Last night I decided to enjoy a special double feature: Blade Runner (1982), the Ridley Scott classic (final cut), followed by Blade Runner 2049 (2017), the Denis Villeneuve sequel. I’ve seen the original many times, although not in years, so it was great to see it once again. For a 40-year-old science fiction movie, it’s stood the test of time well and is rightfully considered a modern classic.
The Villeneuve sequel, I think, will never be more than a forgotten footnote. It comes out the gate suffering from being an attempt to ride the coattails of an original work by another (better) artist. Stir in Villeneuve’s self-indulgent excessively languid pacing and tendency to put image over substance, and the result is (at least to me) unmemorable.
I started fast-forwarding scenes and ultimately turned it off 45 minutes from the end. I only lasted that long because I wanted to see the part with Harrison Ford.
I learned a very long time ago that, when it comes to movies, it’s the little ones from the filmmaker’s heart I find most interesting and worthwhile. This seems ever truer in an era of endless, empty sequels and mind-numbing blockbusters with no more depth than an amusement park ride. Nothing wrong with amusement park rides, they can be fun, but they’re rarely memorable, let alone creative.
Sorry to Bother You (2018), written and directed by Boots Riley, is exactly the sort of thing I mean when I say my main ask of a story is to take me someplace new.
A bonus for me is that it stars LaKeith Stanfield, whose work I’ve found so delightful in the surreal (and outstanding) TV series Atlanta (which also nails the “take me someplace new” thing).
Back in 2020, I posted about my surprise rediscovery of Agatha Christie. The initial discovery is lost in memory, a hand-me-down from my dad. I favored heroic action figures back then, Superman, Sherlock Holmes, Clint Eastwood. I enjoyed Christie’s Hercule Poirot but filed the rest of her work under ‘dowdy British library murder mystery’ and ignored it.
A mistake. My surprise discovery of 2020 was that Agatha Christie was a fascinating genius who rightfully earned the title Queen of Mystery.
Last week I watched a recent adaptation of Death on the Nile (1937), one of the more well-known Hercule Poirot novels. I had high hopes, but I can only give it a weak Eh! rating.
Recently I posted about one of my new favorite YouTube channels, The Critical Drinker, which features reviews of movies and TV shows. The Drinker is the alias of thriller novelist (and YouTuber) Will Jordan, and one reason I like his channel so much is that our tastes seem well aligned. (I confess that I also love his extremely blunt presentation style.)
Another reason I enjoy his channel involves how he reviews and highlights unregarded movie gems. He and I share an appreciation for some fairly obscure, but very worthwhile, movies many have never heard of (let alone seen).
For Sci-Fi Saturday I thought I’d present some of his SF recommendations.
It’s been a while since the last Wednesday Wow post. It isn’t so much a lack of things that invoked a “Wow!” so much as that they were the wrong polarity of wow — negative rather than positive. (Speaking of which, I’ll be posting soon about Sprint-which-is-now-T-Mobile, Apple, and some other tech companies that have wowed me in quite the wrong direction. Why are tech companies so awful?)
But as I watched some videos by one of my new favorite YouTube channels, The Critical Drinker, I was (in both senses of the word) positively wowed by two of his videos about two outstanding and worthwhile movies.
And in general, he does some of the best movie reviews I know.
This has the potential to be short since it doesn’t feel that I have that much to say, but I did want to record a few thoughts. I have neither rant nor rave — just some heavy disappointment in one case. In the other case, for me, it’s more a sense of, “Well, what did you expect from a time-travel movie? Time travel is utterly absurd and inherently contradictory.”
The post’s title may have clued you in. This post is about Tenet (2020), the most recent Christopher Nolan movie, plus the most recent effort by his brother, Jonathan Nolan (and wife Lisa Joy), Westworld, season three (also 2020). I’m a little late to the party seeing both of these, but I was so disappointed in season two of Westworld, that I didn’t much care about season three (and nothing I heard encouraged me).
Last night (and into this morning) I binged on all that Nolan.
This post is a follow up to the one yesterday about TV shows I’ve been watching recently, but this one is about recent movies. Actually, there’s a dessert dish I snuck in to make it a four-course meal — I haven’t seen Hardcore Henry in a while, but it’s so unique and tasty I had to include it.
I have two entrées today, one an Amazon Prime original modeled after the great (but as it turned out not inimitable) Groundhog Day. The other, which I also saw on Prime, is an interesting and wry murder mystery with a great cast and an interesting twist on the whodunnit murder mystery.
The side dish is a Netflix animated comedy about the robot apocalypse.
Last Saturday, on Netflix, I watched Stowaway (2021) an engaging and compelling hard science fiction film by a new filmmaker, Joe Penna. The story, which has only four characters, is reminiscent of Gravity (2013) or Apollo 13 (1995), not only in how it involves a disaster aboard a small spacecraft, but in how it tries to respect physics as much as possible. (Apollo 13, of course, was a real story which made it a lot easier.)
It is, on both counts, also similar to The Martian (2015), in which it bears a third similarity — a connection to Mars. They differ, however, in that The Martian is about a guy trying to get away from Mars whereas Stowaway is about three people trying to get to Mars.
The disaster for them is the fourth person, the stowaway.
I’ve mentioned quite often in posts, and in comments to posts, is that I’m quite bored by superhero movies. Somehow though I’ve never been moved to post about exactly why in detail. A few recent conversations about it made me realize it might make a good Sunday Sermons post.
The thing is that it does go beyond being just bored. There is a cultural aspect to it that’s gotten under my skin more and more. It has to do with the massive violence and destruction inherent in these movies and with a fundamental aspect of these comic book superhero stories.
They center on fighting, and I’ve never been a fan of it.
Last night I watched a fun little film, Colossal (2016), written and directed by Nacho Vigalondo. Unfortunately it was a financial flop with a box office of only $4.5 million against a $15 million budget. That’s unfortunate, because it makes it harder for such creative efforts to get made.
It stars Anne Hathaway and Jason Sudeikis, both of whom, from a playground in New England, turn out to have the power to manifest and control giant monsters that appear in, and terrorize, Seoul, Korea. (It’s not quite as random as it sounds.)
It’s a very inventive story that delighted me, and I recommend it as more than worth seeing for any fan of interesting movies.