Blade Runner (The Final Cut): A retired replicant hunter (aka a Blade Runner) must return to track down four fugitive android impostors in 2019 Los Angeles. It’s unbelievable to think that this was released in 1982 as everything about it looks and feels like a ‘modern’ movie: it’s still breathtaking, brimming with scenes and imagery that are nothing short of pure spectacle. Almost every shot is striking; and the scale/intricacy of the sets & worldbuilding is unbelievable. Despite all of this, Ridley isn’t above some tremendously naff product placement: Coca Cola billboards, Budweiser signage, Atari holograms, and a final fight illuminated by a humongous neon TDK sign… classy! There’s also a questionable sex scene and dubious mis-use of midget actors – to give the film a little edge and distraction. If imitation truly is the sincerest form of flattery; you know that Blade Runner is a top-drawer sci-fi, as the future-metropolis aesthetics and theme of ‘what makes us human’ are echo through pretty much every subsequent Sci-Fi classic: Ghost in the Shell, The Fifth Element, Minority Report, The Matrix, Dark City, Total Recall, Brazil, Looper, Akira, Ex Machina… the list is endless. Of course, it doesn’t hurt that the starting point for the movie (Philip K. Dick’s “Do Androids Dear of Electric Sheep?” is a SF masterpiece). Overall, Blade Runner is a parodically boilerplate pulp/noir story; yet the world created & proto “cinema du look” style paired with the outstanding source material & sci-fi twists, propel this film into classic territory.
The Grey (AKA Wolf Punch): a suicidal wolf-sniper must lead a group of plane crash survivors back to safety when they ditch near a wolf den in Alaska. The biggest shock to me was Neeson‘s star appeal; it was the busiest screening I’ve seen in a long time – and the poster for this is just a close-up of his coupon. While there’s no other A-list actors, they’ve all been around the block and are a solid bunch of hands. The film has surprisingly artistic sensibilities; in particular the opening character building with voiceover, and overall focus / investment on the group, their dynamics, (& latterly the scenery) – instead of fighting wolves every 20 seconds. The plane crash is overwhelming, there’s couple of solid jumps, the CGI wolves look great, the gore is pretty visual, and overall the continuous threat of attack keeps you guessing. The only real downside is that there’s not a whole lot of wolf-punching to be had, and when it happens the frenetic action cam makes a mess of it all. As for the final scene, I still can’t tell if it is the bravest, dumbest, or most disappointing in memory – definitely a bold move. Neeson gets his token action line ‘let’s sharpen a big stick and ram it up this wolf’s ass’… as well a several emotional runs through the poem below, oh, and Taglet looks identical to Half Life’s Dr Freeman. The Grey isn’t the action-packed wolf-punching cheese-fest that you walk in expecting; instead it’s a tense, character driven well-made survival thriller; this will be a nice surprise to some, but a disappointment to others.
Once more into the fray.
Into the last good fight I’ll ever know.
Live or die on this day.
Live or die on this day.