From the Chicago Reader (November 1, 2007). For all its inventiveness and resourcefulness, I find the recent sequel too long and difficult to follow, but I love the appearances of Harrison Ford/Deckard and his dog. — J.R.
Blade Runner: The Final Cut |****
Directed by Ridley Scott
It took 25 years, but the makers of Blade Runner finally got it right. Preceded by at least six editions, five of them seen by the general public, this “final cut” is the optimal form of Ridley Scott’s 1982 masterpiece. Neither a complex revision nor a simple restoration, it’s a retooling that presents the project as it was originally conceived. Although some of the violence has been intensified and stretched out, new footage isn’t really the point. The focus instead is on redressing technical errors and making other helpful adjustments, giving the film a fully comprehensible narrative. For the first time every detail falls into place.
Along with the equally pessimistic and misanthropic A.I. Artificial Intelligence, Blade Runner sets the standard for movies about androids in the post-Metropolis era. It presents a dark view of humanity where the artificial beings known as replicants (who tragically have a lifespan of just four years) command most of our sympathy.… Read more »
I prefer Sidney Lumet’s previous feature, the neglected Find Me Guilty. But this ambitious and well-directed crime thriller, with an intricate flashback structure redolent of Reservoir Dogs, gives Philip Seymour Hoffman a fascinatingly ambiguous character (a passive-aggressive corporate executive and drug addict) to work with, and he does wonders with the part. Marisa Tomei’s character, on the other hand, the executive’s wife and the lover of his softer loser brother (Ethan Hawke), is strictly standard-issue. This tale of buried family resentments rising to the surface as the brothers plot to rob their parents’ jewelry store is concerned only with the guys, and it’s marred by an uncharacteristically mannered performance by Albert Finney as the father. R, 123 min. (JR)… Read more »
According to the press notes, Jerry Seinfeld finally agreed to make a movievoicing the central character in an animated feature as well as cowriting and producingafter pitching just the title to Dreamworks’ Steven Spielberg over dinner. If part of the premise is that zillions of bees can collectively run a honey factory or land an airplane, another part seems to be that zillions of one-liners can add up to a narrative that works as an ecological parable while equating reality with brand-name recognition. (My sweater’s Ralph Lauren and I have no pants, the bratty hero proudly explains at one point.) The whole thing’s pretty cute and breezy, but don’t expect logic or coherence. Other voices include those of Renee Zellwegger, Matthew Broderick, John Goodman, and Chris Rock. PG, 88 min. (JR)… Read more »
Not to be confused with the mislabeled director’s cut that’s been around for 15 years, this seventh edition of Ridley Scott’s SF masterpiece (1982) is arguably the first to get it all right, finally telling the whole story comprehensibly. This visionary look at Los Angeles in 2019a singular blend of grime and glitter that captures both the horror and the allure of Reagan-era capitalismwas a commercial flop when it first appeared. Loosely adapted from Philip K. Dick’s Do Androids Dream of Electric Sheep?, it follows the hero (Harrison Ford) as he tracks down and kills replicants, or androids. Much of the film’s erotic charge and moral and ideological ambiguity stem from the fact that these characters are very nearly the only ones we care about. (We never know for sure whether Ford is a replicant himself.) With Sean Young, Rutger Hauer, Daryl Hannah, Edward James Olmos, Joe Turkel, and William J. Sanderson. R, 117 min. (JR)… Read more »
Jonathan Demme’s documentary on Carter promoting his controversial book Palestine: Peace Not Apartheid is as much about the American press as it is about the former president. It even helps to show why, among free presses, the U.S. press ranks only 48th in the world, according to the annual study by Reporters Without Borders. The portrait of Carter has been described as hagiography, but it isn’t a stretch to view his quiet integrity as saintly next to the track records of his successors. It’s interesting to see, when he’s interviewed successively for Israeli TV and for Al Jazeera, that he comes across as more sympathetic to the Israelis in the interview with the Arabs. My favorite moment shows Alan Dershowitz overcome by his own virtue once he decides, after checking out another Carter interview clip, not to label him an anti-Semite and a Holocaust denier. PG, 125 min. (JJ)… Read more »
Made between 1979 and 2005, this 96-minute documentary about Christo and Jeanne-Claude’s Gates installation in Manhattan’s Central Park was the sixth time the environmental artists commissioned David and Albert Maysles to document one of their massive urban projects (the best known of which may have been wrapping Paris’s Pont-Neuf). The married couple financed their own construction of 23 miles of framed orange fabric threaded through the park but failed to get the city’s permission to proceed in 1979; Mayor Michael Bloomberg gave them the go-ahead 25 years later, and the project went up for two weeks in February 2005. The arguments for and against it often seem equally arcane. Raised in communist Bulgaria, Christo insisted on pursuing the project to please himself, denying any social aim, yet this engaging account arguably focuses more on New York as a complex social organism than on the artwork. (JR)… Read more »
Eight early Czech shorts: Jan Krizenecky’s Rendezvous at the Mill (1898), Alexander Hackenschmied’s Aimless Walk (1930) and Prague Castle (1932), Svatopluk Innemann’s Prague Shining in the Lights (1928), Martin Fric’s Black-and-White Rhapsody (1936), Elmar Klos’s The Highway Sings (1937), and Jiri Lehovec’s The Magic Eye (1939) and Rhythm (1941). For fans of Maya Deren, it might be worth knowing that Alexander Hammid, her husband and codirector on Meshes of the Afternoon, is the same person as Alexander Hackenschmied, whose own early Czech films are well worth seeing. (JR)… Read more »
Robert Redford plays a CIA officer on the edge of retirement in 1991 who sets out to free a former protege (Brad Pitt) from prison in China, where he’s being detained as a spy. The reasonably entertaining spy-versus-spy shenanigans are partially undercut by the hypocritical pretense that the CIA and its various forms of mischief are somehow being ridiculed. Yet the CIA-caused casualties, mainly non-American, count for next to nothing alongside the noble efforts of a sly American father figure to save his handsome American surrogate son; the rest of the world can go blow itself up for all the filmmakers care. To cover up the shallowness, director Tony Scott gives us a whirlwind of gratuitous camera movement and staccato freeze-frames to furnish us with a semblance of stylishness (as opposed to style). The script by Michael Frost Beckner and David Arata seems to depend mainly on distant memories of Le Carre and Greene; Catherine McCormack costars as the putative love interest, but the real romance, of course, is between the boy leads. 127 min. (JR)… Read more »