You can’t talk about the last ten years of movies without talking about Crank: High Voltage, right? The gonzo action pic was one of the most fascinating sequels from recent years, basically taking structure of the first movie but ramping everything up to 200. Brian Taylor and Mark Neveldine‘s action movie never holds back, never quiets down, and never stops throwing everything in the kitchen sink. No hijinks or action beat is too silly or wild or grotesque. It is, without question, the pinnacle of Neveldine/Taylor’s filmmaking career together.
Ten years after Crank: High Voltage showed audiences a whole new world, Taylor remains incredibly proud of the movie. It’s only grown crazier over the years, too. How many action movies look and sound like this these days? Not many. The “love it or hate it” experience revels in itself, and it plays by no other movie’s rules than its own. Crank: High Voltage is just an explosion of grim and ridiculous creativity.
To celebrate the film turning ten years old this year, Brian Taylor recently spoke to us about the film.
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Every week in /Answers, we answer a new pop culture-related question. In this edition, we ask “What is your favorite movie scene where a city gets completely destroyed?”
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Forget superhero or Universal Monsters cinematic universes – how about a Crank cinematic universe, based around Jason Statham‘s unstoppable character Chev Chelios? That’s what Crank co-director Brian Taylor wants, and honestly, that’s not such a bad idea.
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The /Filmcast: After Dark is a recording of what happens right after The /Filmcast is over, when the kids have gone to bed and the guys feel free to speak whatever is on their minds. In other words, it’s the leftover and disorganized ramblings, mindfarts, and brain diarrhea from The /Filmcast, all in one convenient audio file. In this episode, actor Clifton Collins Jr. stops by to chat with Dave Chen, Devindra Hardawar, and Adam Quigley about his experiences on the sets of Extract, Crank: High Voltage, Brothers, and The Boondock Saints II: All Saints Day, which is out in theaters now. Brothers hits theaters on December 4th, 2009. Guest Matt Singer from IFC News and the IFC News Podcast also joins us for this episode.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next Monday at 9 PM EST / 6 PM PST at Slashfilm’s live page as we review 2012.
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The clock is ticking. In minutes, I am scheduled to interview Corey Haim. But I need more time to: find my good sunglasses, make a margarita, and hook up my interview shit poolside at a friend’s house. The publicist agrees to push the interview back half-an-hour. The power of /Film. By-and-by, it all works out and the publicist fulfills a dream. I’m not into doing interviews. Much too often, there is A) a bitchy studio hawk circling, B) a wait-time worthy of a disappointing rap concert/Comcast, or C) the celeb is so glazed-over from blurting the same answers to ‘net middle men on every continent that you feel like hugging them, and then slapping them. And likewise for them, sans the personal contact.
But Corey Haim is Z) reached levels of non-ironic cool that even Steve McQueen (not the Hunger one) and Lee Marvin (the Prime Cut one) could never touch. Like brightly-dyed shorts with displaced geometric patterns, Haim burst onto the scene as the American teenager in the 1980s. For an actor—and for our younger readers—that requires more natural pep than LeBron James has hops. And in my opinion, Haim was the first real, believable and awesome geek on screen (dude, your comic store’s Dewey Decimal System blows) who could get laid. And thus, maybe get you laid. Paul Rudd would come much later. Paul Rudd is also a geek narc. Haim can be seen in theaters this weekend wearing a mullet in Crank: High Voltage.
Excluding the initial actions above, I didn’t prepare for the interview; I know I’ll be interviewing Corey again soon when he gets a major theatrical role. It needs to happen, Hollywood. Our chat was fun, casual, whatever. Haim has the laid back charm over the tele that many of us know so well. Just add a cigarette.
/Film: Hello Corey Haim.
Corey Haim: What’s up Hunter. How you doin’?
Ha. I’m doing fine, sittin’ by the pool. So you have a role in Crank 2. How did you first meet [writer/directors Mark] Neveldine and [Brian] Taylor?
Corey Haim: Actually, a while ago man. I believe. See, I was supposed to be in the first movie. Was it the same character? A character. I just know that in this movie they wanted me to play this character. Randy.
Corey Haim: Let me give you a description of my character.
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Lionsgate Pictures made news by being the first movie studio to premiere new content (a Crank 2 poster) on Twitter. And now it appears that the studio is basing part of their internet advertising campaign around the micro-blogging site. While browsing the web, I cam across the above Crank 2 google ad for Crank: High Voltage, which features a rotating feed from the official Lionsgate movies twitter account.
I’m not sure how promoting the Lionsgate twitter account will get more people to buy tickets to the sequel (especially when some of the messages are just the Lionsgate Twitter publicist talking to random twitter users about who-knows-what), but I thought it was an interesting idea. I think it would be cooler to have the advertisement grab random mentions of Crank 2 in real time from around the Twitterverse.
Lionsgate has released a special “rumble” edition of the Crank: High Voltage movie trailer which is just is too insane for any normal web browser. The screen rumbles as the action jumps out of the video player and causes mass destruction the the break video website. Yes, it is a gimmick, but I found it amusing. Check it out now on Break.com.
Lionsgate has released the outdoor poster advertising for Crank: High Voltage on Twitter, making them the first studio to premiere exclusive content on the micro-blogging platform. As you know, you can follow us on twitter at twitter.com/slashfilm. The poster is very, very… yellow. Check out the full sized poster after the jump.
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