#angus macfayden

[spockvarietyhour]

There is a vague similarity between the two roberts

[twostarsinonesphere]

i currently have two complaints about outlaw king:

1. the first scene was shit. the camera was all over the place and there was way too much damn exposition. i kinda wanted to turn it off (but i’m glad i didn’t).

2. angus macfayden is nowhere to be seen. i mean he doesn’t have to play robert the bruce again, but still? no cameo? no side character? nothing??????? you feed me braveheart vibes but you don’t give me the og robert. shame on you

other than that, it’s an enjoyable experience

[spockvarietyhour]

- Listen, I'll not take your son. There'll be no wars, and I'll not fight again. - Aye, you will.

10 Caps from Robert the Bruce (2019)

[thecomicon]

Jordan Arrives At The Fortress Of Solitude In A Preview Of Upcoming 'Superman & Lois' Episodes

Jordan Arrives At The Fortress Of Solitude In A Preview Of Upcoming ‘Superman & Lois’ Episodes

As it is just beginning, Superman & Lois still needs to tease upcoming events before getting into episode-specific promos. Nevertheless, we imagine the key scene in the following look at the season to come is Jordan’s (Alex Garfin) first visit to the Fortress of Solitude and what we imagine will be an unexpected conversation with Jor-El’s (Angus Macfadyen) digital ghost. Other scenes suggest…

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[movie-titlecards]

Hirokin (2012)

My rating: 4/10

There seems to have been a reasonably competent production team involved in the making of this movie, which is more than can be said for a lot of these, but it's still extremely generic science fantasy product: Almost entirely assembled from tired, worn out tropes and with barely a shred of originality. Possibly the most entertaining bit is when the Wise Mentor Guy (a man around 40, because I guess the director didn't have any friends who really fit the description of "wise old man" who'd agree to be in this thing) parps disharmoniously into a clarinet for a bit before spouting chosen one clichés at the protagonist. It's still bad, but almost silly enough to be entertaining.

[cultfaction]

3022 official trailer released In 3022, a group of astronauts living in the haunting emptiness of deep space awake to find earth has suffered an extinction level event...

[johnnymundano]

She Rises (2016)

Directed by Larry Wade Carrell

Written by Angus Macfayden

From a story by Angus Macfayden and Lony Ruhmann

Music by Randy Chance

Country: United States

Language: English

Running Time: 87 minutes

CAST

Angus Macfayden as Conor

Jennifer Blanc-Biehn as Kat

Daisy McCrackin as Rosebud

Michael Biehn as Daddy Longlegs

She Rises is simultaneously a heroically low budgeted horror movie and an audio visual Angus Macfayden ego fellator. I hazard that this makes She Rises unique, it certainly makes it entertaining, but, caveat emptor, not the kind of entertaining everyone enjoys.

While driving to the next day’s shooting location Conor (Angus Macfayden), a self-obsessed actor, and Kat (Jennifer Blanc-Biehn), a cynical director, become lost and stop at the remote cabin of frail ginger waif Rosebud for directions. Tired, and sensing the opportunity for some corruptive fun with the apparent innocent, the narcissistic moviemakers decided to stay the night and get (dun-dun-DUN!) more than they bargained for. And so does any viewer unprepared for the enormous amount of smart arse buggering about She Rises indulges in. But, fret not, gentle viewer, She Rises does want you to be in on the fun. There’s an extended opening sequence in the car where Conor bloviates mercilessly as Kat drives distractedly on. This scene goes on for ages, but it goes on for ages so that you’ll pick up for yourself on the fact that Conor is quoting; that he is, in fact, acting. Yes, She Rises opens with an actor acting as an actor acting as yet another actor. And that’s the start; the concept of Uroboros is more deeply ingrained in She Rises than crap in corduroy.

She Rises is light on certainties but one of those certainties is surely that its Angus MacFayden’s show. Only a churl would begrudge him, as he is a sensationally entertaining screen presence throughout this wonky nonsense. His Conor is such an empty character that he is mostly acting, and acting as someone else acting at that. A lot of the fun for the audience, and one imagines for Angus Macfayden also, is having Angus Macfayden redo scenes from great cinema and literature. These keep the somewhat spindly script pootling along, lending weight to the surface horror trappings and throwing up some nice surprises along the disjointed way. The nature of surprises being what they are I shan’t spoil them. Except to say (he said, spoiling one of them) that the gender swapped The Shining (1980) riff was pretty outstandingly funny, with Macfayden uncharacteristically tremulous and quailing as Shelley Duvall and a butchly aggro Jennifer Blanc-Biehn giving it The Nicholson.

Obviously, all proper actors aspire to Shakespeare and so She Rises is playfully splattered with his iambic pentameter. No surprises then that Macfayden’s Shakespeare is all kinds of great, but seeing Michael Biehn get to grips with the bard is pretty surprising. True, Biehn can’t match Macfayden’s stagetastic delivery, but then Biehn is somewhat at a disadvantage; declaiming Shakespeare while sporting a faceful of latex wrinkles, with his bare arse in the air as he shakes his spear inside his off-screen wife. You don’t get that at Stratford on Avon, pal. Biehn is definitely a surprise in She Rises, scarcely there but still pivotal. More present and even more pivotal is Daisy McCrackin, who is enthusiastically shrill, never stinting on her commitment, and if her lurch from shallow naïf to malefic demonic manipulator doesn’t convince that might be down to the script, which gets as lost amongst the chunks of other people’s words as Conor and Kat do in the movie itself.

Larry Wade Carrell’s direction is underwhelming but probably deserves extra kudos for avoiding Macfayden actually physically ingesting the camera. As befits the Bad Things Happening in a Small Place premise Carrell does definitely bring a sense of claustrophobia, going mostly very close up and rarely wider in scope than the size of a room. Which pays off with the second ending which is like parting a curtain so sunshine can flood a darkened room. That second ending is the Artistic Ending. The first Ending is the Traditional Horror Movie Ending. Two endings are okay for the minnows but She Rises dares to chuck in a third ending, The Uroboros Rising Ending. Each ending overwrites the previous one. Like most post-modern, meta textual, goofing about (and flakey singletons everywhere) She Rises can’t commit at the end, trying to overcome that mundane and oh, so tiresomely bourgeois need for a conclusion.  She Rises wants to have its cake and eat it. Which is impossible. Largely because Angus Macfayden has smeared it all over his face like an edible leatherface and is making chainsaw noises with his lips. But then, he is an actor, darling. So let the damned man act! And…ACTION!

[paraphrasedkulchar]

Today's BITS movie is Alive, a campy treat where Angus MacFayden is a twisted caregiver to two injured adults. Catch it on Friday night at the Royal. And read about it at the link below!

http://intheseats.ca/bits-2018-our-review-of-alive/