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 Counselor: when a lawyer invests in a drug smuggling operation that goes south, the world around him collapses. This movie essentially comprises of a heap of dragged-out scenes where fine actors deliver lines that probably looked great in a script, but end up coming over as quasi-biblical, pears of faux wisdom “that would sound totally rad in the trailer, man.” Some of the conversations were so vague and non-directional that they felt intentionally cryptic for no reason. The other distracting aspect was the ridiculously over-luxurious, decadent and excessive lifestyle of every protagonist; lavish clothes, jewels, cars, props, and even animals – it feels more like you’re flipping through a high-end fashion magazine. The casting here is crazy-good, and the quality of actors is world-class, there’s even some great flashes of acting – but it’s all crushed under the weight of great expectations. The most fun you can get out of this is playing the “OMG it’s that guy” cameo-spotting game, with the likes of Toby Kebbell, Dean “Hank” Norris, Donna Air, Rosie Perez, Bruno Ganz. And seriously, does Cormac McCarty just sit at home thinking of new ways to kill people all day? In a nutshell, The Counselor is too arthouse-y for it’s own good – and the distracting stars, lifestyles, plot, and “that would be cool in a film” conversations make it all feel like a surreal advert – aimed more at getting punters in the screen, than delivering a decent film. You can’t help but feel disappointed that a cast/director/writer this good have produced something so ordinary and forgettable – when compared to a lesser cast and (arguably lesser) director doing balls-to-the-wall a film like Savages. The Counselor is a ridiculously convoluted (although NOT as hard to follow as people have made out) that lets us know immoral actions may have grave consequences – ahhh duh duh duh duh!