#jonathan mostow

[90smovies]

[jawmidnight]

[filmtitle]

Terminator 3: Rise of the Machines (2003)

[oceanofspace]

surrogates jonathan mostow

[movieassholes]

And uh... Look, it's no hard feelings. I really do hope you find your wife.

Red Barr - Breakdown (1997)

[jerichopalms]

*Terminator 3: Rise of the Machines (2003, dir. by Jonathan Mostow)

(celebrating Judgment Day on July 25 yeeeeee)

[dynamofilms]

Terminator 3: Rise of the Machines (2003)

6/10

[greensparty]

Remembering Earl Boen, Adam Rich and Owen Roizman

This weekend we lost three entertainers. Here is my combined remembrance:

Remembering Earl Boen 1941-2022

Actor Earl Boen has died at 81. He is most known for playing Dr. Silberman in The Terminator, Terminator 2: Judgment Day, and Terminator 3: Rise of the Machines. He was so good as the antagonist who doesn’t believe what Sarah Connor is saying happened.

Linda Hamilton and Boen in Terminator 2

In addition to the Terminator movies, he appeared in countless movies, TV shows and voiceover work, notably “The Border Song” episodes of ALF, “The Pony Remark” episode of Seinfeld, and in Naked Gun 33 1/3: The Final Insult.

The link above is the obit from Hollywood Reporter.

Remembering Adam Rich 1968-2023

Actor Adam Rich has died at 54. He was most famous for playing Nicholas on Eight Is Enough (ABC-TV 1977-1981). That was a series I got into when it was in syndication in the 80s. I was actually a fan of the firefighter series Code Red (ABC-TV 1981-1982). He was also the voice of Presto on Dungeons & Dragons (CBS 1983-1985), a Sat. morning cartoon I loved as a kid. 

Rich on Eight is Enough

The link above is the obit from CNN.

Remembering Owen Roizman 1936-2023

Cinematographer Owen Roizman has died at 86. He was nominated for 5 Best Cinematography Oscars and won an Honorary Oscar in 2018. He is especially noteworthy for the work he did with William Friedkin (The French Connection and The Exorcist), Sydney Pollack (Three Days of the Condor, Absence of Malice, and Tootsie) and Lawrence Kasdan (I Love You to Death). That is quite a group of directors to have made several films with. Other great films he was the DP on include Play It Again, Sam, The Taking of Pelham One Two Three, and he was the DP on Vision Quest, as well as Madonna’s music videos from the soundtrack for “Crazy for You” and “Gambler”. So many memorable images he photographed: the NYC car chase in French Connection, the exorcism scene in The Exorcist, any of the awesome paranoid moments in Three Day of the Condor, and the urgency and ticking clock of the subway hostages in Pelham One Two Three. 

Roizman behind the camera with Pollack directing

The link above is the obit from Hollywood Reporter.

[corikane]

Far From Home

Breakdown (1997) by Jonathan Mostow Do you sometimes just randomly come across a movie you’ve totally forgotten existed, like, you don’t really recall what it was about just that you watched it at some point? Such a movie is Breakdown for me. Now, I was a Kurt Russell fan at some point and I watched a lot of his movies. He’s a fine actor. But this film I completely blanked on, so, of course, it…

[brokehorrorfan]

Paramount Scares: Volume Two will be released on October 1 via Paramount. The 4K Ultra HD + Blu-ray box set collects Friday the 13th Part 2, Breakdown, World War Z, and Orphan: First Kill.

1981 slasher sequel Friday the 13th Part 2 is directed by Steve Miner (Halloween H20) and written by Ron Kurz (Eyes of a Stranger). Adrienne King, John Furey, Stu Charno, Lauren-Marie Taylor, Steve Daskewisz, Warrington Gillette, and Amy Steel star.

1997 thriller Breakdown is directed by Jonathan Mostow (Terminator 3: Rise of the Machines) from a script he co-wrote with Sam Montgomery (U-571). Kurt Russell, J.T. Walsh, and Kathleen Quinlan star.

2012 action-horror film World War Z is directed by Marc Forster (Quantum of Solace) and written by Matthew Michael Carnahan (Deepwater Horizon), Drew Goddard (Cloverfield), and Damon Lindelof (Lost), based on Max Brooks' 2006 novel. Brad Pitt stars.

2022 Orphan prequel Orphan: First Kill is directed by William Brent Bell (The Boy) and written by David Coggeshall (The Haunting in Connecticut 2: Ghosts of Georgia). Isabelle Fuhrman, Julia Stiles, Rossif Sutherland, Hiro Kanagawa and Matthew Finlan star.

The limited edition set comes with an special issue of Fangoria magazine, poster, set of four patches, pin, sticker, and exclusive slipcovers for all four films. Special features are listed below.

Pre-order Paramount Scares: Volume Two.

[scarecrussy]

Terminator 2: Judgement Day (1991) & Terminator 3: Rise of the Machines (2003) - Dir: James Cameron and Jonathan Mostow respectively

two of my favorite cutie patootie moments

[stevebuscemieyes]

Terminator 3: Rise of the Machines, 2003

Dir. Jonathan Mostow

[cantsayidont]

Some movies, considered chronologically:

THE FLAMINGO KID (1984): Nostalgia-burdened period piece, set in 1963, about working-class kid Jeffrey (Matt Dillon), who gets a summer job parking cars at an exclusive beach club called El Flamingo, starts dating a rich girl (Carole R. Davis), and becomes fascinated by her father (Richard Crenna), a self-made sports car dealer and local card sharp who thinks college is sucker's game. This alienates Jeffrey's own father (Hector Elizondo), a stalwart plumber who doesn't want to see Jeffrey squander his chances of bettering himself. The story is thus a sort of YA prototype of Oliver Stone's later WALL STREET — a Reagan-era morality play about a young man caught between two father figures, one representing the Lure of Easy Money and the other a paragon of Honest Hard Work — badly undermined by its absurdly idealized longing for the alleged innocence of the Kennedy era (underlined by an obnoxious oldies soundtrack). It offers a meaty role for Crenna, but as a drama, it has less substance than FERRIS BUELLER'S DAY OFF. Davis's character is such a nonentity that you keep forgetting she's there, and the way she ends up functioning as a proxy for Jeffrey's obsession with her dad is awkward. CONTAINS LESBIANS? Nope. VERDICT: A simple-minded story blinded by its rose-colored glasses.

THE JOY LUCK CLUB (1993): Sudsy but affecting episodic adaptation of Amy Tan's novel about four middle-aged Chinese women and their strained relationships with their Chinese-American daughters, starring Ming-Na Wen and nearly every other Chinese actress working in the U.S. at the time. The way the script segues between the characters' respective stories is clunky, and it often teeters on the brink of schmaltz, but there are moments of real dramatic power amongst the more superficial tearjerker moments, and you'd have to have a stonier heart than I to not sob at the bittersweet ending. Strong acting helps, with Tsai Chin particularly good as Auntie Lindo. CONTAINS LESBIANS? It seems like it should, but alas. VERDICT: Heavy-handed at times, but undeniably moving.

COLD COMFORT FARM (1996): Before she became an action star, Kate Beckinsale starred in this hilarious adaptation of Stella Gibbons' 1932 satiric novel about glib orphan Flora Poste, who makes it her project to fix all the problems of the titular farm and its eccentric denizens — distant cousins who feel obligated to Flora (whom they will only address as "Robert Poste's child") because of some unspecified wrong they once did her late father. Among the inmates of Cold Comfort are Cousin Judith (Eileen Atkins), a hysterically morose creature straight out of a gothic novel; Cousin Amos (Ian McKellen), a fire-and-brimstone preacher who warns his brethren, "There'll be no butter in Hell!"; Amos and Judith's oversexed son Seth (Rufus Sewell), a local stud who dreams of being in the talkies; and of course Aunt Ada Doom (Sheila Burrell), who rules the family with an iron fist and won't let anyone forget that she once saw something nasty in the woodshed. A delightfully silly spoof of a particular category of once-popular English literature, as the farm's assorted grim melodramas prove no match for the implacable (if somewhat snobbish) modern sensibilities of its plucky heroine. CONTAINS LESBIANS? Nope. VERDICT: Great fun throughout, although Stephen Fry irritates as a boorish "Laurentian person" who keeps hitting on Flora despite her obvious disinterest.

BREAKDOWN (1997): Competent but underwhelming Jonathan Mostow thriller starring Kurt Russell and Kathleen Quinlan as Jeff and Amy Taylor, a couple of Yuppies whose fancy Jeep breaks down on the highway on a trip from Massachusetts to California. A passing trucker (J.T. Walsh) gives Amy a ride into the nearest town to find them a tow truck, but when Jeff gets their Jeep running again and follows her into town, he finds that Amy has disappeared, and no one, including the trucker, will admit to having seen her. It has a great premise, and Russell is credible enough in the lead, but it's pretty ordinary, and, once you know what's going on (which is revealed a little over a half-hour in), pretty superficial — there's no psychological depth, and I kept waiting for some other story twist that never came. CONTAINS LESBIANS? It barely contains women (Amy is absent for 80 percent of the running time). VERDICT: Not bad, but nothing special, and you'll forget it 10 minutes after it ends.

MY TWO HUSBANDS (2024): Okay Lifetime thriller about a young woman named Eliza (Isabelle Almoyan), still reeling from the recent murder of her mother (Joanie Geiger), who becomes deeply suspicious of her father's young new wife, a flight attendant named Brooke (Kabby Borders) who's no older than Eliza — and, as the title alludes, is secretly married to another man (Britton Webb, who looks like a lesser Baldwin brother) and up to no good. Despite the cheesy title (which is really also a spoiler) and awkward marketing (which misleadingly suggests a comedy-drama with Brooke rather than Eliza as the main character), it has a surprisingly decent, reasonably credible script, hamstrung by very weak performances. The story is still interesting enough to make it a not-bad little thriller, although it would have been better with a stronger cast and less somnabulistic direction. CONTAINS LESBIANS: It sometimes seems like Eliza's friend Star (Kristen Grace Gonzalez) might be her girlfriend, but the script is noncommittal on this point. VERDICT: A B+ script burdened with D+ acting and C- direction.

[seph7]

Breakdown (Jonathan Mostow, 1997)

by Douglas Buck April 10, 2019

On a cross-country joy ride of ‘new beginnings’, Jeff (Kurt Russell) finds himself flung into a nightmarish search for his kidnapped wife Amy (Kathleen Quinlan), as part of a shakedown scheme led by the initially helpful trucker Red (J.T. Walsh), who took her after their car broke down at the side of the road.

With our everyman hero fighting to get back his attractive wife, battling against those tough redneck hold-outs against civilized society (with them brooding about in their massively imposing and seemingly invulnerable trailer trucks, while Jeff has his cute new Jeep, so fragile that pulling out a few mamby-pamby colored wires from its undercarriage puts it out of commission) while ineffectually trying to navigate the resentments and disrespect towards city folk from the unhelpful community (who likely feel ignored themselves), Breakdown serves as a poster child for the road suspense thriller as terror tale of modern masculinity under attack (with the title so nicely representing not just the obvious plight of our couple’s car, but the underlying threat felt by polite society).

Deep as I was burrowing into the works of the somber existential cinematic masters like Ingmar Bergman and Andrei Tarkovsky, a commercial action thriller such as Breakdown would not have been on my radar when it came out (and if it was, it would likely have been summarily dismissed) but, hey, while I might have been foolish to have ignored it, hey, at least it’s allowing me the opportunity to experience all of its well-crafted and excitingly executed pleasures now, for the first time.

I know little about director Mostow, other than he seems like kind of a journeyman action director (I did find his third Terminator a competent entry in the series), but, man, does he carefully and effectively cultivate the growing paranoid perspective of Russell’s Jeff, as he falls into a terrifying nightmare in which he is an outsider in a back-to-basics world where the strong and barbaric survive and it isn’t even sure the cops can be trusted.

Walsh, as sociopathic ring-leader Red, is maximum deadpan sleaze extraordinaire, delivering deliciously deplorable lines with great understated relish (I know, it sounds like an oxymoron, but with Walsh, it somehow isn’t… at all…), such as, in incitingly describing the disappeared Amy to the frantic Jeff, to prove that he has her, “About 5’5”, 115 pounds, three or four of that just pure tit.”

Major props also to Russell, an actor capable of anti-hero Snake Plissken testosterone-bursting levels, for reigning in his ego and allowing his physical virility to be so downplayed (through his performance and the slightly frumpy clothes they put him in) – until the concluding scenes, of course, when the masculine status quo fears are assuaged, with our hero re-claiming the primal power that the modern world has worked to hollow out of him (in a mind-bendingly awesome scene that ends with Jeff literally pulverizing Red with as giant, and symbolically appropriate, a phallus as can be imagined).

There’s a modern cinematic savvy to the film, speaking to an understanding of cinematic tradition (and love) for genre; it’s a little bit Texas Chainsaw Massacre (with Amy popping out of a cold storage fridge in a farmhouse basement and a family ready to kill for daddy) and a lot part Duel (no explanation really needed there), amalgamated into one deliciously tense ride.

It’s exciting filmmaking, riding on simple and direct fears (of those with the extra cash to go to the movies, that is), with an adrenaline-rush of a cliff-hanger ending that rivals the cinematically suspenseful best of Steven Spielberg (i.e., the cinematically suspenseful best).

The print was gorgeous (as was the one for the previous entry in this Jammin’ Trucker Anthology series I saw, Every Which Way But Loose) and the big screen was the perfect place to see the larger-than-life action unfold. Definitely gonna take another gander on my projector system at home (especially as I plan on moving soon and not sure I’ll get to see it this large at home again in the near future).

[pablolf]

Film Journal

"Terminator 3: Rise of the Machines" by Jonathan Mostow

[signalwatch]

PodCast 228: "Terminator 3" (2003) - A Movies of Doom/ ArnieFest SimonUK Cinema Selection w/ Ryan

Watched:  01/08/2023

Format:  HBOmax

Viewing: Second

Decade:  2000's

Director:  Jonathan Mostow

For more ways to listen

Si and Ryan are doomed to a fate they can't escape, It's time for more robots from the future. Kind of dumb robots, but robots nonetheless. It's the first post-Cameron sequel and maybe it cooked too long or something. But it has its good spots! But. Anyway.

SoundCloud 

The Signal Watch PodCast · 228: "Terminator 3" (2003) - A Movies of Doom/ ArnieFest SimonUK Cinema Selection w/ Ryan

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Music:

Terminator 3 Theme - Marco Beltrami

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