Posted on Wednesday, February 10th, 2016 by Jacob Hall
I’m fascinated by how the language of video games has begun to leak into filmmaking. As gaming has become more commonplace and mainstream, a new generation of directors raised with controllers in their hands have begun to blend the mediums. And you don’t just see this in big, dumb action movies – the stylistically ambitious drama Son of Saul bears a distinctive video game thumbprint, whether anyone wants to admit it or not.
But Hardcore Henry wears its video game influences on its sleeve in a huge way and it is very much a big, dumb action movie, albeit one of the more ambitious big, dumb action movies to come around in quite some time. A new trailer for this insane exercise in mayhem has arrived and it teases a movie that looks to be, for better and worse, unlike anything we’ve seen before.
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The Toronto International Film Festival is in full swing, and with it comes teases of some of the movies playing at the Canadian film showcase. Today we have a NSFW glimpse of a sci-fi action movie called Hardcore, which was shot entirely from a first-person perspective, not unlike a live-action video game.
Executive produced by Timur Bekmambetov (Wanted) and written/directed by Russian filmmaker Ilya Naishuller, the first Hardcore trailer has arrived before the film’s premiere, and this looks like an absolutely insane movie, complete with telekinesis, naked girls, tons of gunfire, explosions and a lot of crazy fun. Read More »
Even if you don’t know the name Ilya Naishuller, you probably remember his work — the Russian musician/filmmaker made two high-energy POV videos for his band Biting Elbows, the second of which hit the internet like an action explosion. The first, dubbed ‘Office Escape,’ has been seen over five million times on YouTube alone; the follow-up has tens of millions of views. Now Naishuller is working on a feature, called Hardcore. It follows the same POV setup, and you can see the first Hardcore POV teaser below. Read More »
Because you’re on the internet, and specifically reading /Film, there’s a very good chance you’ve seen the last two short films by Ilya Naishuller, even if you don’t know his name. The Russian filmmaker has done two action-heavy POV shorts that took the online world bu storm: they were dubbed Insane Office Escape and a sequel, both of which are embedded below. (The shorts are videos for the songs ‘The Stampede’ and ‘Bad Motherfucker’ by the band Biting Elbows, of which Naishuller is a member.)
Naturally, producers came calling, and now Naishuller has a feature deal. The main producer was Timur Bekmambetov; the movie is called Hardcore and the man to lead it is Sharlto Copley. The film will be shot with the same crew Naishuller used on the two shorts (albeit with the addition of a good many more people) and will be entirely POV. More details are below.
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In the next few weeks, quite a few bloggers will debate whether Liam Neeson gives Jason Bourne and James Bond a sharp chop to the throat in the fluid, under-the-radar actioner Taken. Today, FirstShowing.net swept away its weekly confetti and threw a fresh parade for the film in hopes of getting 20th Century Fox’s attention. Fox, that ever-maligned of studios, is essentially “dumping” Taken—which has been released everywhere except for America—in late January. So, what’s the verdict? I’m not sure if Neeson’s vigilant “preventer” could murder someone with, oh, a whisk, but the “real world” he inhabits would definitely make the PG-13 Bourne sob inside his 1,000th borrowed Audi.
Taken attempts to expose modern international sex rings like Paul Schrader’s memorable Hardcore did with the darker side of California’s porn economy in ’79. Like with Hardcore, the audience gradually discovers a lawless, albeit much grander, subculture of greed, sex and death through the eyes of an accomplished actor most audiences see as morally upstanding (Neeson here, George C. Scott there). But Taken‘s (accurate?) adrenaline-charged presentation of highest-bidder sin is even more effective IMO. Neeson’s character, an ex-American spy named Bryan Mills, is on such a lean, linear and kick-ass mission of shoot/stab/kill, that viewers are required to contemplate the potential for female enslavement in the world market at breakneck speed. Moreover, Mills’s implied covert past leads you to believe that he’s all-too-aware that this flush criminal labyrinth exists as he rushes through it: unsettling, and yet awesome.
The storyline itself is unremarkable: After years spent “serving his country” in secret, Mills retires back to the U.S. to span time with his estranged teenage daughter. As played by Maggie Grace (Lost), this all-American teen is even more clueless and innocent than Juliette Lewis’s in Cape Fear. When Mills reluctantly allows his daughter to leave the States for a “normal” tour of Paris with a rich girlfriend, she’s promptly kidnapped (this happenstance is admittedly Eli Rothian). Naturally, Mills must cross the Atlantic to find her, cell phone clock ticking, and he chooses not to contact the usual authorities and embassies (implied as totally worthless and possibly complicit). Once he touches down in France, Mills’s pursuit and pursuers never let up.
French director, Pierre Morel (the parkour showcase District B-13), and writer/producer, Luc Besson, seem set on making the United States look like a delusional safe haven. There’s plenty of ironic jingoistic humor in the movie, accented with un-subtle baguette placement, totes depraved dapper sheiks, and even a stars-and-bars virginal “pop diva.”
What Taken executes quite well is an exposition-free drop into a fast-paced world where diplomatic power, secrets, hush money and human traffic roam realistically unchecked. In the film, the black market has become more interconnected, profitable and thus bolder than ever, resulting in a winding, diverse body count and numerous inventive kills. Unlike the similar films of Bourne and Daniel Craig’s “realistic” Bond, there is no set villain or organizations. Neeson’s character is simply resigned to a highly corrupt world, and his taboo, U.S.-taught tactics counter it so relentlessly that you often laugh and go, “Umm, Bourne probably wouldn’t have done that…that was kind of fucked…” If you are expecting Neeson to show his age like Harrison Ford, it’s the complete opposite: somehow, this guy could kick Mark Wahlberg and Matt Damon‘s ass.
Unfortunately, Taken hits a rough patch when landing its ending atop Mills’s brutal and family-centric worldview i.e. I see evil people everywhere, and while I love my daughter and ex-wife, they are idiots. (No spoilers ahead.) And in the last third, some of the action enters the “oh c’mon” Die Hard 3 realm of believability, while the creative license taken with a photo kiosk will cause quibbles amongst nerds.
Otherwise, this is a showcase for a great actor to play the rare intelligent, original action hero in a fun, politically incorrect movie…that just so happens to tackle the illegal sex trade in illuminating fashion. (Re: yes, it’s several steps above The Cowboy Way!) Taken does indeed merit a much stronger push by Fox and even consideration as a new action franchise. You get the sense that Neeson’s character could stand in LaGuardia for less than an hour and discover an urgent mission for a sequel that’s ahead of today’s headlines. If not, just leave his 17-year-old daughter alone on a playground with an iPod. Unlike Morel and Besson’s upcoming From Paris with Love, evidently starring John Travolta as a bloated Zangief doppelganger undergoing chemo, Taken 2 needs to happen. Of course, it likely won’t because Neeson’s character doesn’t wear a mask and have X-ray vision. The movie marketplace can be nearly as grim.
Discuss: Any thoughts on Taken from those who have seen it?
Hunter Stephenson can be reached at h.attila[@]gmail.com and via Twitter.