My list of the best of Hollywood in the 30s. Be sure to check out the rest of the Greatest Films site!
Review: A Field in England (2013)
This way or this way?: Film4/Rook Films
Ben Wheatley is a talent, there’s no doubt about that. His uncompromising, exciting and undeniably weird directorial style marks him out as one of the most talented and provocative British filmmakers working today. He’s worked in several genres – DOWN TERRACE was a gangster film, KILL LIST was a horror and SIGHTSEERS was a (sort-of) romantic comedy. He also always manages to get in some jet-black humour, plot twists, and no small amount of depravity. Wheatley’s latest effort, A FIELD IN ENGLAND, had all his hallmarks, but is presented in an unusual avant-garde style, and therefore you have to pay attention, and even then you might feel lost in this bleak expanse of English countryside.
The plot, such as it is (or perhaps isn’t) involves a battle in the English Civil War, from which a man (Reece Shearsmith) flees for his life, and because of a combined sense of guilt and duty, decides to complete a mission of justice his master commanded him to undertake. He falls in with three other deserters, and eventually tracks down the man he was tasked to capture (Michael Smiley). Beyond this, everything else that happens in A Field in England is open for debate.
What makes this film even more interesting is the way in which it was released – simultaneously in the cinema, on DVD and on Film 4. This perhaps demonstrates that Wheatley doesn’t have concerns of profit or ego here, rather that as many people as possible should see the film, and promote discussion of what happens within it.
There’s disturbing magic mushroom hallucinations, implications of occult or paranormal activity, and there may even be a bit of an existential debate going on somewhere in this arty stew-pot. Monochrome, minimal visuals and performance art turns by the actors leads one to suspect that this might have more impact on a gallery wall, though even on a small screen you’ll find it hard to look away.
It’s a hypnotically incomprehensible film, and though it’s a tough one to decipher, that’s part of the appeal. So few films released today actually make you stop and think, and then think again…and then still not get it. I’d be lying if I said I understood everything, even most of, what I saw in this odd, odd piece of visual expression. But I don’t really mind that – it’s a fascinating trip regardless, with standout performances from Shearsmith and Smiley, and it looks and sounds like nothing else. All this description is probably doing the film a disservice, so all I can say is that you should see it. See it and ponder. SSP
Posted in Film, Film Review
Tagged A Field in England, Avant-garde, Ben Wheatley, Michael Smiley, Reece Shearsmith
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Series Retrospective: The Blade Trilogy
This year is the fifteenth anniversary of Marvel’s half-vampire hero Blade making his big-screen debut. To mark this occasion, I thought I’d look back at the trilogy of Blade films, and comment on how they’ve aged, what still works, what doesn’t, and what never did.
BLADE (1998)
I sometimes feel BLADE doesn’t get the respect it disserves in terms of the impact it had on the blockbuster landscape. It was the first major feature film adaptation of a Marvel Comics character (not counting HOWARD THE DUCK) and represented a huge risk. It’s remarkable, really, that New Line Cinema threw their support behind such a dark and adult premise for what is essentially a supernatural superhero film. While Warner Bros had just wrapped up their colourful, kid-friendly take on DC’s Batman, the first Marvel hero in the spotlight despatched vampires with edged weapons, fire, bullets…and trains.
Wesley Snipes is perfect in the title role – a cool and calculated hunter of the undead in constant battle with his darker side. Strong supporting performances come in the form of Kris Kristofferson’s pragmatic and grizzled mentor Whistler, and of course from Stephen Dorff’s chilling, deceptively boyish vampire villain Frost.
The film still largely holds up – director Stephen Norrington handles violent action well, and seems to get the best out of his cast, and David S. Goyer’s story moves along nicely. Perhaps the special effects haven’t aged particularly well, but they’re used sparingly until the slightly overblown finale so this hardly matters.
BLADE II (2002)
BLADE II is undoubtedly the highpoint of the series. With the addition of fantasy auteur Guillermo del Toro at the helm, Blade’s second outing is bigger, funnier, and inventively tweaks the vampire mythos. It was del Toro’s second crack at Hollywood, following the underwhelming Mimic, and this time he was given free reign to put his boundless imagination and aptitude for twisted fantasy/horror on screen.
The film’s plot is in classic sequel territory – our hero must put aside his differences and team up with his old enemies in order to confront a bigger threat. Blade allies himself with an elite team of vampires (eclectically including Ron Perlman, Danny John-Jules, Donnie Yen and Tony Curran) to find and destroy a group of infected, rabid vampire “reapers” who threaten human and vampire alike. The first, and strongest reaper Nomak (a memorable Luke Goss) appears to be manipulating events for his own purposes, and threatens to reveal a dark secret about his kin…Needless to say, both superhero and vampire film plots are rarely so perfectly paced, tense and exciting.
The whole film is beautifully crafted, giving Blade the solid sequel he disserved, and providing Guillermo del Toro his window into making the films he wanted to make in Hollywood. What could possibly go wrong from here?
BLADE: TRINITY (2004)
Trinity is what went wrong, or more precisely, David S. Goyer is what went wrong with Blade. Goyer is a good enough scribe, but he isn’t a born director, and needs someone else calling the shots, a visual artist who can see what won’t work on film from the start. Under Goyer’s direction, BLADE: TRINITY is a shoddy affair – the screenplay feels rushed, the action is clumsily edited, the goofy humour is overdone and the cast either phone it in (Snipes), over-act (Posey), or are hilariously miscast (Purcell).
If only del Toro returned, we might have ended up with less of a car crash to cap off an otherwise sturdy series of films. Goyer’s well-publicised spat with Snipes over the film’s tone and direction probably didn’t help – it’s never a good sign when your leading man and director refuse to speak to each other. Trinity’s only saving grace is Ryan Reynolds, who at least appears to be enjoying himself with his near-constant stream of smartass quips.
Fifteen years since Blade and not a lot has changed. What was good in 1998 and 2002 still is, and what fell flat on its face in 2004 still does in spectacular fashion. We’ll almost certainly see Blade again on film. Snipes has expressed interest in returning for a fourth instalment, as has Dorff for a Deacon Frost-centred prequel, but now the rights to Blade and related characters are back with Marvel, both are unlikely to happen. The Daywalker will be back, but likely (and sadly) portrayed by someone other than Snipes when Marvel inevitably re-boots the series. SSP
Posted in Film, Film Feature
Tagged Blade, David S. Goyer, Film, Guillermo del Toro, Movies, Stephen Dorff, Stephen Norrington, Wesley Snipes
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Non-Story of the Day: John Williams Still Scoring Star Wars
It was very recently confirmed at Star Wars Celebration Europe (currently going down in Germany) that movie music maestro John Williams will be composing the music for STAR WARS EPISODES VII-IX. This isn’t really news, of course – Williams’ music is as much an essential part of the Star Wars Universe as the lightsaber.
It is still comforting that while George Lucas isn’t going to be directly involved with the continuation of the series (beyond an honorary role as a “consultant) the new team – director J.J. Abrams, exec producer and Lucasfilm head Kathleen Kennedy and co. are apparently not cutting ties with what made previous Star Wars episodes work.
I just hope that Williams is blessed with continued good health – the man is in his 80s now, and the workload required for three big, narratively and thematically linked films could take its toll on anyone, let alone a man who could have deservedly retired decades ago.
But really, who else could have done it? No-one even comes close to John Williams. People have bandied about Michael Giacchino’s name because of his links to Abrams, and it’s true he shares some of Williams’ stylistic choices – emotion-fuelled, mythic, classical scores punctuated with brass and strings, but I don’t think Giacchino is quite the “heir to Williams” he is sometimes proclaimed.
With Williams on board, I’m hoping an announcement will follow that Ben Burtt will still be leading the sound department. With Williams, Burtt and ILM’s special effects, the new films will have a solid technical and artistic foundation to build upon. Then we’ll only have to worry about the direction, script, casting and acting. Only indeed… SSP
Posted in Film, Film Comment
Tagged Film, J. J. Abrams, John Williams, Movies, Star Wars
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This Is 40? This Is Awful!
I finally saw last year’s Judd Apatow film THIS IS 40 last week, and I thought it was absolutely terrible. Not just distinctly lacking in comedy, but a smug, nasty and tortuously overlong movie.
Let me explain. I like Judd Apatow; he’s a very talented man. I love THE 40 YEAR OLD VIRGIN and KNOCKED UP – not only are they both hilarious, but they’re sweet and heartfelt, and the characters are compelling. This Is 40 was marketed as “the sort-of sequel to Knocked Up”, and we do indeed continue to follow the lives of two of the supporting characters from Knocked Up – married couple Pete (Paul Rudd) and Debbie (Leslie Mann). The problem is that in their own film, when you are forced to spend over 2 hours in their company, you come to realise that Pete and Debbie are a pair of horrible human beings.
Not that film protagonists have to be likeable – the comedy genre is packed full of nasty, but hilarious characters (Withnail, Uncle Rico, Ron Burgundy, anyone played by Groucho Marx). Debbie and Paul are horrible, but not horrible enough to be funny – they’re shallow and selfish and greedy, and they fight a lot, but their antics don’t promote many chuckles. Maybe you have to be (unhappily) married to get it, but I don’t find two hours of bickering, breakups and hard-learned life-lessons (sometimes learned multiple times) quality material for comedy or drama.
The amount of time Debbie and Paul spend complaining about the horrible state of their lives, all while residing in a lovely, and ridiculously huge house and working their dream jobs smacks of Apatow being more than a little out of touch with the experiences of the common man. It is Apatow here that I think is the real issue. Unlike his previous features, this film feels personal, almost autobiographical. It stars his real-life wife and his real-life daughters, and they all live the kind of life very few people outside showbiz will have any experience of. You know how hard it can be when your record label isn’t bringing in the numbers? No? Of course you don’t! Clearly, the family aren’t happy – there’s marital problems, professional problems, financial problems – so why do they still live in that massive house?
Rudd and Mann play a nasty pair. They’re egotistic and insecure, petty, bitter and spoilt. They hurl abuse at each other, their friends, family and employees all because they’re now middle-aged and might have to tighten their belts a bit. In the grand scheme of things, none of their issues with each other, and with the world, actually matter!
I didn’t find it particularly funny, either. I know comedy is subjective, but this film pales in comparison with any of Apatow’s previous efforts. The best joke comes from the criminally underused Chris O’Dowd, playing one of Paul’s record label colleagues, who debates Keith Richards’ possible immortality.
The film lacks heart, too. You don’t get any sense the characters have been on an emotional journey of any sort until the final 20 minutes of the 2 hour+ film. This segment also features the meeting of Paul and Debbie’s estranged fathers (Albert Brooks and John Lithgow respectively) who interestingly are both men in their sixties who have started life again with new partners, and new children. Why couldn’t we have a whole film following either of these two? I’ve rarely, if ever, seen that story on film. Maybe we can have “the sort-of-sequel to the sort-of-sequel to Knocked Up next.
This Is 40 is out-of-touch, unlikeable, unfunny and wasteful of the talent of those involved. Apatow is better than this, and he knows it. SSP
Posted in Film, Film Feature, Film Review
Tagged Film, Judd Apatow, Leslie Mann, Movies, Paul Rudd, This Is 40
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2014 Will be the Cinematic Pits!
I honestly can’t remember a time I was less excited about an upcoming year in filmmaking. But 2014 is currently one of those years for me. I could of course be surprised by what I see, but at the moment next year is just a big ugly obstacle denying me access to STAR WARS EPISODE VII, THE AVENGERS: AGE OF ULTRON and BOND 24. About the only films I’m excited to see next year are HOW TO TRAIN YOUR DRAGON 2, which could easily underwhelm like some of Dreamworks’ other animated sequels, and Darren Aronofsky’s NOAH, which has a terrifying potential to go very, very, wrong. What follows is a hugely pessimistic list of the ten films I dread the most next year, and why…
ROBOCOP
It’s ROBOCOP, but diluted and drained of all interest. Without the fearless satirist Paul Verhoeven at the helm, and a bland new mechanised suit inhabited by THE KILLING’s Joel Kinnaman. Beyond the wobbly stop-motion effects, the original RoboCop doesn’t need remaking – it’s as hard-hitting and visually striking as it ever was. This “reimagining” is pointless. It’s going to be tame. It’s going to waste the talents of the character actors involved (Michael Keaton, Gary Oldman, Jackie Earle Haley) just as the TOTAL RECALL remake did. It just won’t be very good.
CAPTAIN AMERICA: THE WINTER SOLDIER
I reckon that Cap needs a pretty spectacular second solo outing to justify his existence. He’s fine when he’s hanging around with all his cooler Avengers mates, but as a central character he can be a bit dull. I wasn’t a massive fan of the first Captain America – it was fine as a WWII satire, just not a particularly inspiring example of the superhero genre. They still haven’t got a modern take on Cap’s costume right, either, and the early images of the new one don’t look too promising. There’s certainly something interesting to get out of the whole “soldier out of his time” concept, so let’s hope it’s not squandered.
THE AMAZING SPIDER-MAN 2
Now this one looks like a car-crash waiting to happen. Last year’s reboot was…OK. Andrew Garfield and Emma Stone have chemistry, and the web-slinging looks better than it ever has. But Rhys Ifans’ Lizard didn’t work, and they left so many loose plot threads specifically to set up this sequel that it was really quite irritating. Early word doesn’t look good – director Mark Webb and co have crammed in so many new characters (heroes and villains) that they had to ditch introducing Mary Jane Watson (who would have been played by Shailene Woodley) until the next film. At the moment, it looks like an overblown and over-complicated disaster.
X-MEN: DAYS OF FUTURE PAST
Another one that’s going to be a nigh-on-impossible balancing act to pull of is X-MEN: DAYS OF FUTURE PAST. Based on the time-jumping, convoluted run in the comics, it boasts a ridiculously huge ensemble cast of pretty much every mutant who’s been in the films (and several played by multiple actors in different time periods). While I’m excited to see young and old Professor X and Magneto share the screen, I really don’t know how returning X-director Bryan Singer is going to do justice to each character, or make the story comprehensible. It’s an intriguing, but terrifying prospect.
22 JUMP STREET
Simply enough, it won’t be as fresh or funny as the first one. Lightning very rarely strikes twice, especially where comedy films are concerned. I hope it will be ok, and that it doesn’t become a bloated and increasingly desperate money-maker like THE HANGOVER series has become.
TRANSFORMERS 4
Stop it Michael Bay! Just stop it! How much bigger, brasher and more explodey can you go? Also, Mark Wahlberg and especially Kelsey Grammer deserve to be in far better, more interesting films.
FIFTY SHADES OF GREY
I. Don’t. Care.
THE EXPENDABLES 3
The addition of Jackie Chan, Mel Gibson, Steven Seagal and Wesley Snipes won’t make this tiresome franchise and less embarrassing and unnecessary.
SIN CITY: A DAME TO KILL FOR
I doubt Mr Rodriguez will be able to top his living graphic novel masterpiece. MACHETE got a bit tiresome after a while. Plus, it’s been in development hell for ever, and such films tend to stagnate and passion for such projects often escapes. Looking forward to Mickey Rourke and Bruce Willis (somehow) returning, though.
MINIONS
Following DESPICABLE ME 2, I am so bored of Minions. They were cute the first time round, but began to grate in their second outing. I really doubt they can hold together a film on their own, but of course kids will love to spend more time with the little yellow gibberish-spouters.
So that’s what I expect from 2014. I could of course be wrong – there might be a surprise or two hidden amongst next year’s releases, but I’m not holding out much hope. Bring on 2015! SSP
Place Your Bat-Bets Now!
UPDATE 2 – 10 Aug: Scott Adkins, according to some sources, has had an audition. The British stuntman/martial artist certainly has the physical ability to portray The Dark Knight (following impressive fight choreography in THE WOLVERINE and THE EXPENDABLES 2) – but can he actually act? I haven’t thus-far seen anything to make me assume that he can. Teaching fighters to act rather than actors to fight has historically had mixed results (just look at 80s action cinema). But who knows?
UPDATE – 7 Aug: Zack Snyder is reportedly wanting to go for an older actor as Wayne/Bats (Good!) and one of the current front runners is still Josh Brolin (still can’t see it). Brolin wouldn’t be a terrible choice though – he isn’t a stranger to comic book adaptations, and I guess he has the right jaw-line. But if you’re going for an actor around or just past 40, then I’d prefer someone like Richard Armitage or Matthew Macfadyen, both of whom are big guys well-versed Bat-growling.
Since it was announced at Comic Con at the weekend that Superman would be joining forces (or super-scrapping with) Batman in his next film appearance (again directed by Zack Snyder), one issue has been hotly debated above all others – who’s going to don the Bat-cowl? The bookies’ current favourites can be found at The Guardian.
Christian Bale recently ruled himself out of the running, though some sites are still reporting his return as “unlikely”. Bale was never in contention – he’s Christopher Nolan’s super-serious take on The Caped Crusader, and always will be. He wouldn’t fit into an expanded DC film continuity incorporating colourful and bizarre heroes like Wonder Woman, Green Lantern, The Flash and Martian Manhunter. And no, the downbeat tone of this year’s MAN OF STEEL doesn’t make the slightest bit of difference.
Also out of the running, then, is one of the bookie’s current favourites Joseph Gordon-Levitt, tied as he is to the Nolanverse. It’s also highly unlikely that anyone currently portraying a superhero or villain in a series will be considered, so that rules out X-MEN stalwarts Michael Fassbender and Hugh Jackman. Chris Pine is still busy with STAR TREK, Armie Hammer will be considered box-office poison for a while following THE LONE RANGER, and both Bradley Cooper and Channing Tatum appear to be moving towards starring in more “serious” fare.
Critical darling Ryan Gosling is a popular choice, and he’s undeniably a fine actor, but I just can’t see him in the part. Jake Gyllenhaal and Gerard Butler would both be wrong, as would Josh Brolin.
In short, I don’t really like the idea of any of the “smart money” options donning the cape and ears. I’d love for an older actor to be cast in the role as it might set up an interesting relationship dynamic with Henry Cavill’s youthful Superman, but I think a lesser-known name than Brad Pitt or John Hamm would be preferable.
It would be amusing if they cast another Brit, so we can carry on boasting that the three most famous American superheroes (Superman, Batman and Spider-Man) belong to us. Maybe scour the UK telebox for someone who fits the bill, but hasn’t had their American break yet? Or take a risk and hire a comedian again – last time Warner Bros did that they got Michael Keaton and he was excellent. Why not just get on the fans’ side and hire Kevin Conroy? Yeh, he’s most famous for voice-acting and approaching 60, but he’s a big, handsome guy who everyone who watched BATMAN: THE ANIMATED SERIES still loves.
I honestly don’t think we’ve even heard of the next Batman. I reckon he’ll be plucked out of obscurity just as Cavill was (yes, I know he was in THE TUDORS, but how many other people did?) The best Batmen (Keaton, Bale, Conroy) portrayed Bruce Wayne and his alter-ego as distinct personalities, and whoever the lucky winner is will also need to get in touch with the mournful soul of the character, and make the viewer understand his strict moral code. Not that they can’t have fun with it as well – Batman’s often portrayed as a bit of a misery-guts, but billionaire playboy Bruce Wayne could be taken in completely the opposite direction when in the public eye.
Patrick Wilson from WATCHMEN might also be an interesting choice, though his character Nite Owl essentially being a parody of Batman in that makes it a slim possibility. Still, of the previous Snyder collaborators, he’s the best fit.
Who will it be? I don’t know. It’s certainly a big utility belt to fill, and I look forward to the result. SSP
Posted in Film, Film Comment
Tagged Armie Hammer, Batman, Batman: The Animated Series, Brad Pitt, Bradley Cooper, Channing Tatum, Chris Pine, Christian Bale, Christopher Nolan, Comic Con, Film, Gerard Butler, Henry Cavill, Hugh Jackman, Jake Gyllenhaal, John Hamm, Joseph Gordon-Levitt, Josh Brolin, Kevin Conroy, Man of Steel, Matthew Macfadyen, Michael Fassbender, Michael Keaton, Movies, Patrick Wilson, Richard Armitage, Ryan Gosling, Scott Adkins, Spider-Man, Star Trek, Superhero Movie, Superman, The Expendables 2, The Guardian, The Lone Ranger, The Tudors, The Wolverine, Warner Brothers, Watchmen, X-Men, Zack Snyder
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The World’s End and the Flavour of Disappointment
It’s with a heavy heart I write this. I watched Edgar Wright’s concluding chapter in the “Cornetto Trilogy” of revisionist comedy genre films THE WORLD’S END yesterday afternoon, and I’m sorry to report that mint is the least successful filmic frozen ice cream flavour.
I don’t entirely blame the artists responsible; the co-screenwriters Wright and Simon Pegg’s sci-fi pub crawl has a lot going for it. Pegg is almost unrecognisable for the first time in his film career as the substance-addled man-child Gary King, and Nick Frost and Eddie Marsan have rarely been better (Marsan, in particular surprises with his comic timing). There’s also memorable cameos from most of the previous Spaced/Shaun/Fuzz collaborators, albeit with the glaring absence of SPACED co-creator Jessica Hynes, and some fluid action direction from Wright. It’s not un-funny either with some great sight gags, believable inebriated acting and an amusing recurring Three Musketeers routine.
Other than the plot, which resembles a mid-quality DOCTOR WHO story excruciatingly stretched out more than it does INVASION OF THE BODY SNATCHERS, my main problem is that after the perfection that was SHAUN OF THE DEAD and the delirious fun that was HOT FUZZ, I expected so much more from this talented team. The first two Cornetto films affectionately aped beloved horror and action movie, and at times surpassed the films being referenced. They also never lost sight of the human element – the characters we were following (especially those played by Pegg and Frost) were always so vivid and well-defined, their relationships often being a more appealing and compelling part of the film than the pitch-perfect spoofery. The message behind The World’s End is largely lost beneath fountains of blue goo, and I never really got a sense of what Wright and Pegg were trying to say beyond “you need to grow up someday”, and never got under the skin of Pegg’s Gary or Frost’s Andrew.
Again, I profess that The World’s End isn’t a bad film, it’s a moderately funny sci-fi, and for a UK production, it’s a visually impressive one. It’s also still very British in its heart and soul, and I’m sure that’s where it will be received most warmly. But, tragically, it has to compete with what came before, and it pales in comparison with Spaced, Shaun of the Dead and Hot Fuzz. Wright and Pegg might have grown up, they might have artistically matured (or restrained themselves in Wright’s case), but I’m already missing their younger selves – unapologetically childish film-obsessives with ambition and energy and boundless creativity.
Still, as Ed would say, “It’s not the end of the world!” SSP
Posted in Film, Film Feature, Film Review
Tagged Edgar Wright, Film, Movies, Nick Frost, Simon Pegg, The World's End
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SSP Thinks Film 
Johnny Depp, Acting Stagnation and the Promise of Retirement
Today brought the news that Johnny Depp has an eye on retirement in the not too distant future. This will devastate some, and please others (myself included) who think Depp hasn’t really looked passionate about his chosen profession for a long time. Fear not! He still wants to do more ALICE IN WONDERLAND and PIRATES OF THE CARIBBEAN movies! Joy of joys…
While Depp hasn’t indicated exactly when he might bow out, or indeed whether he will remain involved in the film industry in another, less front-and-centre capacity, most will simply want to know one thing – why now? While I can’t claim to know Mr Depp’s mind, there are a few indications. He’s indicated in interviews that he’s tired of the pressures and lack of privacy linked to being a film megastar. He’s been stuck with recycling the same oddball characters for over a decade now (though this admittedly is partly his own doing) and he’s currently weathering the considerable backfire from his “racist” performance as Tonto in Disney’s much-derided exercise in excess THE LONE RANGER. In short, it’s not a good time to be Johnny Depp.
Depp gave his greatest, most vivid performances in the 1990s, in EDWARD SCISSORHANDS, ED WOOD and SLEEPY HOLLOW to name just the Tim Burton collaborations. Burton and Depp were a winning combination back then – a kookily artistic hive-mind, rather than the tired, dull and uninspired partnership they have become post-CHARLIE AND THE CHOCOLATE FACTORY.
Depp’s star had begun to fade by the early 2000s, and then Jack Sparrow came along. Sparrow and Gore Verbinski’s Pirates of the Caribbean series gave Depp a second life on the big screen, and the shambolic pirate “captain” was a joy to watch…for a couple of films. But Cap’n Jack is starting to grate now, and the prospect of more Pirates films isn’t exactly an enticing prospect.
You could blame Depp’s career stagnation on many things – his poor script choices, his tendency to churn out the same old stuff when collaborating with his director chums (Burton and Verbinski), or maybe he’s just bored with the whole showbiz lifestyle.
If he does indeed retire following another God-awful Alice and/or Pirates film, then it might not be such a bad thing, It would be more satisfying if he went out on a career-high (and maybe next year’s Sondheim musical film Into the Woods will be it), but regardless we’ll always have his more interesting early performances to remember him by.
Johnny Depp has been a towering figure in film for nearly 30 years now, so maybe we should cut him some slack, and allow him to bow out gracefully. SSP