I’m the Best One in Blade Runner 2049

“I’m the best one,” a coolly sinister replicant (Sylvia Hoeks) declares amidst haunting imagery of walking backwards into dark, surging water in Blade Runner 2049‘s chilling climax.

If one is to believe the declaration of a doctor (Carla Juri) who specializes in fabricating human memories for implantation into replicants earlier in the film… that there’s a little bit of the artist in each one…then one might draw the conclusion that replicant mentioned above is speaking for none other than director Denis Villeneuve.  He’s operating on a well-known (and much copied) property in this “30 years later” update of Ridley Scott’s classic neo-noir sci-fi…but he’s very much put his own stamp on it.  There’s also a bit of “killing your darlings” in his daring showmanship, symbolically murdering his forefather Scott along with his oft-compared contemporaries David Fincher and Christopher Nolan.  Yes, Denis…you are the best one.

But there’s more subtext (and context) than just “the mark of the artist” in Blade Runner 2049…there’s also philosophical pondering on artificial intelligence, slavery, and what it means to be human.  Meanwhile, on the surface, the film tick-tock’s through the motions of your traditional noir detective story. Continue reading

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The Force Awakens But I Think I’ll Go Back to Sleep

The First Order

May the force be with you.

And also with you.

We lift up our wallets.

We lift them up to you…our lord…Lucas…Disney…Snoke (wait, seriously, Supreme Leader….Snoke?)

I originally planned to write about how for so many Star Wars has become a religion, but, if this new Disney backed sequel, The Force Awakens, accomplishes anything, it’s that it successfully (and thankfully) wipes away the cartoonish reverent silliness of the prequel trilogy and returns the series to the rollicking space opera action of the originals.

Thirty years after The Return of the Jedi, Resistance leader Leia (Carrie Fisher, looking more and more like her mother with each passing year) has dispatched her star fighter pilot Poe (a game Oscar Isaac) to the Tatooine-esque Planet Jakku (not to be confused with Planet Jacko, where the King of Pop’s hologram rules supreme) to retrieve a map that will allegedly lead them to Luke Skywalker, who after the rise of the Dark Side supported First Order went into hidden exile.  There Poe and his charismatic soccer-ball droid BB-8 (an instant new fan favorite) receive unlikely aid from a Storm Trooper with a sudden change of heart he calls Finn (John Boyega, in what should be a star-making turn) and a scrappy scavenger who just might have a bit of The Force in her named Rey (played with moxie by Daisy Ridley, who comes across as a more likable version of Keira Knightley). Continue reading

Home is Where the Heart is in 42

42

The true significance of the number 42 has nothing to do with The Shining or The Hitchhiker’s Guide to the Galaxy.  Everyone knows the story of Jackie Robinson, right?

Well, maybe not.  And maybe as a long-time baseball fan (not just of the game, but of the history and of its impact on American society) I took that for granted.  As the first African-American to play in the major leagues, Jackie Robinson put a dent in segregation in 1947 (and wore the number 42) long before Jim Crow laws were dismantled and the Civil Rights movement caught on years later.  Thanks to Brian Helgeland’s handsomely mounted and wholesome-as-Ma’s-meatloaf biopic, 42, younger generations will now have an entertaining and educational film to watch in history classes for decades to come.

Robinson is played with heart and panache by newcomer Chadwick Boseman while Nicole Beharie makes a nice splash as his devoted and strong-willed wife, Rachel.  Their love story forms the backstop of the story while Harrison Ford relishes in a playful scenery chewing turn as the moral trailblazing GM of the Brooklyn Dodgers, Branch Rickey. Continue reading

A Review of “Indiana Jones and the Kingdom of the Crystal Skull”

CAPTION:  Cate Blanchett tells Harrison Ford, “YOU MUST RELIVE YOUR CHILDHOOD.”

Where Were the Dinosaurs?, 25 May 2008
6/10
Author: David H. Schleicher from New Jersey, USA

Nineteen years after the alleged Last Crusade, producer George Lucas, director Steven Spielberg, and over-the-hill star Harrison Ford reunite for a fourth Indiana Jones film with The Kingdom of the Crystal Skull.  Only in our overly ironic post-modern world could a film like this exist where Spielberg attempts to recapture those magic movie moments he created back in 1981 with the original Raiders of the Lost Ark, which was an attempt to re-imagine the classic action-packed serial adventures from the 1930’s and 1940’s. But can those magic moments ever truly be recreated?  Though it stumbles through nostalgia tinted frames, Indiana Jones and the Kindgom of the Crystal Skull is by no means the disaster that was Lucas’ Star Wars prequels or the mind-numbing exercise that was last year’s Transformers.  Those were four dour commercial films coldly designed to evoke feelings of a lost childhood era that were saved only by amazing visual effects. Surely we hope to say more about this film.

Indy deserves to be cut a certain level of slack. Many of the complaints swirling around this long-awaited flick (i.e. the screwball dialog, the cornball stunts, and the cheesy effects) were present from the very beginning of the franchise. And lest we forget, a large portion of people were initially appalled by the heart-ripping Temple of Doom and mildly disappointed with the creaky Last Crusade.  Even the holy grail that is Raiders of the Lost Ark ended with a lame special effects sequence (and one hell of a face melting). Those who love big set driven stunt action complete with one-liners and death defying tumbles will eat this stuff up just like they did the first three films. My major complaints with this fourth film are the cinematography from Janusz Kaminski, who hyper-lights everything to the point of images being washed out or made smeary, and the lazily lame screenplay from David Koepp, which borrows far too liberally from X-Files era rejected story lines.

The cast is hit or miss with Ford about as effective as you would expect at his age, Cate Blanchett acting the crap out of her villain role (and what great fun she has with that Ukrainian accent), Shia LaBeouf (he’s no River Phoenix) barely tolerable as a motor-head punk kid, and Karen Allen all fun and smiles, most likely from finally securing a big payday after all these years. The update to the 1950’s didn’t quite work for me as no amount of Cold War hullabaloo and Chariots of the Gods style mumbo-jumbo could replace the inherent kick-ass spookiness of Nazis hunting for religious relics. Storywise, Spielberg manages to fit in all of his recurrent child-like obsessions with divorce and aliens, and he playfully recycles his greatest hits not only from the first three films but also from other flicks he’s crafted over the years. When the adventure moved to the Amazon rainforest, I half expected a T-Rex to come traipsing through the jungle for a spell.

The beginning of this installment is a tepid mess, but once Karen Allen shows up about an hour into the film to reprise her role as Marion Ravenwood, the film picks up tremendous steam. For about thirty minutes or so, The Kingdom of the Crystal Skull is a rollicking, old-fashioned white-knuckle adventure complete with car chases through a jungle and along the edges of a cliff, sword fights, waterfall drops, and giant killer ants. The kid in me couldn’t wipe the smile off my face when once character’s face is eaten by the little buggers. It was for these thirty minutes that I completely forgot about Raiders of the Lost Ark, whose scenes replayed in my mind for the remainder of this film’s run-time. Were those magic movie moments recaptured? No, but they were temporarily forgotten and clumsily intertwined with some mildly entertaining new ones. I guess that’s about the best we could’ve hoped for. Just think, this could’ve starred Tom Selleck or been directed by Michael Bay.

Originally Published on the Internet Movie Database:

http://www.imdb.com/title/tt0367882/usercomments-815