Categories
Arts Culture

Actor, director, and producer Matthew Modine appears at the 37th annual Virginia Film Festival

Birdy, November 1, The Paramount Theater

I Hope This Helps!, November 2, Violet Crown 3

From his first film, Baby It’s You, directed by John Sayles, to his recent role as Dr. Martin “Papa” Brenner in Netflix’s “Stranger Things” and a star turn in Christopher Nolan’s Oppenheimer, Matthew Modine’s accomplishments in film, television, and on stage define the range of his talent. In addition to Sayles, the Golden Globe Award-winning actor has also worked with directors Oliver Stone, Stanley Kubrick, Robert Altman, Spike Lee, and Jonathan Demme, to name a few. He’s been directing since the ’90s, and is the co-founder of the production company Cinco Dedos Peliculas. At the Virginia Film Festival, Modine will participate in discussions following the screening of 1984’s Birdy, and the documentary I Hope This Helps!. He answered a few questions for us by email ahead of his appearances.—TK

C-VILLE Weekly: What attracted you to produce the documentary I Hope This Helps!?  

Matthew Modine: My producing partner at Cinco Dedos Peliculas, Adam Rackoff, knows that I am curious about consciousness. What is it? When did we become conscious of our consciousness? When did humans become self-aware of our existence? 

These are impossible questions to answer and a fascinating subject to delve through. I believe human consciousness has slowly evolved over millions of years. By contrast, artificial intelligence is pretty much brand new, and something that is evolving way, way, way too fast. If we get this wrong—if we don’t have guardrails in place—we will not be able to put this horse back in the barn. 

If you have concerns about the consolidation of power, the distribution of news and current events, ‘deepfakes,’ the freedom of movement, you should watch this movement closely.

There’s no way to know what countries the U.S. is continually suspicious of—aren’t  already way ahead of the west in this space. “Artificial General Intelligence” is already happening. For sure. This means AI is now able to improve itself—with no human intervention. That should concern all of us. I don’t think it’s hyperbole to sound the bell of caution. I Hope This Helps! humorously illustrates where we are, and where this AI shop is headed. 

You’ve worked with an impressive list of directors. Who stands out? 

Many of the directors I’ve had the pleasure of working with are still living. So I wouldn’t want to pick favorites. Suffice it to say, I’ve learned something useful from each of them.

What role has had the most personal effect on you?

Maybe Louden Swain, from Vision Quest. It’s a coming-of-age story about a high-school wrestler. I learned from the experience how important it is to maintain focus and that whatever it is we hope to accomplish demands effort and self-determination. Some folks are gifted with natural genius and athletic abilities. But even those who are blessed have to put in the effort to master a craft. 

How did you prepare to play Dr. Martin Brenner in “Stranger Things”?

First off, I do not enjoy playing “bad” guys. I get no pleasure from it. The Duffer Brothers, Ross and Matt, wrote terrific scripts and gave me space to create a person that is a conundrum. Someone the audience would be confused by. His look, clothing, hair, speech pattern, that was good fun to pull together with the show’s creative team. 

In 1985, New York magazine noted that you and Matthew Broderick were fine actors, but not part of the Brat Pack. Did the Brat Pack label have any effect on your roles or social engagements at the time?

Matthew and I, simply by living in NYC, would have been 3,000 miles away from that silliness. Matthew is a very talented and disciplined theater actor. If he was going out in those days, I’d bet it was with legends from the theater world. I was busy going from film project to film project, two years in England with Stanley Kubrick, during the height of the Brat Pack era. There wasn’t any time in our lives for being in a club. 

You are known for your work as an environmental activist. What is your current focus?

Being an environmentalist isn’t a hobby. It’s a demanding commitment to protecting the entirety of nature. The world is like a spider’s web and what we do to a single thread has an impact upon the entire web. 

An oil tanker sinking doesn’t just affect the place it sunk and spilled its millions of gallons. The repercussions are far-reaching. The nuclear disaster at Fukushima is an example of how a nuclear explosion in a considerably small location can affect the entire Pacific Ocean and all the creatures within it. 

So my focus is global. We have searched the universe looking for “Goldilocks” planets—places that resemble our home—and so far found none. This should magnify our responsibility to protecting all life on the earth and the soil, air, and water, and demanding peaceful resolution through diplomacy to or momentary differences. 

What was your reaction when you discovered that the Trump campaign used clips of you from the movie Full Metal Jacket in an online post?

I think my statement on the subject covers how I felt. 

[In his statement published in Entertainment Weekly, Modine said, “… Trump has twisted and profoundly distorted Kubrick’s powerful anti-war film into a perverse, homophobic, and manipulative tool of propaganda.”] 

With such an accomplished career, what would you change? 

We cannot change the past. So it’s a total waste of time to live in regret. I’m here. I’m here now. Believe it or not, 99 percent of life is trying to accomplish something so that we are appreciated, maybe even loved, for what we happily give to others. That means for me, joyfully and gleefully doing for others.

Categories
Arts

Movie review: Badassery undermines Sicario: Day of the Soldado

The U.S. government’s current definition of terrorism, according to Sicario: Day of the Soldado’s Secretary of Defense James Riley (Matthew Modine), is the use of violence to achieve political ends. Riley says this to mercenary Matt Graver (Josh Brolin), who has just come back from Somalia where he killed a man’s brother as an interrogation tactic, and is being hired to start a war between rival drug cartels using whatever means he deems necessary.

An intelligent movie with something to say —like this film’s predecessor, Sicario—may have seized this as an opportunity to explore the state of mind where societies employ the same tactics as those they claim to oppose, or the moral gray area of deciding whether to one-up a so-called terrorist at his own game.

Day of the Soldado essentially throws away all of the strengths of Sicario and ramps up the weaknesses, turning the high-minded tightrope act between getting results at any cost, and fighting evil the right way, into gawking admiration of how badass these possible war criminals are.

Sicario: Day of the Soldado
R, 122 minutes
Alamo Drafthouse Cinema, Violet Crown Cinema

The film begins with a pair of suicide bomb attacks, one during a border crossing and the other in a Kansas City supermarket. This connects back to Mexican drug cartels, which have moved into human trafficking, forming alliances that lead the American government to classify them as terrorists. They recruit Graver and Alejandro Gillick (Benicio del Toro) to start a war between the cartels, making it look like one kidnapped the daughter of another, but an encounter with Mexican federal police (corrupt, or just not amenable to foreign troops killing people on their soil?) blows their cover. Gillick takes responsibility for escorting Isabel Reyes (Isabela Moner), the daughter of a cartel kingpin, to safety while Graver goes home to face the political fallout.

Ambivalence regarding the moral implications of crimes committed by a film’s hero can make for an exciting experience because everything about it becomes a source of tension, including the unpredictability of the outcome and whether success for the main characters is the most desirable resolution. Sicario had the benefit of Emily Blunt’s character—underwritten though impeccably acted—as a third party witness to the questionable mission. Its sequel is interested in none of these questions, but content to admire the badassery of men who are okay with torture.

Director Stefano Sollima brings none of the visual flair or use of space that Denis Villeneuve and Roger Deakins used to elevate the straightforward story of Sicario into a morality play. Instead, Sollima is content to make Day of the Soldado look and feel like a run-of-the-mill genre flick with no appreciation for the sensitivity of the subject matter or the complexity of the characters. Taylor Sheridan, a writer who has deftly handled complicated sociopolitical topics before (Wind River) also sacrifices atmosphere for a convoluted plot that takes a lot of time to go nowhere in particular. The performances, as before, are terrific, though both Graver and Gillick seem to be completely different people, raising the question of why a sequel was even necessary if the filmmakers aren’t going to maintain the best part of the first installment.


Playing this week

Alamo Drafthouse Cinema
377 Merchant Walk Sq., 326-5056

Ant-man and The Wasp, Incredibles 2, Jurassic World: Fallen Kingdom, Ocean’s 8, Uncle Drew, Won’t You Be My Neighbor?

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213

Ant-man and The Wasp, The First Purge

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000

Hearts Beat Loud, Hereditary, Incredibles 2, Jurassic World: Fallen Kingdom, Mountain, Ocean’s 8, RBG, TAG, Uncle Drew, Won’t You Be My Neighbor?