Hulking, bald-pated Swedish wrestler who began making film appearances in the 1940s and became a minor cult figure playing mute, mindless killers in a number of schlock horror films, most notably in t...
There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
For those of you who have been wasting away in Wayne Manor, shut off from society for the last 8 years, know this: The Dark Knight Rises will be released this Thursday at midnight. Several staffers at Hollywood.com have already screened the film, and while our opinions may vary, we can all agree on one thing — Tom Hardy's Bane is very difficult to understand. And after a sequel that produced one of the most haunting villains to grace the silver screen in decades, Mr. Mumbles is, well, a bit of a letdown.
Still, Hardy is not alone — Hollywood has suffered from mumble-itis since the days of Tor Johnson and Ed Wood. Heck, Benicio del Toro has even found a way to turn incomprehensible dialogue into an award-winning art form. So today, in honor of the much-anticipated release of The Dark Knight Rises, we "celebrate" the art of the mumble by looking back at some of the most inaudible performances in film history.
10 Most Inaudible Movie Characters
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[PHOTO CREDIT: WARNER BROTHERS]
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Made one of last feature film appearances in a small role in "Head"
First film for director Edward D. Wood Jr., "Bride of the Monster", in which he first played the role of Lobo
Earliest feature film appearances included a small role in the Ole Olsen-Chick Johnson low-budget comedy for Universal, "Ghost Catchers"
Last appearance as Lobo and last film for Ed Wood, "Night of the Ghouls"
Was played by wrestler-actor George "the Animal" Steele in the feature biopic, "Ed Wood"
Hulking, bald-pated Swedish wrestler who began making film appearances in the 1940s and became a minor cult figure playing mute, mindless killers in a number of schlock horror films, most notably in the films of Edward D. Wood Jr. After years in the ring, Johnson played bits in the Ole Olsen and Chick Johnson comedy "Ghost Catchers" (1944) and the low-budget film noir "Behind Locked Doors" (1948). His first film for Wood was the execrable but, unintentionally, hilarious "Bride of the Monster" (1956), in which he originated the role of the mute, scarred Lobo, a role he reprised in Wood's "Night of the Ghouls" (1959) and in the non-Wood directed "The Unearthly" (1957).
Johnson was rarely ever given any dialogue and never really learned to act. Admittedly he wasn't called on to do much; his physical presence and abilities to stare uncomprehendingly and lumber about menacingly were enough. He did appear in several non-horror films in bit parts ("Carousel" 1956 and "Lady in the Iron Mask" 1952, as the mad executioner who keeps Patricia Medina locked up), but jobs pretty much dried up for Johnson in the 60s. He was accorded one of his largest roles--in one of his worst films, "The Beast of Yucca Flats" (1961)--as a Russian atomic scientist who walks right into an atom bomb blast and assumes the film's title role. The teen comedy "Head" (1968) was one of Johnson's last appearances. He was played, quite appropriately, by wrestler George 'the Animal' Steele in Tim Burton's affectionate biopic, "Ed Wood" (1994).