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Tag Archive: Willem Dafoe


It looks entirely like an experimental expressionistic film, something created by an aspiring filmmaker in film school, maybe an ambitious effort to create something historical and strange like Ingmar Bergman’s The Seventh Seal.  Is production and costume designer-turned-director Robert EggersThe Lighthouse simply a horror movie about two lighthouse keepers or can we hope for something bigger, more of metaphor and allegory?  Shot in black and white 35mm film, the initial appeal is for anyone fond of classic black and white Gothic horror It’s billed as psychological horror, but will it feature psychological horrors of today or stick with more reserved terrors that reflect its more tempting, classic appearance?

The Lighthouse stars character actor Willem Dafoe, and co-stars Robert Pattinson in his most public role since the announcement he will don the cowl and cape in a forthcoming Batman movie.  Remember Michael Keaton releasing Beetlejuice, Clean and Sober, and The Dream Team with the new acting range spin to get us prepared to see him on the big screen as the dark knight detective?  Genre niche popularity of the Twilight series and his brief stint in the Harry Potter franchise aside, Pattinson hasn’t had the universal appeal and popularity Keaton had with Night Shift and Mr. Mom, making him a household name.  Can he convince fanboys and fangirls he has what it takes?  Can audiences push the future aside and appreciate The Lighthouse for whatever Eggers is trying to do?

As for Eggers, who co-wrote the story with brother Max, this is his second film after the Anya Taylor-Joy vehicle The Witch.  Here he’s trying that tried and re-tried convention of bringing black and white films to modern audiences.  It often works, as it did with popular and critical success for Paper Moon, Young Frankenstein, Raging Bull, Dead Again, Schindler’s List, The Artist, Logan Noir, and Roma.

Take a look at this nicely moody trailer for The Lighthouse:

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Review by C.J. Bunce

These days most movies translate just fine from the big screen to a home high definition television.  Late December’s release from Warner Brothers, DC’s Aquaman, is a surprisingly good transfer, showcasing the film’s epic fantasy seascapes and truly unique otherworld sea creatures without the sound contrast and lighting issues that plague recent action film releases.  Aquaman is available now on 4D, Blu-ray, DVD, and in digital formats, and it’s available both on Vudu and Amazon Prime.  A single word to describe this rare, solid entry in the DC franchise?  Epic.  Throughout the film viewers will see concepts from the history of fantasy films absorbed into its plot, from the likes of Raiders of the Lost Ark to Jules Verne’s 20,000 Leagues Under the Sea and Journey to the Center of the Earth, to Ray Harryhausen fantasy classics, King Solomon’s Mines and Tomb Raider, and even Harry Potter and Tolkien’s Middle-earth stories.

It all begins with the cast, and in particular the chemistry between the always cool and confident actor who looks born to play superheroes, Jason Momoa as Arthur Curry, and Amber Heard as a beautiful grown-up Ariel turned badass named Mera, who may be the best realized heroine from the comics in the DC universe.  Aquaman director James Wan (Furious 7) does something rare for the superhero genre and forms his film around a romance between the two as they embark on a quest across the planet for the legendary trident of King Atlan, first king of the earliest water-breathers living under the sea.  Wan makes that happen more successfully than other DC romances of the past, including even Clark Kent and Lois Lane.  What is not lost on the small screen is the CGI-heavy undersea universe, but this time a film is CGI-heavy in a good, exciting way (Aquaman knocks the much lauded CGI film Avatar out of the water in every way).  Atlanteans riding sea horses, sharks, whales, and turtles.  Aquaman and Mera hiding out inside a whale, Pinocchio-style.  The film hits its visual zenith with a giant Kraken-like beast with an appearance as awesome as seeing Godzilla for the first time.  The visuals have all the imagination and colorful execution that makes for a rewatchable film, and the score has a pounding synth feel, with a mixed vibe of Daft Punk from Tron: Legacy and Queen from Flash Gordon.

The home release is accompanied by 15 behind-the-scenes features.  The best has Dolph Lundgren explaining the connections between key characters and concepts in the comic books with the portrayal in the film, in Going Deep Into the World of Aquaman.  You get a feel for how energetic and how fun Jason Momoa is in real life in Becoming Aquaman and A Match Made in Atlantis.  Details of how the director expanded on the comics and where he mixed Kaiju and historical sea stories can be found in James Wan: World Builder.  Heroines of Atlantis will leave viewers convinced future films in the series need more women characters, with only two to speak of in this film.  Other features include Aqua Tech, Atlantis Warfare, Black Manta, Villainous Training, Kingdoms of the Seven Seas, Creating Undersea Creatures, three Scene Study Breakdowns (the Sicily battle, the early submarine attack, and the underwater trench climax), and a sneak preview of Shazam.

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Merry Christmas!

It’s that time of year again, time to take a look forward at what movies should be on your radar for 2019.  Are you going to see them all?  Heck no.  These are the genre films we think borg readers will want to know about to make their own checklists for the coming year–and they are only the films we know about so far.  We pulled 78 of the hundreds of films that have been finalized or are in varying stages of final production, slated for next year’s movie calendar.

What looks to top the list for most fanboys and fangirls?  The last of the nine films in the Star Wars saga.  Captain Marvel, Avengers: Endgame, and Spider-Man: Far From Home.  Shazam! is DC’s contribution.  Quentin Tarentino returns to movies to direct Once Upon a Time in Hollywood, and Martin Scorsese is back with an all-star cast in The Irishman (on Netflix).  M. Night Shyamalan finishes his dark superhero trilogy with GlassArnold Schwarzenegger and Linda Hamilton return in TerminatorJordan Peele is back with another horror film with Us.

Do you like sequels?  This is your year.  Another Men in Black, X-Men, Shaft, Happy Death Day, Lego Movie, Hellboy, John Wick, Kingsman, Jumanji, The Secret Life of Pets, How to Train Your Dragon, Fast and the Furious, Zombieland, Addams Family, Charlie’s Angels, Godzilla, Shaun the Sheep, Annabelle,and Stephen King’s It and Pet SemataryDisney is trying to get you to move into your local theater with another Toy Story, Aladdin, Dumbo, Frozen, and Lion King–all in one year.  Yep, lots and lots of sequels are coming.

Some films don’t have locked-in release dates yet.  Amazon Prime and Netflix haven’t revealed dates for these 2019 releases:

  • Martin Scorcese’s The Irishman, a film about Jimmy Hoffa starring Robert DeNiro, Al Pacino, Joe Pesci, Harvey Keitel, Ray Romano, and Bobby Cannavale (Netflix)
  • The Kid, a Western biopic with Chris Pratt, Ethan Hawke, Dane DeHaan, and Vincent D’Onofrio (Netflix)
  • The Man Who Killed Hitler Then Bigfoot, starring Sam Elliott (Netflix)
  • 6 Underground, a Michael Bay film starring Ryan Reynolds, Ben Hardy, Dave Franco, and Mélanie Laurent (Netflix)
  • The Last Thing He Wanted, Dee Rees directs Anne Hathaway, Ben Affleck, Willem Dafoe, and Toby Jones; journalist quits newspaper job to become an arms dealer for a covert government agency (Netflix)
  • The Laundromat, Steven Soderbergh directs Meryl Streep, Gary Oldman, Antonio Banderas, James Cromwell, about the Pentagon Papers (Netflix)
  • Radioactive, Rosamund Pike plays Marie Curie, with Anya Taylor-Joy (Amazon)

Some of these films will have revised release dates, or get pushed to 2020.

So grab your calendar and start making your plans–here are the movies you’ll want to see in 2019 (and many you might not):

January

Glass – Superhero, M. Night Shyamalan trilogy part 3, stars Bruce Willis, Samuel L. Jackson, James McAvoy; continues where Unbreakable and Split left off – January 18.

Serenity – Mystery/Thriller, stars Anne Hathaway, Jason Clarke, Djimon Hounsou, Jeremy Strong, Diane Lane; sorry, no relation to Firefly – January 25.

King of Thieves – Heist Comedy, stars Jim Broadbent, Tom Courtenay, Charlie Cox, Michael Gambon, and Ray Winstone – January 25.

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As much as fans of DC Comics see Aquaman and think superhero, his undersea world is very much the stuff of the fantasy genre, much like that of Marvel Comics’ Thor, Doctor Strange, and Black Panther.  Jason Momoa‘s unique take on Aquaman was no doubt the highpoint of last year’s big-screen Justice League, and each new trailer has made the film look more intriguing.  Undersea people riding sharks is a difficult image to top.

The final trailer hints at the advisory role Willem Dafoe as Vulko will play for Momoa’s Arthur Curry aka Aquaman.  It also provides a glimpse at Dolph Lundgren‘s King Nereus, and one of the coolest actors–Jango Fett himself–Temuera Morrison as Arthur’s father.  And David Kane looks straight out of the pages of the comic books as Black Manta.

Check out the final trailer for DC’s next Justice League film, Aquaman:

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DC Entertainment had previously announced this year three movie adaptations in the works: Wonder Woman 1984, Shazam, and Aquaman.  Jason Momoa’s unique take on Aquaman was no doubt the highpoint of last year’s big-screen Justice League, so it’s no surprise to see the first big trailer for Momoa’s return this week at San Diego Comic-Con.

The first trailer shows some largely CGI scenes and features some well-known genre actors playing key roles, including Orm (Patrick Wilson), Vulko (Willem Dafoe), Queen Atlanna (Nicole Kidman), and Black Manta (David Kane), who really looks good in the preview.

Check out the trailer for DC’s next Justice League film, Aquaman:

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Review by C.J. Bunce

Many have asked:  Why make another Agatha Christie’s Murder on the Orient Express?  You could just as easily ask: Why adapt another Shakespeare play?  Or Why make another Sherlock Holmes series?  When your story is great, and becomes as classic as Agatha Christie’s famous, timeless 1934 novel, it’s sort of the point of cinema, isn’t it?  From an actor standpoint, being in one of the film versions of Murder on the Orient Express, and portraying such iconic roles, is something like being cast as King Lear.  And who better than Kenneth Branagh to inject his own vision of the story into a new snapshot of acting greats for a new era of audience members?  Of Branagh’s twenty directorial pursuits, you must go back to the early era of Dead Again and Peter’s Friends to find Branagh not serving as puppetmaster of someone else’s well-known world, whether it’s Shakespeare in Henry V, Much Ado About Nothing, Hamlet (and the list goes on), or adaptations of Mary Shelley’s Frankenstein, Marvel Comics’ Thor, Mozart’s The Magic Flute, Tom Clancy’s Jack Ryan, Branagh is the king of directing adaptations and remakes.  Add Murder on the Orient Express to that list, a faithful adaptation of the book, stylishly filmed with lavish, sweeping sets and landscapes courtesy of cinematographer Haris Zambarloukos, Branagh’s choice cameraman on four of his past films.

The year’s casting award goes to Lucy Bevan for bring filmgoers back to the age of the all-star cast, where you’d look to 1970s disaster movies (Airport ’76, Towering Inferno, Earthquake) or the odd comedy (think It’s a Mad, Mad, Mad, Mad, Mad World) for a pantheon of stars like that found in Orient Express.  Branagh as Hercule Poirot sports that classic era moustache with confidence (Christie herself called Poirot’s moustache “magnificent” and “immense”) and he adds his own quirks and humor to Christie’s legendary greatest detective, providing a new twist on the Holmes/Monk/House, M.D. frustrated genius detective archetype.  So many of the cast members appear every bit like Golden Age film stars here, including Branagh, Johnny Depp, Michelle Pfeiffer, Josh Gad, Daisy Ridley, Willem Dafoe, Judi Dench, Penélope Cruz, Derek Jacobi, and Leslie Odom, Jr., with a particularly engaging performance by Tom Bateman as Poirot’s friend Bouc, in what will no doubt be seen as a great breakout role for the actor.

The film will be best for those unfamiliar with the story.  A famous detective receives a message requiring him to squeeze onto a full train at the last minute with a little more than a dozen passengers aboard.  When one passenger who fears for his life and requests assistance from the detective winds up dead in a brutal, bloody murder, the whodunit begins.  Once a snowy avalanche blocks the path of the train, the game is afoot as the delay provides enough time for Detective Poirot to begin interviewing the passengers.  The mystery is laid out with several clues, including just enough to allow the viewer to figure out who killed the victim if he/she is paying close attention.  And Branagh stages the investigation like a game of Clue/Cluedo–including overhead angles that at times make the viewer feel like Murder on the Orient Express is indeed a virtual reality version of the board game.  We know the murder weapons and the location, but who is responsible for the death and why?

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So long as you have a compelling story to tell, sometimes having all the right people on the big screen is enough of a reason to sit through a movie.  But Agathie Christie’s Murder on the Orient Express is like watching a play by Shakespeare.  You already know the story is excellent, and the challenge is how creatively the latest director will manipulate the strings and how deftly the actors will portray the characters.

The latest adaptation of Murder on the Orient Express has all the right components for a movie-lover’s two hours of bliss.  How will Kenneth Branagh orchestrate his next opus?  Like the magnificent Henry V or Much Ado About Nothing?  We can hope.  How will this room full of master thespians of the British and American schools play off each other?  Aren’t you inkling to find out?

This latest trailer for the film (see the first here if you missed it) expands the reach of the first, giving us a good look at Johnny Depp, Michelle Pfeiffer, Daisy Ridley, and Branagh directing Branagh as Inspector Poirot.  Other stars include Derek Jacobi, Judi Dench, Leslie Odom, Jr., Willem Dafoe, Penélope Cruz, Josh Gad, and Olivia Colman.  And don’t forget, publicity for the film has indicated that the clues of the crime are everywhere, including in posters and the trailers for the film.

Here is the second trailer for Murder on the Orient Express:

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The next effort at creating a complex and challenging role for a lead actress Orphan Black-style is coming in August from Netflix.  It’s the dystopian sci-fi thriller What Happened to Monday, formerly titled Seven Sisters, written by Max Botkin and Kerry Williamson, and directed by Tommy Wirkola (Hansel & Gretel: Witch Hunters).  What Happened to Monday is sci-fi’s next new look at a bleak future world in the vein of Children of Men (hope in the face of global infertility), Logan’s Run (to battle population explosion a shortened life clock of 30 years is enforced for all), Never Let Me Go (clones are created for parts for the ruling class), The Handmaid’s Tale (remaining fertile women are forced to reproduce for those in power), Kurt Vonnegut, Jr.’s Harrison Bergeron (a twisted equality is enforced on the world), and Gattaca (only the genetically superior are allowed to succeed).  It stars Noomi Rapace (Prometheus, Sherlock Holmes: A Game of Shadows) in seven roles as the seven sisters–seven identical septuplets to be exact–in a society where only one child is allowed per family.  Willem Dafoe (Platoon, Clear and Present Danger, Spider-man) stars as their grandfather who raised them, Robert Wagner (The Pink Panther, Hart to Hart, Stars and Stripes Forever, The Towering Inferno) in an undisclosed role, and Glenn Close (Fatal Attraction, Reversal of Fortune, Guardians of the Galaxy) is a leader in the repressive future world.

The first trailer was released this week for What Happened to Monday, and it looks compelling, providing a peek at the plot.  The septuplets’ father hides the sisters’ existence from everyone, allowing only one girl outside one day per week, corresponding with their names, each a day of the week.  When Monday does not come home one day, the sisters must go about discovering what happened to her without revealing their secret.  It’s a role that will certainly be compared, for good or bad, to Tatiana Maslany’s role as multiple clones on Orphan Black.

What Happened to Monday is the latest in Netflix purchasing first run otherwise theatrical releases exclusively for Netflix subscribers.

Check out this first trailer for What Happened to Monday:

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Everyone is a suspect.  The clues are everywhere.  For mystery lovers, it’s a staple.  It’s Agatha Christie’s most well-known 1934 novel come to life, Murder on the Orient Express, the fourth major production for film or television of the classic whodunit in the English language–the 1974 Academy Award winning Sidney Lumet film being the best known.  For the older generation the story is known, but for a new generation the stage is set for a big screen version of Clue/Cluedo.  As with the 1974 version, the cast of the 2017 version is extraordinary.

So how do you cast a film against the last generation of film greats?  Leading a bevy of thespian knights and dames, Sir Kenneth Branagh both directs and stars as master detective Hercule Poirot, the world’s greatest detective, played previously by Albert Finney (who refused a knighthood in the year 2000).  Sir Derek Jacobi plays the butler Edward Henry Masterman in a role played by Sir John Gielgud in the earlier version.  Dame Judi Dench plays Princess Natalia Dragomiroff, formerly played by Dame Wendy Hiller.  In an update for the new version, American actor Leslie Odom, Jr. (Supernatural, Gotham) takes on the role of Doctor (formerly Colonel) Arbuthnott, played previously by Sir Sean Connery.  Star Wars: The Force Awakens star Daisy Ridley as governess Mary Debenham, formerly played by Dame Vanessa Redgrave.

The list of American actors includes a fascinating mix of genre favorites old and new.  Academy Award nominee Johnny Depp takes on the role played before by Richard Widmark as the debonair businessman Edward Ratchett.  Academy Award nominee Michelle Pfeiffer is widow Harriet Hubbard, a role played in the 1974 film by Lauren Bacall.  Academy Award nominee Willem Dafoe is Professor Gerhard Hardman, played earlier by Colin Blakely.  Academy Award winner Penélope Cruz plays a newly named character, Pilar Estravados, a missionary, in the part played before by Ingrid Bergman.  Rounding out the cast is Josh Gad (Frozen) as Ratchett’s assistant Hector McQueen (played before by Anthony Perkins), and British TV regular Olivia Colman (Broadchurch, The Night Manager) plays the maid Hildegarde Schmidt (previously played by Rachel Roberts).

Take a look at this first trailer for the new Murder on the Orient Express:

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Review by C.J. Bunce

The best thing about reading a book about the making of a film, without first watching the film, is that your view of the book is not skewed by your opinion of the film.  If you knew nothing about The Great Wall, the new behind-the-scenes look in The Great Wall: The Art of the Film will prompt you to want to see it.  Not only will you find incredible concept art, set design, costumes, and props, the book itself is unique.  In the past five years “making of” film and art books have vastly improved in quality.  Abbie Bernstein’s new book from Titan Books features the best quality images, the best layouts, and the best book design of any book yet reviewed at borg.com–the book itself has a traditional Chinese book binding and gilded edges.  It also features an element left out of many film books these days–it includes images of the entire film, and doesn’t remove spoiler elements, such as, in this case, detailed images of the film’s monsters and ending (the art book for Star Wars: The Force Awakens provided no final image of Luke Skywalker and several costumes and props, as an example).

An icon of China cinema, the man behind several “art house” films in China and the opening ceremony at the Beijing Olympics, director Zhang Yimou discusses in the book why The Great Wall is unique and how it became the biggest production in China film history.  If you have watched stunning Chinese film work over the years and aren’t a fan of dubbed or subtitled films, the barrier is language–how can you connect U.S. and Chinese film audiences?  Yimou intended just that by making a Hollywood-esque film as a Chinese production in English with a cast and crew from dozens of nations, including more than 100 on-set translators.  Beyond that goal, the powerful imagery of the film as displayed throughout The Great Wall: The Art of the Film, is the stuff of Academy Award-winning costume design and art design.

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Along with interviews with Zhang are chapters featuring producer Peter Loehr, actors Matt Damon, Pedro Pascal, Jing Tian, and Willem Dafoe.  The most visually stunning chapters detail The Nameless Order, with Zhang’s color coding of each fighting corps, including the royal blue Crane Corps–the fighting unit consisting entirely of women.  We see frosted plastic pages displaying each corps symbol, and poster quality designs highlight each leader, along with their shields and weaponry.  Detailed sections feature the creation and design of the film’s monsters–the mythical Tao Tei–and how WETA and Industrial Light and Magic created them.  And each key sequence of the film is revealed with photographs of special effects and the actors in action.

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