STACK #200 Jun 2021

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ISSUE 200 Jun ’21

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ISSUE 200 Jun ’21

ISSUE 200 Jun ’21

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CONTENTS

ISSUE 200 Jun ’21

FILM & TV 8 Take 5

9 Bob J’s Movie Trivia 10 Fast & Furious 9 12 Godzilla vs. Kong 14 Raiders of the Lost Ark 16 Nobody 18 Greenland 20 Don’t Look Back 22 Earwig and the Witch 24 Occupation: Rainfall 26 Out this month GAMING 32 Take 5/Game Changers 34 Fast Forward/Q5 36-37 Ratchet & Clank 38 Mario Golf: Super Rush 40 Accessorise Now! 42 STACK Recommends 43 Out this month LIFE TECH 46 Intro

WELCOME The idea behind STACK was originally formulated in one of the most productive think tank destinations on Earth – the pub. The concept was simple; JB Hi-Fi was Australia’s premier destination for DVDs, so why not create a free publication that would include reviews and interviews with film’s biggest players. Ambitious? Definitely. But with an initial two-person team – one writer and one production manager – the first copy, a humble pamphlet with Akira Kurosawa’s Seven Samurai on the cover, rolled off the production line and headed into JB stores nationally in June 2004. STACK would soon graduate to a full-size magazine, eventually expanding to include games, music, consumer tech and cinema releases, as well as emerging disc formats like Blu-ray and 4K UHD. Over the past 17 years, we’ve been fortunate enough to interview some of the biggest names in movies, music and video games, and find ourselves on the ground covering E3, San Diego Comic-Con, innumerable music festivals and the ARIAs for Australia’s most comprehensive (and FREE) entertainment magazine. We’d like to take this opportunity to thank you all for your ongoing support in helping STACK go from strength to strength. Cheers, and here’s to the next 200! Paul Jones, Editor-in-Chief

48-50 Smartphone gaming 52 Samsung smartphones 54 Oppo smartphones 56-58 Dyson 60 All-in-one mini cookers 62 What is Intel Evo? 64-65 Intel Evo laptops 66 LG Gram laptops 68 Microsoft Surface 4 70-71 Ergonomics in the home office 72 Sofihub 74 What’s new at JB MUSIC FLIP MAG AND READ FROM BACK 4-8 The Music Room: Interviews and feature reviews with Danny Elfman, Wolf Alice and more 10-11 Crowded House

Founder Nic Short Editor-in-Chief Paul Jones Film & TV Editor Scott Hocking Music Editor Zoë Radas Games & Online Editor Amy Flower Creative Director Gary Siewert Movies Consultant Kerrie Taylor Games Consultant Sachi Fernando Music Consultant Mike Glynn

Marketing Manager Fleur Parker Chief Contributors Bob Jones, Gill Pringle Contributors Anthony Horan, Glenn Cochrane, Bryget Chrisfield, Jeff Jenkins, Simon Lukic, Billy Pinnell, Denise Hylands, Simon Winkler, Jake Cleland, Holly Pereira, Adam Colby,

Dan Nicholson, Alex Deutrom, Bec Summer Social Media Manager Imogene Lewis-Granland Production Manager Craig Patterson Correspondence STACK 33 Jessie Street, Richmond, VIC 3121

RATINGS GUIDE

Parental guidance recommended

Recommended for mature audiences

Not suitable for people under 15. Under 15smust beaccommpaniedby a parent or adult guardian

Restricted to 18 and over

General

12-13 The STACK Record Club 14-16 AlbumTales: Split Enz’ True Colours (1980) 18 This month at JB 20-21 Album reviews 22 Music Merch

Disclaimer STACK is published by Scribal Custom Pty Ltd (ACN 092 362 135). © Copyright Scribal Custom Pty Ltd, 2021 All rights reserved. All material appearing in this publication is copyright unless otherwise stated or it may rest with the provider of the supplied material or advertisement. No part of this publication may be reproduced without the written permission of Scribal Custom Pty Ltd. No responsibility is accepted for accuracy of advertisements or information. Whilst care has been taken in the research and preparation of this publication, the publishers, writers or anyone else associated cannot accept any responsibility for any loss, injury or hardship arising from the content contained herein or reliance therefrom, howsoever caused, and it remains your responsibility to evaluate the accuracy, completeness and usefulness of any such content. Views expressed are not necessarily endorsed by the publisher or the editor. By the very nature of this publication, things change daily and we cannot take responsibility for any changes or inaccuracies that occur subsequent to going to press.

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ISSUE 200

CELEBRATING STACK ’s 200 th ISSUE YOUR ESSENTIAL GUIDE TO CINEMA, DVDs, GAMES & MUSIC ASSASSIN’S CREED • CHIPS • MARIO KART 8 DELUXE at stack.net.au Sign up for your see inside for more details • COMPET I T I ONS • ISSUE 50 NOV '08 www.stack.net.au Hancock • Narnia • The X-Files • Mamma Mia! • Games • Win 50 DVDs & more YOUR

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ISSUE 200 Jun ’21

STACK Issue 200 JUNE 2021 “Kong bows to no one.”

GODZILLA TM & © Toho Co., Ltd. © 2021 Warner Bros. Entertainment Inc. All rights reserved.

17 years ago, STACK first appeared in JB Hi-Fi stores. But what were we all watching, playing, listening to and getting tech-savvy with in the eventful year of 2004?

Your ultimateguide to Elder Scrolls Online STACK magazine with the 200 th issue of FREE Look inside for

ISSUE 200 Jun ’21

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MOVIES The Lord of the Rings: The Return of the King , the crowning glory in Peter Jackson’s mighty fantasy trilogy, dominated the Academy Awards in 2004, winning nine of its 11 nominations including Best Picture. On the flip side, the J.Lo/Ben Affleck turkey Gigli cleaned up at the Razzies. Biopics were all the rage in Hollywood that year, from The Aviator and Finding Neverland , to Ray and Alexander ; Shrek 2 was the number one film at the global box office, setting a new record MUSIC In 2004, international bops we loved included Kelis’s Milkshake , Outkast’s Hey Ya! , Maroon 5’s She Will Be Loved and Evanesence’s My Immortal – but we were feeling the Aussie pride too: Spiderbait, Kasey Chambers, and Eskimo Joe all released massive singles – not to mention Missy Higgins’ gargantuan debut track Scar – and the success of two homegrown

GAMES Ah, memories! The PlayStation 2 was our console weapon of choice, with many a classic also hitting both the OG Xbox and GameCube. Nintendo had us back in the virtual garden with Pikmin 2 , and we also got in plenty of Metroid Prime 2 . Our Xbox got a lot of loving, too, especially with Fable and, of course, Halo 2 . But the PS2 was where

it was mostly at for us, with Sly 2 , Jak 3 , GT4 , Killzone , Katamari Damacy and the third Ratchet & Clank all debuting as exclusives, plus one that we still dig out today, the classic SingStar ! Add GTA: San Andreas , Burnout 3: Takedown and Red Dead Revolver and 2004 really was a top year.

for the highest grossing animated film at the time; Mel Gibson’s The Passion of the Christ became an unexpected blockbuster; and we said farewell to the great Marlon Brando, who passed away aged 80.

TECH 17 years ago, Hi-Def plasma and LCD TVs were sounding the death knell for CRT technology – but no one could afford them. The nascent HDMI technology was offering an exciting look into the future for visual and audio enthusiasts, while the latest developments in mobile phone technology included a one-megapixel camera. SD cards were boasting 1GB of flash memory and iPods were at the crescendo of their phenomenal popularity, with the latest models introducing photos and video alongside MP3s. Despite being created in the

albums from the previous year – Delta Goodrem’s Innocent Eyes and Jet’s Get Born – saw both flying high near the top of the charts all year. Ultimately, it was our obsession with the first-ever season of Australian Idol which was reflected in the final numbers; the comp’s winner Guy Sebastian got himself a #1 album, sure, but it was runner- up Shannon Noll who scored the biggest song of the year: his cover of Moving Pictures’ 1982 track What About Me sat at #1 for four weeks, while his album debuted at #1 and rested comfortably within the top three for the year’s duration.

late ‘90s, Google finally went public in 2004, changing the way we searched the net; and at Harvard University, a young entrepreneur launched a website designed to connect fellow Harvard students, called The Facebook.

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EXTRAS

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STACK’s ROVING REPORTER

4K UHD BEST-SELLERS for MAY 2021

What’s your all-time favourite film andTV series, and why?

My all-time favourite movie would be Cop , a 1988 James Woods film. He’s a rogue cop after a serial killer that nobody believes exists. I love that movie and watch it all the time; I’ve probably seen it a couple of hundred times. My favourite TV series is an old cop show called Hunter with Fred Dryer, who looked like Richard Widmark and Clint Eastwood put together. It ran from 1984–’91 and every week they had to solve a different murder. It was pretty controversial back in the day for being sort of tough, and not glamourising crime.

1 Monster Hunter 2 Akira – Limited Edition 3 Wonder Woman 1984 4 The Lord of the Rings Trilogy 5 Tenet 6 Soul 7 The Hobbit Trilogy 8 The Ten Commandments (1956) 9 Harry Potter – The Complete Collection 10 Kingsglaive: Final Fantasy XV

KENT CHURCH @ JB Shepparton, VIC

What’s the best thing about working in movies at JB?

What have you been watching lately that you would recommend?

Wrath of Man with Jason Statham. It’s not a typical Guy Ritchie movie, it’s very dark and bleak with no laughs at all. It’s a straight up, grim crime movie that starts off dark and gets worse. It was great!

Probably the customers. Showing them the movies they can discover – stuff that they may not normally track down.

BLU-RAY BEST-SELLERS

for MAY 2021

What was the first film you can recall seeing as a child, or one that had a lasting impact on you?

The Terminator . I saw it at the cinema when I was six [laughs]. It was clever and cool and he was a robot at the end. It was different to anything else I’d seen. When you’re six, you believe that he’s a robot underneath.

1 Wonder Woman 1984 2 The Marksman 3 The Dry 4 Monster Hunter 5 The Croods: A New Age 6 Willy’s Wonderland 7 Penguin Bloom 8 Justice Society: World War II 9 Shadow in the Cloud 10 Wrong Turn (2021)

Do you collect movies andTV shows?

Yeah, mostly movies. I’ve got a heap of them, around 600 I think. Anything that’s good – comedy, crime, action, horror, drama, thriller...

TheTerminator

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FEATURE EXTRAS

REAR WINDOW (1954) Directed by Alfred Hitchcock

absent wife is simply visiting friends. As Jeff's anxiety grows, the viewer is caught up in his compulsive sleuthing, which will

TRIVIA: Alfred Hitchcock's obligatory cameo: He is seen through the window of the songwriter's apartment winding a clock.

ultimately lead to a memorable and

gripping finale. Hitchcock cast his "Mr Reliable", James Stewart, as the immobile Peeping Tom. Few actors have given such a riveting performance from such a

A lfred Hitchcock's preoccupation with the subject of voyeurism came to full fruition in Rear Window , one of his greatest productions. His 1954 film was based on a story that first appeared in a 1942 issue of Dime Detective Magazine under the title "It Had to Be Murder". The adapted screenplay, written by John Michael Hayes, was offered to Hitchcock as his

carrying a large silver-coloured suitcase several times during the night. The next day, the invalid wife appears to be missing and Jeff watches the salesman wrap up a saw and knife and then meticulously clean the bathroom. When Jeff tells Lisa that he suspects the salesman has murdered his wife she doesn't believe him and scoffs that he should not keep looking through other people's windows for excitement. But gradually, both Lisa and Stella

static position. Stewart, with his drawling and well- loved mannerisms, was Hitchcock's choice for his most personal roles. Likewise, the beautiful Grace Kelly, who was Hitchcock's perfect blonde actress to whom all subsequent actresses never quite measured up, was given the role of Jeff's glamorous fiancée, Lisa. Dry, cynical humour was provided by the wonderful veteran actress Thelma Ritter, who played the nurse Stella. Another major part of the success of Rear Window was the elaborate single set that was designed and built on Paramount's Stage 18. Constructed from scratch, it contained 30 apartments (eight of them fully furnished) and a courtyard that contained gardens, trees and fire escapes, all capped with a Manhattan skyline – aptly described by one critic as a vast living doll's house. Hitchcock positioned himself and his cameras within Stewart's single apartment set for the whole shoot. He then directed and instructed the cast, ensconced in the opposite apartments, through tiny flesh-coloured earphones they all wore. This was quite deliberate, as from the beginning of the film to the end, the viewer is enclosed in Jeff's apartment and allowed to see only what he sees through the multiple windows of the apartment complex. Nominated for four Academy Awards, Rear Window has been deservedly voted by many film historians as the first Alfred Hitchcock masterpiece of the half dozen or so that would follow over the next two decades. Jeff (James Stewart) attempts to convince Stella (Thelma Ritter) and Lisa (Grace Kelly) that a murder has occurred in a neighbouring apartment

first film for Paramount after he moved fromWarner Bros. The plot, which is confined to one setting for the entire film, was so contained that it became the archetypal classic drama, but Hitchcock magically made it fully cinematic. The film's protagonist L.B. Jefferies, nicknamed Jeff, is a photojournalist who through an accident is confined to a wheelchair with his leg in plaster. Out of total boredom he becomes obsessed watching the private dramas of his neighbours as they play out through their windows across the courtyard of his Greenwich Village apartment complex. Among the various occupants, to whom Jeff attaches non de plumes, are the Torso girl, a beautiful dancer with many men friends; Miss Lonelyhearts, a loveless older woman who pretends men visit her; the Newlyweds, who reveal their intimacy as their shades are constantly pulled up and down; the childless couple who dote on their little dog, who they lower up and down in a wicker basket for it to carry out its necessary ablutions in the courtyard garden; the musician/songwriter who apparently cannot sell his songs; and a sad-looking salesman with an invalid wife. Jeff has daily visits from Stella, his nurse therapist, and his elegant fashion-editor fiancée Lisa Fremont – both of whom berate him for spying on his neighbours' lives. One night as he dozes by his open window, Jeff hears a scream. Using binoculars and his camera's tele-photo lens, he sees the salesman leave his apartment

begin to believe that there was a possibility of foul play. Subsequently, Jeff gets his detective friend to investigate, which he does, but is told by the salesman, whose name is Lars Thorwald, that his

Hitchcock's incredible single set, built on Paramount's Stage 18

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CINEMA FEATURE

with a staunch moral code. Diesel immediately loved the idea, which he believes captures the heart of the entire franchise. “I’m excited that we’ve taken what was just a conversation in a garage between Dom and Brian two decades ago and are contextualising it and elaborating on how Dom felt in that moment,” he says. Moreover, in F9 we learn how Dom became the man he is, and why family – both chosen and biological – is so essential to him. “ F9 sheds a light on how Dom has managed his vulnerability his whole life,” offers Diesel. “That’s what’s so fun about the evolution of this character, because it’s something that we all can identify with.” If Dom is a man who doesn’t look back, then, in F9 , he’s forced to confront his past with the introduction of John Cena as Jakob Toretto – Dom and Mia’s estranged and vengeful brother, now working as a master thief, assassin, and a high-performance driver. Jakob’s return forces Dom and Letty out of their retirement, and back into their old lives in the fast lane, reuniting them with previous Fast cast members including Gibson, Ludacris, Nathalie Emmanuel, Sung Kang, Helen Mirren and Charlize Theron. As the film begins, Dom is at a crossroads. Fatherhood has shifted the focus of his adrenaline-fuelled existence to a more sedate life off the beaten path. Living on his farm with Letty and taking care of Little Brian brings a wealth of new responsibilities, and while Dom feels the weight of it all, Letty, too, is struggling in her new role. Their relationship is feeling the

The high-octane Fast & Furious saga returns to cinemas this month, with the ninth installment set to boldly go where the franchise has never gone before… Words Bec Summer F ast & Furious 9 melds all the dizzying action, stunts and emotional pathos that fans have

strain and is thrown into further chaos with the arrival of Ramsey (Emmanuel), Roman and Tej, who inform them that the plane of Mr. Nobody (Kurt Russell) has gone down in the Central American jungle with the notorious Cipher (Theron) in his custody. The trio expect Dom and Letty to join them and get back into the espionage game. Letty is up for it, but, to everyone’s shock, Dom opts out. “When we have children, the stakes are higher,” says Diesel, who has three children of his own. “Now everything Dom does, he has to consider the true source of his vulnerability: his child. It’s not

come to expect from the franchise. But just when you thought the team couldn’t top anything they’ve done before, F9 does precisely that – by heading into space! Indeed, F9 director Justin Lin – who previously directed four Fast installments between 2006 and 2013 – says he’s been kicking the idea around for years, but wanted to find the right emotional arc to make it more than just a gimmick. After hitting upon the right idea, he immediately drove over to Vin Diesel’s house to pitch the concept, both of them agreeing that the time was right. Next came the hard part. “I’m on the phone with scientists, learning about fuel and physics,” Lin told The Hollywood Reporter . “It was great having the

Vin Diesel and director Justin Lin

Potential orbital action aside, it seemed only fitting for Lin to delve into Dominic Toretto’s past for F9 , providing an opportunity to connect the emotional threads of this dysfunctional family of misfits. From the start, the director knew he wanted to use Dom’s iconic line, “I live my life a quarter mile at a time” (which he says to Brian in the very

that Dom is ecstatic about living on the farm. He’s governed by necessity. There’s a lot of unfinished business in this world that he’s been living in. A lion is vulnerable because of its cub, and that’s who Dom is. In order to protect his cub, this is the sacrifice he makes.” Fully embracing the return of Lin, the visionary director who transformed the series into a global blockbuster, Diesel says today, “To wrap up this era of the saga, I knew I needed the longest-running director in the franchise as my partner.”

scientists on the other line going, ‘Wait, what? What are you trying to do?’ I love it.’” The F9 trailer reveals part of Lin’s gamble, with Roman (Tyrese Gibson) and Tej (Ludacris) in what appear to be homemade spacesuits.

first film) to lay the emotional foundation for F9, viewing the line as the defining moment that shaped Dom Toretto as a modern-day outlaw

Fast & Furious 9 is in cinemas on June 17

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MonsterVerse, with stars Vera Farmiga, Millie Bobby Brown and Kyle Chandler caught up in an epic clash of the titans. It also reveals more about the top secret organisation known as Monarch, dedicated to locating these “massive unidentified terrestrial organisms" (MUTOs) and discovering the truth about their connection to our world. Mythology plays a major part in the story, with the monsters now referred to as ‘titans’. “I felt that was the appropriate name for them, because titans were the first gods,” explains director Michael Dougherty. “If we did discover giant monsters hibernating in the bowels of the earth, it would be like that. There’s an automatic mystery to that term.”

When Godzilla stomped back onto cinema screens in 2014, his return spearheaded a new shared cinematic universe – a MonsterVerse – which reaches its apogee this month with a titanic clash between the Japanese monster icon and the legendary King Kong in Godzilla vs. Kong . Words Scott Hocking

4. GODZILLA VS. KONG (2021) The last time these two clashed was way back in 1962 in the Japanese production King Kong vs.

firepower at their disposal is no match for the primal force that is Kong. “Kong is film history; Kong is where special effects came from and when genre went mainstream,” says director Jordan Vogt- Roberts. “It’s an enormous responsibility and also an enormous honour to tell a new story within that mythology.”

Godzilla , albeit as actors in rubber suits stomping on a miniature Tokyo set – a spectacle far removed from today’s digital wizardry, which endows both monsters with more personality and nuance.

1. GODZILLA (2014) Japan’s monstrous national treasure had never fared well in the hands of Hollywood, until British filmmaker Gareth Edwards returned Godzilla to his roots and the hero status

he enjoyed in many of the Toho productions, as well as capturing the tone of the original 1954 film. “The original 1954 version is a very serious film.” says Edwards. “People maybe think it’s a B-movie, but when you watch it again, it’s really an analogy and a metaphor for things like Hiroshima and Nagasaki. It’s a very serious take on a monster movie.” That’s not to say there isn’t a lot of fun to be had in Edwards’ update. There are mosquito-like adversaries for Godzilla to fight, Bryan Cranston as a twitchy scientist who suspects something monstrous is stirring, Godzilla’s dorsal fins slicing through the sea, and his trademark radioactive exhale. The MonsterVerse is born! 2. KONG SKULL ISLAND (2017) Kong: Skull Island is the first film to be set entirely on Kong’s home turf – a jungle hell teeming with giant spiders and slithering Skullcrawlers – upon which John Goodman, Tom Hiddleston, Brie Larson and Samuel L. Jackson foolishly trespass. Backed by a strong military contingent, they quickly discover that all the

Capturing the adventurous spirit of yesteryear monster movies like Valley of Gwangi and Mysterious Island, with a liberal dose of Vietnam War gung-ho, Kong: Skull Island strengthened the foundations of the MonsterVerse, including a post-credits scene teasing a future face-off between Kong and Godzilla. 3. GODZILLA II: KING OF THE

• Godzilla vs. Kong is out on June 23

The title doubles as a synopsis, but for the record the film opens with Kong contained by Monarch on Skull

Island for his own protection from Godzilla, who wants to revive their ancient rivalry. The titans are all about keeping the world in balance, and since two alphas upset this balance, a fight to the death is inevitable… Part of the MonsterVerse’s success is having filmmakers at the helm who are fanboys at heart, with solid genre credentials, and AdamWingard ( You’re Next ) brings a fresh perspective to the series, most notably injecting more humour and some creative editing to the numerous battles, which echo the shooting style of Guillermo del Toro on Pacific Rim . While the MonsterVerse was originally intended to culminate with Godzilla vs. Kong , Legendary Entertainment CEO Josh Rode recently hinted that further films could be in the pipeline, with AdamWingard tipped to helm another bout.

MONSTERS (2019) The modern Godzilla movie fans had been waiting to see, this direct sequel to the

2014 reboot features the highly anticipated appearance of three of the big lizard’s iconic adversaries. Mothra, Rodan and the three- headed King Ghidorah – given glorious CGI makeovers – join the growing screen

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getting to watch him work, he was so much more comfortable in that technical realm of filmmaking because of his experiences on the two Star Wars films. For me, a lot of times it was just standing back and kind of appreciating something he had developed in his craft that I’d never been exposed to. That was a good aspect of our relationship, that I got to watch him in action, and it made it a little easier for me to approach what I had to do. How did you cope with all the snakes? Fortunately, I’m not really frightened of snakes. But I have discovered since making the film how many people are really deeply frightened of snakes. It has become a huge topic of conversation in my life, “the snakes”. I don’t think I was put off by the idea of being around snakes, but then of course there were 6,000 of them, I think, and it got to be very challenging to be in their company all the time. Often they were all over me – I was How did you find working with Steven Spielberg? It took me some time to adjust to working with someone as different as Steven was. The few films I had done, The Wanderers with Phil Kaufman and Animal House with John Landis, they were collaborative efforts where everyone’s input was very much required and invited. Steven very much knows what he wants, much more so at the time than anyone I had ever worked with. He storyboards his films in great detail and there is a sense of Steven wanting you to enter his picture, and his picture existed in his mind before I was even cast. In the beginning that was very difficult; I wanted it the way I had always worked. Suddenly I was in a film where I had to know where barefoot and once that dress gets ripped off and my legs are bare... There were some pythons that were biters, but I just got to a point where if one was coming in my direction, I just moved away as quickly as I could.

The resourceful Marion Ravenwood was the perfect sidekick for Indiana Jones in his first big screen adventure, Raiders of the Lost Ark . Actress Karen Allen fondly reflects on her time shooting the Steven Spielberg classic. Words Scott Hocking

Casablanca . So, I had a different idea about who she was. I didn’t see her as a movie cliché.

What do you think distinguishes Marion from other adventure movie heroines, and what input did you have into the character? I think she has one of the greatest entrances for a woman on film. To be seated at the opposite end of a table in a mysterious looking mountain bar in Nepal across from a 300lb man trading shots. I think that there’s something kind of glorious about that as an introduction to a character. I think that she has a bold spirit. I had as much input as I could get away with. I wrote a wonderful fictional background for her, about her history with her father and how they ended up in Nepal. I made her active as opposed to passive; I didn’t want her to be a damsel in distress. I didn’t want to pull her out of that bar in Nepal where she was so resourceful and suddenly put her in a big white dress with a big bow on the butt, and suddenly she can’t do anything. I’m not an aficionado of the sort of films [ Raiders ] was created from, those Saturday afternoon matinee serials. I never saw those as a kid, so I don’t have the stereotype of what those characters were in those films. Oddly enough, when I read the script I didn’t see those Saturday afternoon matinees, I saw

There‘s a strong chemistry between Indy and Marion. Did you develop a good working relationship with Harrison Ford? We had a nice relationship. I think we’re very different as actors and I think at the beginning

the camera was all the time and not feel self-conscious, and to find that balance.

• Indiana Jones: The Complete Adventures is out on 4K UHD on June 16

it was hard for me because I was mostly coming out of working in the theatre and was used to being around actors who were very gregarious and enjoyed collaboration. Harrison was coming from a very different place, where he likes to work very much on his own – at the time he didn’t really like even talking about the scenes. I was a little confused, I didn’t really know what to make of that or how to form a conducive working relationship with him in the beginning. But

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and for 20 years, he hasn’t had a sip from that bottle and now he’s in the bar and the shots are lined up and everyone’s drinking. He needs an excuse to drink and then the excuse presents itself and here we go,” he offers as an analogy. The director believes the older- man-turned-hero trope exemplified by Taken is popular simply because it’s relatable. “As much as I love Breaking Bad , I love Better Call Saul more because Saul is not a genius in chemistry. Saul is a guy who constantly makes the wrong decision. “So when you see a guy in his 50s kicking ass, I relate to that more than when I see a guy who’s my age in much better shape, simply because the older man is the underdog. At first the bad guys don’t even take him seriously because he’s just an old dude, until he deconstructs them. Fully.” Odenkirk was in fighting shape: “Bob never asked for a stunt guy. Instead he went to the gym with some of the best trainers in the world including Daniel Bernhardt, who made him into a killing machine. He went to the same gun range as Keanu Reeves. So this is not me doing amazing stuff with the camera, Bob is the real deal.” Bob Odenkirk gets all the great fight scenes in Nobody , but don’t discount his lovely co-star, Connie Nielsen. “Believe me, if we get a sequel, I am definitely getting my revenge,” laughs the Danish star of Wonder Woman and Gladiator . Unlike co-stars Odenkirk, RZA, Christopher Lloyd and Michael Ironside, Nielsen is one of the few actors in the film that doesn’t get to pick up a gun. “I wasn’t on set on the days they did all those scenes, but had I been there, I probably would have looked at the producers and said, ‘Hold on a minute. What’s going on here?’” she says.

Better Call Saul star Bob Odenkirk is breaking bad in the relentless new action-thriller, Nobody . STACK gets the lowdown from director Ilya Naishuller. Words Gill Pringle A terrifying real-life home invasion led actor Bob Odenkirk to ponder how he might have better handled the experience had he been physically prepared. His quest for personal clarity on the traumatic robbery brought him to screenwriter Derek Kolstad and ultimately to Russian of Bob’s since Mr. Show in the ‘90s. “They wanted an action director who could bring something else, because anybody can direct action,” says Naishuller, who flew from his home in Moscow to talk with Odenkirk. “ Nobody is a story about a BETTER CALL MAUL

• Nobody is out on June 16

director Ilya Naishuller, who has transformed the usually mild-mannered middle-aged actor into a badass killer in the action-thriller Nobody . Echoing Liam Neeson’s desperate father in Taken , Odenkirk’s former contract killer Hutch Mansell – aka Nobody – will stop at nothing to protect his family. While Naishuller welcomes the comparison to Taken , he also references John Wick , given that Nobody is executive produced by Wick producer David Leitch, Odenkirk working with many of Keanu Reeves’s action advisors.

guy who’s a James Bond type of character, not the martini playboy guy, but the more recent versions. He’s traveling the world and killing bad guys with explosives and having a grand old time. By the time he hits his late- 30s, he’s ready to start a proper life, a human life – and he has no idea what’s that like. Mentally, that’s got to be very complicated to let go of his past,” explains Naishuller. “Nobody is a guy who is addicted to action

Odenkirk’s own home invasion had a huge impact. “It’s not my story to tell but I think I can say that Bob felt like less of a man because he did not resort to violence. It’s definitely Bob’s baby, which I was allowed to raise,” says Naishuller, who trained with Brit director Roland Joffe and legendary Russian producer/director Timur Bekmambetov before cutting his action chops directing cult film Hardcore Henry in 2015. “Bob told me he thought Hardcore Henry was very funny, which I took as a big compliment since I’ve been a fan

If movie lovers think they’ve already seen enough middle-aged guys kicking ass, Naishuller argues that Nobody will surprise them. “ Nobody has all the elements of the expected action-thriller, all the desserts and ice creams of explosives and gunfire and tough men beating the sh-t out of each other. But the special thing about this is how it presents the steak of the meal. There’s a real character; he’s not just there to kick and fight and shoot because he does that beautifully, but there’s a real conflict and story in him.”

Director Ilya Naishuller (centre) on the set

Photo Credit: Allen Fraser/Universal Pictures

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world has had a taste of real disaster. “I watched the movie with audiences before the pandemic, and they loved it. But I’ve also watched it with audiences since the pandemic and there’s so much more resonance and empathy, this cathartic experience and understanding now because of what’s going on, whereas before you might just feel distanced because it’s such a crazy reality. "But now people are more into the film because they think, ‘Damn, this is not so far away from where we are.’ And yet at the same time it’s still escapism, it’s still a comet hitting the Earth, which is not going to happen, and you can almost come out of there going, ‘Alright, well I am living in a messed up reality right now, but it’s not as messed up as the film I just saw. At least 90 per cent of humanity has not just been completely wiped out.’” Joining us, Baccarin agrees that viewers might now relate more deeply to Greenland ’s themes of survival. “I feel like this has been one of those things that you will remember for the rest of your life, so I think the movie resonates in that sense. The themes very much match what we have all experienced, which is obviously not knowing what’s going on, not having information, the desperation in wanting to make sure that your family is okay. “And then the broader themes of what is important, what do we really care about right now? The film works well with showing every spectrum of how humanity deals with a crisis, from the good to the bad and everything in between,” she says. When STACK asks Butler what special skills he personally possesses in order to be selected to be saved in the event of a real comet heading for Earth, he lets out a huge laugh. powers that be, and they could see my belly wobble, they might let me in. Or I would say, 'Hey, I just happened to make a movie about this very subject, don’t I deserve to get in?' But otherwise no, I’m pretty screwed, if people want to eat more than hard boiled eggs, I’m not getting in.” After offering our commiserations, he shoots back: “Don’t worry, neither are you! Journalists and actors, we are at the bottom of the list!” “You’ve obviously never seen my belly wobble! I do a mean belly wobble and I feel like if I was just given a chance to speak to the

Gerard Butler believes that his new disaster movie, Greenland, will resonate more strongly with viewers following the events of 2020. Words Gill Pringle EARTH HAS FALLEN

• Greenland is out on June 2

W hen talking to

Gerard Butler about his disaster-thriller

Greenland during the height of the pandemic in the US, he has a wry take on whether all his apocalyptic movies have prepared him for COVID-19. “I’ve definitely spent much time on sets contemplating, ‘What if this was a reality?’” says the actor who’s been tasked with saving the world, or at least its leaders, in his successful Fallen franchise; racing to save the planet in sci-fi thriller Geostorm ; and now fighting for survival in the face of an extinction-level threat posed by an approaching comet in Greenland .

secret bunker in Greenland, only to see their good fortune go horribly wrong when they’re separated minutes before take-off. “It’s not about your typical hero punching the comet in the face!” he says. “You’re involved with this family. These are intimate character portraits. The themes are family, renewal, humanity – what life is really about. I found that to be very deep and powerful.” If Greenland was already scheduled for release pre-pandemic, then Butler reckons the film resonates more strongly now that the

“So then suddenly when it’s [the pandemic] here, I’m asking myself, ‘Oh my God, this is actually happening!’ Can I live up to the man I am in those movies?” he laughs. “I love the idea that when you play a hero that maybe you inspire people to be heroes in their own lives. And that could be literally at work or at home or in their marital experience or whatever it is…To try and better themselves or try and take the higher road. Greenland sees Butler and Morena Baccarin playing an estranged couple who, together with their young son, are among the very few to be chosen for air transport to the safety of a top

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which is a really manly thing to do. But yeah, I think we’ve all been in situations where we’ve wondered, can I help? “What’s happened with social media is that people’s first instinct now is to start recording,” he adds. “They have a phone, but they don’t call 911 and then record it. They just start recording, and that’s where I think this has gotten more relevant over the years. People have lost empathy for each other.” Don’t Look Back has some obvious similarities with his Final Destination films, and when asked about using various tropes of the genre, Reddick explains what is unavoidable. “I didn’t do it on purpose but if you have something happen to a group of people, and then something or someone starts coming after them, then it’s going to be compared to Final Destination .” One particularly incredible aspect of Reddick’s career is how he broke into the industry – a story we couldn’t resist asking him about. “When I was 14, I saw the first Nightmare on Elm Street movie and banged out a prequel. And it was bad, because I was 14,” he self- consciously recalls. “But I sent it to Bob Shaye, who ran New Line Cinema, and he sent it back because it was unsolicited. But then I wrote him back and said, ‘Look, sir. I have spent three dollars on your movie, and I think you can take five minutes to read my story. So he actually read it and he got back in touch with me, and after that he and his assistant stayed in touch with

• Don't Look Back is out on June 2

Final Destination creator Jeffrey Reddick chats with STACK about his debut feature as a director, the horror-thriller Don’t Look Back . Words Glenn Cochrane A NEW DESTINATION

A s the creator of the Final Destination franchise, writer-director Jeffrey Reddick proudly lays claim to the fact that we all change lanes when driving behind logging trucks. Speaking with STACK , he jokingly adds that it’s a road safety message he takes pride in. “I look at it like I’ve saved lives, maybe, as opposed to traumatising people,” Reddick laughs. “But that idea came when we were making the second movie and we were trying to think of an opening. I’m from Kentucky, which is hill country, and there’s always log trucks. “Originally the opening was going to be a hotel fire, but the producer said that it needs to be something stronger. So when I was behind a log truck, I pulled off the road and called the producer. I said, ‘What about a log truck and the chain breaks?’ and he said, ‘That’s it!’” Having produced notable horror movies like Tamara , Dead Awake and The Call , Reddick makes his feature directorial debut with Don’t Look Back (aka Good Samaritan ), a unique take on the classic slasher genre that tells the story of a group of strangers who witness a brutal – and ultimately fatal – assault and fail to intervene. Following media backlash and community outrage, the group find themselves being killed off one at a time by an unknown assailant. When asked where his story originated, Reddick recalls a horrific incident from the headlines, as well as an encounter of his own.

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“The seed came from this story about a woman named Kitty Genevieve in New York, who was assaulted in the courtyard of her apartment. It was a horrific assault that lasted for a long time and 23 people watched – that story has always stuck with me. “And I’ve been in situations, like one time a guy was

me from age 14 to 19 – they would send me scripts so I could learn formatting and structure,

and they would send me posters and trinkets from movies. And when I was 19, I ended up interning at New Line Cinema and I just stayed.” Following which, Reddick’s career path was well and truly paved, and he would go on to create of one of the most successful horror franchises of all time. Not bad for a geeky, Freddy-lovin’ teenager from the hills of Kentucky.

screaming and about to smack his girlfriend and I intervened, and he kicked me in the nuts,

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perceptions that are associated with manga and cel-animations, we figured that it would be similar to that of puppetoons. I think this is because there’s a ‘handmade’ feel to it. I would say I was influenced by Aardman [Animations] and LAIKA.” To describe Ghibli’s fans as fervid would be an understatement. Considering that the studio’s tried and true formula has always been traditional cel-animation, breaking away from what fans know and love was undoubtedly a risky endeavour. So, did Gorō feel any pressure in creating something that could potentially be divisive? “More often than not, my feelings of excitement tend to be stronger than the pressure whenever I embark on something new,” he says. “I also have a tendency to forget about thinking of any risks that have been brought up. It was much the same when I directed my first movie. I can also say that on my directing debut I was not given a warm welcome at all. As such, I did not feel any sort of indicative pressure. What I viewed as something that put pressure on me was whether I would be able to create a film in 3DCG that I approved of, and would not be inferior to any previous Studio Ghibli films.” As to what his famous father, Hayao, would have thought about making a 3DCG Ghibli film, Gorō says, “He appears to believe he wouldn’t be good at it.” Almost all of Studio Ghibli’s films have been released with alternative English dubs, often featuring some of Hollywood’s biggest names, such as Anne Hathaway ( Kiki’s Delivery Service ), Michael Keaton ( Porco Rosso ), Liam Neeson ( Ponya ) and Tom Holland ( The Secret World of Arrietty ). And with Richard E. Grant included in Earwig and the Witch ’s dubbed voice cast, Gorō explains his part in that process. “While I did provide some input with regards to casting and nuances in the script when it came to the English version, I generally let others handle it. I think it’s an absolutely fascinating and fun experience to watch a film dubbed in the language of the place it’s being released, regardless of the language.” Not one to rest on his laurels, Gorō has his hands on various other Ghibli-related ventures. “I’m currently working on the construction and displays for the Studio Ghibli Park scheduled for opening next year. I’m also currently involved in the Earwig and the Witch exhibition that will be held soon at the Ghibli Museum. “Finally, what I’m putting most of my focus into is regaining all of the energy I lost during the making of Earwig and the Witch ,” he laughs.

• Earwig and the Witch is out on June 2

Director Gorō Miyazaki discusses Studio Ghibli’s new 3D-CGI animated feature with STACK . Words Glenn Cochrane EAWR I WTCIGH ATN HD E

O ften regarded as the “Disney of the East”, Japan’s Studio Ghibli has become a multi-billion dollar industry unto itself and

also under production at the same time. There was a sense that the two different styles co- existed rather than clashed,” he explains. Gorō had previously directed Ghibli’s television series Ronja and the Robber’s Daughter , where he was first able to dip his toes in CGI, and we

is responsible for creating some of the most powerful and endearing animated films of all time. Founded in 1985 by the legendary

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were curious to know what inspired him to take that medium even further, with Earwig and the Witch encapsulating an almost claymation/stop-motion quality. “After choosing 3DCG as my production medium, I spent a long time thinking about what kind of look to give it,” he muses. “Photo-real drawings can be created using 3DCG, however, that isn’t what we wanted from the technique. In terms of the types of

directors Hayao Miyazaki, Isao Takahata, and producer Toshio Suzuki, the studio’s extensive catalogue of films include the profoundly haunting Grave of the Fireflies , Kiki’s Delivery Service , Howl’s Moving Castle and the Academy Award-winning Spirited Away , amongst many more. For the first time in the studio’s 35-year history, Ghibli’s latest film, Earwig and the Witch – about an orphaned girl who is adopted by a witch and flung into a world of mystery and magic – has been created entirely with 3D computer generated imagery, and its director, Gorō Miyazaki (son of Hayao), tells STACK that there was no apprehension in breaking away from the studio’s trademark animated medium. “While Earwig and the Witch was being made in 3DCG in the studio, the cel-animated HowWill You Live? was

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