Authors — Jim Hemphill
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“I Had Gunfight Westerns in Mind With the Structure”: Writer/Director John Sayles on the Criterion Rerelease of Matewan
When John Sayles wrote and directed Matewan in 1987, he was already a hero to those of us following American independent film, both for his witty, energetic genre screenplays (Piranha, The Howling, Battle Beyond the Stars) and for his self-financed directorial efforts (Return of the Secaucus Seven, Lianna, The Brother From Another Planet). His movies as writer-director, which also included a detour into studio filmmaking with the exquisite coming of age drama Baby It’s You, were major inspirations for an entire generation of aspiring filmmakers, because they gave us a high standard of excellence to reach for yet also seemed […]
by Jim Hemphill on Feb 28, 2020 -
“Pushing for Black Actors to Tell Black Stories”: Euzhan Palcy on A Dry White Season
In 1989, Euzhan Palcy became the first black woman to direct a major studio movie when she helmed A Dry White Season for MGM. A brutal yet inspiring anti-apartheid drama, A Dry White Season remains a model of political filmmaking, as Palcy (adapting Andre Brink’s novel with co-screenwriter Colin Welland) boldly and forcefully indicts the South African government of the period with clarity, complexity and passion. Donald Sutherland plays Ben Du Toit, a schoolteacher (a surrogate for both Brink and the movie’s white audience members) who keeps his head buried in the sand when it comes to the injustices around […]
by Jim Hemphill on Feb 5, 2019 -
I See a Darkness: Karyn Kusama on Making Nicole Kidman Wild in Destroyer
Ever since her auspicious debut with Girlfight in 2000, director Karyn Kusama has been drawn to stories about flawed, driven protagonists, but she’s never had a heroine as forceful or complex as Erin Bell, the LAPD detective played by Nicole Kidman in Destroyer. Bell is a onetime undercover cop whose experience infiltrating a gang of thieves went horribly wrong, and who lives in a constant state of regret, resentment and rage — a volatile combination when the murder of one of her former associates opens up old wounds. The expertly constructed script, by Kusama’s frequent collaborators Phil Hay and Matt […]
by Jim Hemphill on Dec 17, 2018 -
“What Moonlight Gave Us Was the Confidence to Execute Our Ideas Without Fear”: Writer/Director Barry Jenkins on If Beale Street Could Talk
Writer-director Barry Jenkins solidifies his position as one of the current cinema’s most empathetic and visually (and aurally) expressive filmmakers with his third feature, If Beale Street Could Talk. Adapted from a 1974 novel by James Baldwin, the film tells the story of Tish and Fonny, a young couple whose dreams are cut short by Fonny’s wrongful imprisonment; moving back and forth between the early days of their love story and the brutal reality of their present, Jenkins crafts a masterpiece that is simultaneously achingly, hopefully romantic and unblinking in its portrait of social injustice. While Moonlight drew upon cinematic […]
by Jim Hemphill on Dec 13, 2018 -
“Big Companies Can’t Change or Adapt… We are a Speedboat”: Director and VFX Artist Ken Locsmandi on His Under $1 Million, Lo-Fi Sci-Fi Beyond White Space
As the owner and visual effects supervisor at Filmworks, FX, Inc., Ken Locsmandi has worked on films by major directors like David Fincher, David O. Russell and the Wachowskis. In the last couple of years, he has expanded his company’s scope, producing his own films in an attempt to put his expertise and resources to use on independent work that can stand alongside studio productions costing literally hundreds of times what he has to spend. When I saw Locsmandi’s directorial debut, Beyond White Space, as it traveled around the film festival circuit this year, I was stunned by its level […]
by Jim Hemphill on Dec 10, 2018 -
“I Wanted to Do for Adam What Demme Did for David Byrne [in Stop Making Sense]”: Steven Brill Talks About Directing Adam Sandler: 100% Fresh
Adam Sandler may have chosen to title his Netflix stand-up special Adam Sandler: 100% Fresh as an impudent jab at the critics who consistently trash his comedies, but it’s garnering the actor some of the best reviews of his career. (As I write this, it’s not quite 100% fresh on Rotten Tomatoes — just an impressive 92%.) That’s deservedly so, given that the special contains Sandler’s funniest and most wide-ranging material in years. The act, written by Sandler with an assist from Paul Sado and Dan Bulla, veers back and forth between razor-sharp observational material, unapologetically juvenile (and hilarious) obscenity, […]
by Jim Hemphill on Nov 19, 2018 -
“I Didn’t Want the Movie To Fall Into the Category of Just Being a Film for Other Filmmakers”: Duncan Skiles Talks About Directing The Clovehitch Killer
Duncan Skiles’ new thriller The Clovehitch Killer is the kind of horror movie that gets under your skin and stays there, reverberating in the viewer’s head for hours, days, even weeks after it’s over. Its impact is all the more impressive given its low-key, understated quality. Skiles patiently, meticulously creates a mounting sense of dread without melodrama or explicit violence, relying instead on eerily stark, formal compositions and a career-best performance from Dylan McDermott. McDermott plays Don Burnside, a family man and active member of his community whose affable, slightly goofy façade masks a serious dark side. When Don’s teenage […]
by Jim Hemphill on Nov 14, 2018 -
“This Was Not a Crime Story, This Was a Love Story”: Harold Becker on the Great Al Pacino/Ellen Barkin Noir, Sea of Love
In 1989, Al Pacino returned to the screen after a four-year hiatus to appear in Sea of Love, a thriller that reinstated him as a major star and cemented novelist Richard Price’s status as one of the great American screenwriters of his era. Price’s script, which follows a detective (Pacino) who falls in love with a suspect (Ellen Barkin) in a string of murders of men placing personal ads, has a rock solid construction that allows for a multitude of tonal shifts and digressions, all of which are orchestrated to perfection by the film’s director, Harold Becker. In Becker’s hands, […]
by Jim Hemphill on Oct 29, 2018 -
Bad Ronald, Trilogy of Terror and More: Jim Hemphill’s Halloween Blu-ray Picks
Two of the best films from the golden age of made-for-TV horror are newly available on Blu-ray just in time for Halloween: Buzz Kulik’s creepy 1974 gem Bad Ronald and Dan Curtis’ 1975 anthology movie Trilogy of Terror. Bad Ronald has long been a word-of-mouth favorite among genre fans for its flawless execution of a genuinely unsettling premise: a teenage sociopath hidden away by his mother is left living within the walls of his home after she dies, only to resurface and terrorize the teenage daughters of the new family that moves into the house. Adapting a novel by John […]
by Jim Hemphill on Oct 26, 2018 -
“Imagine How Angels Would Look at Us”: Wim Wenders on Restoring Wings of Desire
As a longtime Wim Wenders fan and devoted admirer of his masterpiece Wings of Desire, I would never have thought it possible that the movie could look better than it did when it was released in 1987. Gorgeous in every sense of the word, from the shimmering black-and-white photography of Henri Alekan (the maestro behind Jean Cocteau’s Beauty and the Beast who Wenders prodded out of retirement to shoot the film) to the profoundly romantic story of an angel who wants to fall to earth and experience the human condition, Wings of Desire was a stunner when it came out […]
by Jim Hemphill on Oct 19, 2018
