Search
Search results
Movie Metropolis (309 KP) rated Joker (2019) in Movies
Oct 14, 2019
I’ve never left the cinema more unnerved than I did after watching Todd Phillips’ first foray in the superhero genre. Joker is a frequently violent, often grotesque and regularly intense portrayal of the iconic character that’s already receiving praise and backlash in equal measure from those in the critic community.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Bob Mann (459 KP) rated Joker (2019) in Movies
Nov 10, 2019
Joachim Phoenix - Oscar winning performance? (1 more)
Look and feel of the film - technically brilliant
A loser's tale.
“Joker” has managed to stir up a whirlwind of controversy, centring partly around the level of violence included but also on the use of “that song” on the soundtrack. But putting aside that flurry of commentary, what of the film itself?
Man, this is a dark film! It’s as much of an anti-superhero film as this year’s “Brightburn“. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movie’s plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! “Is it me, or is it getting crazier out there?” Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes “Everybody just yells and screams at each other. Nobody’s civil anymore. Nobody thinks what it’s like to be the other guy. You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves? They don’t. They think that we’ll just sit there and take it, like good little boys! That we won’t werewolf and go wild!” Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing “Judy” I wouldn’t be the least surprised if I’d just seen the Best Actress award bagged (by Renée Zellweger). Now, with “Joker”, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for “Gladiator”, “Walk the Line” and “The Master”) he’s never won. Here Phoenix’s physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a ‘T’ on multiple occasions.
I loved “You Were Never Really Here“, primarily due to Phoenix’s pitch-perfect performance. And “Joker” reminded me very much of Lynne Ramsey‘s film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleck’s yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. There’s even comment by Fleck towards the end of the film that sometimes he thinks he’s ‘not really there at all’! (A deliberate ‘in’ joke in reference to that film?)
After some pretty piss-poor “pension grabs” in recent years, culminating in the appalling career- nadir of “Dirty Grandpa” in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. It’s very much a supporting role, but delivered with great aplomb.
Also great again is “Deadpool 2“‘s Zazie Beetz (a great trivia answer for an actor with three ‘z’s’ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the film’s story and to the movie’s certificate. For those expecting a light and fluffy “Avengers” style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. … I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15’s I’ve seen: a DIY-store drill scene in “The Equalizer” comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in “Once Upon a Time… in Hollywood“, such that Quentin Tarantino might have just cause to appeal his ‘UK18’ certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed – given this is in the known context an origin story for a psychopathic killer – is appropriate. I personally found the Heath Ledger‘s Joker’s “pencil trick” scene in “The Dark Knight” more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of “Rock and Roll Part 2” on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a “traditional” chant song at US football matches (as “The Hey Song”). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a ‘world view’ on this.
Where “Hangover” director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. It’s misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorsese‘s “Taxi Driver”. And I was also reminded of 1993’s Joel Schumacher flick “Falling Down” where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of life’s trials. But if you want to criticise a film for “not being 100% original” then let’s start at the top of the 2019 IMDB listings and keep going! I’ve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didn’t personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70’s tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the “number of Oscar nominations” list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the trigger…. it’s a no-brainer.
Man, this is a dark film! It’s as much of an anti-superhero film as this year’s “Brightburn“. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movie’s plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! “Is it me, or is it getting crazier out there?” Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes “Everybody just yells and screams at each other. Nobody’s civil anymore. Nobody thinks what it’s like to be the other guy. You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves? They don’t. They think that we’ll just sit there and take it, like good little boys! That we won’t werewolf and go wild!” Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing “Judy” I wouldn’t be the least surprised if I’d just seen the Best Actress award bagged (by Renée Zellweger). Now, with “Joker”, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for “Gladiator”, “Walk the Line” and “The Master”) he’s never won. Here Phoenix’s physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a ‘T’ on multiple occasions.
I loved “You Were Never Really Here“, primarily due to Phoenix’s pitch-perfect performance. And “Joker” reminded me very much of Lynne Ramsey‘s film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleck’s yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. There’s even comment by Fleck towards the end of the film that sometimes he thinks he’s ‘not really there at all’! (A deliberate ‘in’ joke in reference to that film?)
After some pretty piss-poor “pension grabs” in recent years, culminating in the appalling career- nadir of “Dirty Grandpa” in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. It’s very much a supporting role, but delivered with great aplomb.
Also great again is “Deadpool 2“‘s Zazie Beetz (a great trivia answer for an actor with three ‘z’s’ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the film’s story and to the movie’s certificate. For those expecting a light and fluffy “Avengers” style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. … I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15’s I’ve seen: a DIY-store drill scene in “The Equalizer” comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in “Once Upon a Time… in Hollywood“, such that Quentin Tarantino might have just cause to appeal his ‘UK18’ certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed – given this is in the known context an origin story for a psychopathic killer – is appropriate. I personally found the Heath Ledger‘s Joker’s “pencil trick” scene in “The Dark Knight” more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of “Rock and Roll Part 2” on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a “traditional” chant song at US football matches (as “The Hey Song”). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a ‘world view’ on this.
Where “Hangover” director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. It’s misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorsese‘s “Taxi Driver”. And I was also reminded of 1993’s Joel Schumacher flick “Falling Down” where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of life’s trials. But if you want to criticise a film for “not being 100% original” then let’s start at the top of the 2019 IMDB listings and keep going! I’ve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didn’t personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70’s tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the “number of Oscar nominations” list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the trigger…. it’s a no-brainer.
Bob Mann (459 KP) rated Blade Runner 2049 (2017) in Movies
Sep 29, 2021
A stunning visual triumph.
I was a sufficient nerd to buy a “Back to the Future” T-shirt to celebrate “future day” from “Back to the Future 2” two-years ago, and I will probably be a sufficient nerd to buy a “Blade Runner” T-shirt in two-years time to celebrate the setting-date for the original film. One thing’s for sure… 2049 is never going to be long enough away to see the world of the new Blade Runner movie come to fruition: so I look forward to ironically buying that T-shirt too (assuming I make it to 88!). But I digress.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.