. The dialogue-driven narrative stays grounded for the most part, but Keating’s ramblings are pretentious and overwritten.

Where “The Standoff at Sparrow Creek” falters the most, however, is in its third act, which should have been the beneficiary of the strong buildup that came before. Unfortunately, the film veers off into a jumbled story with flashbacks and a litany of twists that aren’t nearly as interesting as Dunham would have audiences think.

Save for the impressive photography by first-time feature film cinematographer Jackson Hunt (he’s shot four Beyoncé music videos), any real consistency in “The Standoff at Sparrow Creek” is lacking from start to finish. There’s nothing wrong with finding inspiration from the best, but someone needs to tell Dunham to quit when he’s ahead.

13 Hours: The Secret Soldiers of Benghazi

January 15, 2016 by  
Filed under Cody, Reviews

Starring: John Krasinski, James Badge Dale, Pablo Schreiber
Directed by: Michael Bay (“Transformers: Age of Extinction”)
Written by: Chuck Hogan (TV’s “The Strain”)

When you take a controversial subject based on the lives of real people and real events, the last person you may think of to be at the helm is director Michael Bay. As perhaps the most overt filmmaker of our time, Bay has been making a living blowing up shit for decades with little to no nuance or storytelling prowess. In “13 Hours: The Secret Soldiers of Benghazi,” Bay tackles recent history with varying results.

When a group of Islamic radicals attack an American diplomatic compound, a U.S. Ambassador gets trapped inside. A group of six ex-military security contractors led by Tyrone Woods (James Badge Dale) and Jack Da Silva (John Krasinski) are sent in to save those who are there. As the fight moves over to a secret CIA annex, the group of soldiers must hold their ground and wait for reinforcements.

“13 Hours” is easily the most restrained movie Bay has made in many years. While usually known for polished, slick, CG-heavy settings, “13 Hours” is, at times, gritty and visceral, feeling more Michael Mann than Michael Bay. That isn’t to say that there aren’t big set pieces and technical achievements. In fact, the best quality of “13 Hours” is the way in which many of the shootout sequences are shot. Making use of lots of swooping crane shots, slow motion and more, Bay’s visual style (something that hasn’t really ever been questioned) is allowed to at least give the audience something engaging to look at.

Like much of Bay’s work, the script of “13 Hours” is generic and riddled with flat characters and clichés. It is, however, slightly elevated by some OK performances, chiefly that of Dale. The main issue with the storytelling mechanisms of “13 Hours” is that it isn’t really interested in talking about the details and ramifications of what went down over that 13-hour span, but rather show you, in long-winded detail, the firefight that ensued. It is certainly engaging at parts, but more than half of “13 Hours” is filled with gunfire. In fact, it’s almost as if Bay had about an hour and a half of solid action and threw in some back-story and narrative conflict as a complete afterthought.

While it is far from Bay’s worst film, “13 Hours” feels repetitive, drawn out and hollow. There are some high points, especially in the way of tension and action. Still, it’s hard to dig into anything other than the action sequences. With a story that is a lot more complex than what is on screen, it leaves plenty to be desired.

James Badge Dale – World War Z

June 21, 2013 by  
Filed under Interviews

During his 23-year acting career, James Badge Dale (“Shame”) has fought Japanese soldiers (TV’s “The Pacific”), man-eating wolves (“The Grey”), and even savage military school cadets (“Lord of the Flies”). Now, he must go up against hordes of angry zombies in “World War Z.” In the horror/thriller, Dale plays Capt. Speke, an Army Ranger at the center of a zombie Apocalypse.

During our interview, Dale, 35, talked about what it was like working on a set filled with actors in zombie gear, his thoughts on the post-production problems that have been reported since last year, and what actually keeps him up at night.

We’ve gotten at least half a dozen Apocalypse-themed movies over the last couple of years. What do you think it is about this type of story that has such staying power?

Ever since we could write, we were always writing about the End of Days. We’ve always gravitated towards the question: What would happen in the Apocalypse? It’s part of our culture.

The survival story has actually been part of your career since the start. Your first film was 1990’s “Lord of the Flies.” Then you’ve done other projects like “The Pacific” and “The Grey,” which are also stories of survival. Does this theme feel like part of your acting DNA in some ways?

(Laughs) I really like stories that go outside the realm of what we deal with in our normal, day-to-day life. I do gravitate to stories with extreme scenarios.

How does the survivalist narrative change when what you’re trying to survive against isn’t based on reality? I mean, in “The Pacific” Japanese soldiers are trying to kill you. In “The Grey” you’re dealing with wolves and the natural elements. But here we have zombies.

I just have to say, zombies are surreal. It was so surreal to be at work and have one of these things run after you. (Laughs) I’ve never experienced anything like that in my life. You know what the word is for it: cool. I’m a bit of a nerd, so it’s kind of a dream come true. A lot of the men and women playing these zombies were dancers. They spent months rehearsing how a zombie would move and came up with all these incredible kinds of movements. We were all having a lot of fun. It was cool. I actually think there is a video of me dancing with the zombies. I might’ve been doing a little Michael Jackson dance or something; a little “Thriller.”

Are these surreal moments something you can leave on the set or were you having nightmares about zombies chasing you?

(Laughs) I left this one on the set. I’ve had other jobs where I’ve really taken the character home with me, but this one I tried to leave it. But I’ve seen the film and there are moments in the film that have kept me awake.

Another Apocalypse-themed movie that is coming out this week is the comedy “This is the End” where actors like James Franco and Jonah Hill play themselves. How would you react to an end-of-the-world scenario? Let’s say a pack of zombies are at your front door. Would you survive?

(Speaking sarcastically) Oh, yeah, piece of cake. I’ve had training. Anything I can do in movies I can do in real life. (Laughs) Nah, I’d be the first to go. Why wait? Why prolong the inevitable? Zombies are at my front door? I’ll be right there. Let me just put on some pants.

In this film we’re dealing with a zombie pandemic. We’re always hearing in the news about these new viruses that mutate and can spread across the world and kill everyone. Do reports like that worry you at all or do you think it’s just how the fear-mongering news media works today?

I do think there is fear mongering, but rightfully so because it’s frightening. If you want to talk about something that keeps me up at night, there’s a game for your iPad called Plague Inc. Basically, you’re a virus and as a virus you have to figure out a way to spread. I mean some of these viruses mutate and change. Who knows if medicine can keep up with it? It’s happened before in history. These plagues come along and could wipe out half the population. It just shows us how powerless we are to a lot of things. (Laughs) Eh, but I try not to worry about it. I’d rather just play the plague videogame.

This really is your first horror-type movie. Were you a fan of the zombie culture before you came into this film?

I’ve always been a fan of films like George Romero’s “Night of the Living Dead.” That is a genius movie. Also, I like Danny Boyle’s “28 Days Later.” I like the genre, so to actually get to be in one is a gift. In acting school you don’t take zombie class, so it’s new territory for me.

Red flags always go up for entertainment news media when we hear of films experiencing production setbacks. We really start to worry when a film’s release date is pushed back like with this film. As an actor, how do you handle that kind of news? I know a lot of it is out of your control, but I’m sure you want your name attached to the best product possible.

The odd thing is nothing happened on “World War Z” that was out of the ordinary. The only thing that was out of the ordinary was that [producers] were honest about it. I don’t think I’ve ever done a project that hasn’t had reshoots. It happens all the time. It’s just the natural process of things. It’s just hard on the filmmakers. I was talking to a director once and told him my job was easy. I show up for production and then I go home and sleep well at night. The director is up all night for another year or two in a dark room in post-production arguing with producers, money guys, studio heads, executives, lawyers. It’s a massive undertaking. But I think we really have a great film on our hands. I’m really proud of this movie.

I’m sure you’re sleeping well, too, because you don’t have zombies on the brain.

(Laughs) Yes, I’ve moved on! I’m about five movies past that now.

We’re also going to be seeing you later this year in the film “Parkland” where you’ll be portraying Robert Oswald Jr., the brother of Lee Harvey Oswald. Did you have to have empathy for the Oswald family to get what you wanted out of this character?

Absolutely. I didn’t know the story about this family. I did know the story of Robert Oswald and Lee Harvey Oswald and growing up with Marguerite Oswald, who is played by Jackie Weaver. I have to say, she is brilliant in this. It was a very complicated family dynamic. I just found it fascinating. You always have to empathize with your character even if the character is someone everyone else will call a terrible human being. You can’t think like that. You can’t judge them like that. You have to find a way into their lives and empathize. Everyone is doing the best they can in this world.

I’ll be remiss if I didn’t ask you about what was one of my favorite films last year, “Shame.” I was shocked when I woke up the morning Oscar nominations were announced and didn’t hear Michael Fassbender’s named called for Best Actor. What did you think?

I was pretty shocked also. He is just so talented and gifted and he works. He works! He is just so dedicated and I had a great time working with him. I thought he deserved it. Hopefully there’ll be another opportunity in the future for him. I love that movie. I loved working with [director] Steve McQueen and Michael and Carey [Mulligan] and Nicole [Beharie]. It’s one of the best experiences I’ve ever had.

Shame

January 20, 2012 by  
Filed under Reviews

Starring: Michael Fassbender, Carey Mulligan, James Badge Dale
Directed by: Steve McQueen (“Hunger”)
Written by: Abi Morgan (“The Iron Lady”) and Steve McQueen (“Hunger”)

Over the span of a year he’s played iconic comic-book villain Magneto in “X-Men: First Class,” classic literary character Mr. Rochester in “Jane Eyre,” and groundbreaking Swiss psychiatrist Carl Jung in “A Dangerous Method,” but it still took Michael Fassbender (“Inglourious Basterds”) showing off a little more than his acting ability to get some serious consideration this awards season. Not that Fassbender going full frontal in “Shame” was the only reason he’s received universal acclaim for his portrayal of a New York City sex addict. The role, which Fassbender nails with unflinching confidence, is meaningful to witness. It’s impossible to turn away from it.

While most warm-blooded Americans enjoy sex, clean-cut businessman Brandon Sullivan (Fassbender) craves it like a heroin addict needs a fix. Brandon sleepwalks through each day – going to work, downloading ridiculous amounts of porn, and trolling the city at night for his next female conquest. At times, he doesn’t even have to make much of an effort. One seductive glance at an attractive red head on the subway and she’s practically having an orgasm in her seat. The life Brandon is accustomed to is disturbed when his equally troubled sister Sissy (Carey Mulligan) moves into his apartment and triggers painful memories he’s always ignored.

In “Shame,” all those unearthed emotions are exposed brilliantly by both Fassbender and Mulligan, who through their brother/sister relationship demonstrate their lack of boundaries when inhabiting the same space. Director/co-writer Steve McQueen (“Hunger”) skirts the idea of sexual abuse or incest in their past, leaving the audience playing a kind of cinematic shrink.

“We’re not bad people. We just come from a bad place,” Sissy tells her brother during one powerful scene. McQueen and co-writer Abi Morgan (“The Iron Lady”) don’t reveal those nightmarish scenarios she’s referring to, instead focusing on the emotional destruction it has caused. What we’re left to watch is a damaged man whose addiction controls his lifestyle; someone who only finds contentment through physical pleasure. Retreating to a bathroom stall during the workday to masturbate, one might wonder if instead of coming, he should be crying.

Stamped with an NC-17 rating by the MPAA, Shame does have its share of fairly explicit sex scenes all necessary in context. The sex, however, isn’t what should arouse intrigue. Fassbender and Mulligan deliver on each of these complex roles an artful take on the fear of intimacy. Together they explore a taboo subject rarely confronted in film and prove there are more important issues than just what’s happening between the sheets.