Tag Archives: Nick Cuse

SKY CINEMA REVIEW: THE HUNT (2020)

SKY CINEMA REVIEW: THE HUNT (2020)

Directed by: Craig Zobel

Produced by: Jason Blum, Damon Lindelof

Written by: Nick Cuse, Damon Lindelof

Cast: Ike Barinholtz, Betty Gilpin, Amy Madigan, Emma Roberts, Ethan Suplee, Hilary Swank etc.

Music by: Nathan Barr

Cinematography: Darran Tiernan

*** MAY CONTAIN SPOILERS ***


RKO’s movie, The Most Dangerous Game (1932), based on a short story by Richard Connell, is a genuine B-movie delight with a great villain named, Count Zaroff, plus solid lead performances from Joel McCrea and Fay Wray. The simple, but ingenious story involves the Count hunting shipwrecked humans on his remote island. This thrilling premise has been adapted numerous times over the years and the latest one, produced by Blumhouse Productions, is called The Hunt (2020). Arguably, the best version of this story is the Japanese classic, Battle Royale (2000), where high school kids are charged with killing each other to win a prize: their life!

Craig Zobel directs The Hunt (2020) from a screenplay by Damon Lindelhof and Nick Cuse. While The Most Dangerous Game (1932) had big-game hunting and murder-as-sport as a theme, and Battle Royale (2000) was essentially about the control of juvenile delinquents, The Hunt (2020) instils the mayhem, traps and violent deaths with a lean toward political commentary. Reflecting the division of Trump’s Presidency and the left/right and North/South divide allows the witty script to deliver gags damning both sides of the political strata. All from rich capitalists to the liberal elite and right-wing conspiracy theorists are satirised mercilessly. Having said that, none of this gets in the way of the breathless pace of shootings, explosions, stabbings and bloodletting.

Overall, what The Hunt (2020) lacks in characterisation and plot credibility, it more than makes up with several tense and funny scenes. You’re never too far away from a gory end or biting punchline or the surprise death of a relatively well known actor. The cast and director do not take this movie particularly seriously, but I must say Betty Gilpin as Crystal Creasey was brilliant. Energetic Gilpin takes a thinly written character and provides much personality, as well as an impressive physical presence in the many well-choreographed fight scenes. Ultimately, The Hunt (2020) will excite those who want something undemanding for their Saturday night movie entertainment. I particularly enjoyed several of the cartoon kills in this comedic action thriller. I could take or leave the social commentary, because for me politics is the most dangerous game of all.

Mark: 7.5 out of 11


HBO TV REVIEW: WATCHMEN (2019) – META-GONZO TV OF THE HIGHEST ORDER!

HBO TV REVIEW: WATCHMEN (2019)

Adapted by: Damon Lindelhof

Based on: Watchmen by Alan Moore and Dave Gibbons

Writers: Damon Lindelhof, Nick Cuse, Lila Byock, Christal Henry, Carly Wray, Cord Jefferson, Stacy Kuffour-Osei, Claire Kiechel, Jeff Jensen

Directors: Nicole Kassell, Stephen Williams, Andrij Parekh, Steph Green, David Semel, Frederick E. O. Toye

Cast: Regina King, Jeremy Irons, Don Johnson, Jean Smart, Tim Blake Nelson, Louis Gossett Jr., Yahya Abdul-Mateen II, Hong Chau, Andrew Howard, Tom Mison, Frances Fisher, Jacob Ming-Trent, Sara Vickers, Dylan Schombing, and James Wolk.

**SPOILER FREE**



Maybe I am imagining it, but I think we are now entering a different kind of TV narrative storytelling. Perhaps it has always been there? However, I am sure I can now see through the ‘Matrix’ of the internet’s all-powerful influence. My point is that we are moving away from traditional television storytelling which is solely interested in telling an emotionally whole and linear narrative. Is television that has a predictable soul and a beginning, middle and end — in THAT order — disappearing? Or am I just choosing to ignore the saturation of standard dramas involving cops, criminals and medics to watch more complex TV stuff?

Recent television shows such as Legion (2017), Westworld (2016), Dark (2017) and now Watchmen (2019) take stylish, cinematic and transgressive structural and thematic approaches to narrative. One could accuse them of being postmodern fakery or postmodern genius; or both. There does appear to be a movement toward over-complicated-clickbait-viral-trailer-led-ADHD-TV which fragments and shatters its’ story lines. The creators want us to experience their productions not in the traditional beginning, middle and end standard, but rather through shifting timelines, unreliable narrators and a blurred sense of what is right and wrong.


Image result for watchmen comic book

Damon Lindelhof, who is a brilliant writer and very experienced TV creative, does tend toward the pretentious and over-complex in his work. Having said that his recent production The Leftovers (2014 – 2017) contained some absolutely sensational thematic explorations of the apocalypse, damaged humanity and religious fervour. For his latest project HBO has given him a truckload of money to emulate and remix Alan Moore and Dave Gibbon’s seminal 1980’s comic book Watchmen. The original itself was a subversive tome of genius which subverted the mythology of comic book and superhero storytelling.

The main action is set in 2019 Tulsa, but also spans decades of alternative U.S. history and locations on Earth and not on Earth. If you don’t know the original source material or have not seen Zach Snyder’s valiant adaptation Watchmen (2009), you will be very confused initially and throughout. Because Lindelhof’s approach to this alt-world version of masked cops, criminals and vigilantes is via a chopping meta-storytelling structure. The various plots events and character histories are delivered via flashbacks, flash-forwards, narcotic visions, hallucinogenic dreams, splintered timelines and even a TV show within this television show. It’s a very stylish smorgasbord, splashed with crazy characters, witty hard-boiled dialogue, wild science fiction twists, lashings of violence, pockets of substance, cinematic visuals, high class production values and a cast to die for.

Yes, but Paul, what’s it actually about? How about love, hate, racism, superheroes, corruption, giant squids, cloning, rogue scientists, good versus evil, vigilantism, revenge, megalomania, transcendent beings, war, violence, rogue politicians, superheroes, masked identities, nuclear threat; and that the United States continues to be sown with the seeds of intolerance, blood and death. Watch the Watchmen (2019), take your time and piece the crazy jigsaw together for yourself. If not, and you prefer to play it safe, there’s always Law and Order for those who want something less mind-blowing.

Mark: 9 out of 11