Category Archives: Editorials

The Past Month on TV #2

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This month, another ragtag selection of programmes I’m not watching at the same speed as anybody else.

The 88th Academy AwardsThe Oscars
They feel so long ago already, don’t they? But no, the Oscars were just a couple of weeks back. I thought it was a pretty good show this year. Chris Rock ended up belabouring the race point a bit by the end, including a few gags that went very wrong, but his opening monologue was good, as were some of the skits on the way. That there were a few surprise winners also helped keep things ticking along nicely, though (without having seen it) I think Spotlight is already destined to be an obscure answer to “name a film that won Best Picture” within a couple of years.

Person of Interest (Season 4 Episodes 1-3)
Person of InterestI have very mixed feelings about Person of Interest, whose fourth season has only made it to UK TV in the past few weeks (the belated fifth starts in the US in May, they announced yesterday). When it works, it’s a good quality vigilante/procedural action show; but its array of arc plots are as unrewarding as they are never-ending, and are consequently unsatisfying to a fault (literally). However, now that I’m so deep into it, and with cancellation finally confirmed (the foreshortened and delayed fifth season will indeed be its last, as was also finally announced yesterday), I feel like I’m in ’til the bitter end. The makers just bloody better have had the notice to get a proper ending into that now-final episode…

Ripper Street (Series 4 Episodes 5-6)
Ripper StreetWhen Amazon picked up Ripper Street after the success of the third series, it was for a fourth and fifth season totalling 13 episodes. The show’s writers seem to have taken the double recommission to heart and crafted an arc plot to last throughout those two seasons, meaning this first half ends on a big surprise and with all sorts of things left up in the air. And now we have to wait. Still, it’ll be fascinating to see how there are six or seven more episodes left, considering the predicament they’ve put the characters in.

Shetland (Series 3 Episodes 3-6)
ShetlandI think I sounded a little more dismissive of Shetland than I’d intended in last month’s review. The remainder of the season stepped outside the programme’s usual wheelhouse, heading down to Glasgow and into the world of organised crime, which perhaps lost some of the series’ unique spark. However, it chose to tackle some very heavy issues in the last couple of episodes; the kind of thing that has too often been dumped into dramas as a plot twist without exploring the actual ramifications. Kudos to the writers for dealing with it intelligently and sympathetically, then, and to the cast — particularly Alison O’Donnell — for their incredible performances.

The X Files (Season 10 Episodes 3-6)
The X FilesThe quality of this revival has certainly been all over the place. I was wary of episode three, Mulder & Scully Meet the Were-Monster, because comedy always seems at odds with The X Files’ grand conspiracy storylines, but I thought it was hilarious and deserving of its acclaim as the best episode of the season. Home Again felt like solid standard X Files fodder, and Babylon was clearly trying to be zeitgeisty but perhaps wasn’t fully thought-through. As for the much-maligned finale, My Struggle II… well, it was a mess, and over-ambitious, and a stupid idea to end it on a cliffhanger when no one knew how well the revival would go down. Let’s hope Chris Carter is right that there’ll definitely be more.

Also watched…
  • Dickensian Series 1 Episodes 13-20 — please BBC, can we have some more?
  • Elementary Season 4 Episodes 9-13 — you can adapt the wordplay mystery from A Study in Scarlet all you want, it still doesn’t make you actually similar to Sherlock Holmes.
  • The Flash Season 2 Episode 10 / Arrow Season 4 Episode 10 / DC’s Legends of Tomorrow Season 1 Episode 1 — I can’t be the only person who thinks of these like one show that’s on three times a week.
  • Gilmore Girls Season 3 Episode 11-Season 4 Episode 17 — 71 to go.
  • Grantchester Series 2 Episodes 1-2 — remember when I said I was going to watch fewer crime dramas? Because I didn’t, clearly.
  • The People v. OJ Simpson: American Crime Story Season 1 Episode 2 — who thought this was going to be a comedy?

    Things to Catch Up On
    The Night ManagerThis month, I have mostly been missing The Night Manager. The critically-acclaimed ratings hit is, as you likely know, a spy thriller adapted from a John le Carré novel, which not only means it has pedigree, but that its star — Tumblr-beloved Marvel villain Tom Hiddleston — is now being tipped to take over as Bond. I wouldn’t know, I’ve not seen it yet.

    Next month… Daredevil season 2.

    • Daredevil (2003)

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    100 Films’ 100 Favourites #22

    Take the dare

    Country: USA
    Language: English
    Runtime: 103 minutes | 133 minutes (director’s cut)
    BBFC: 15
    MPAA: PG-13 (theatrical cut) | R (director’s cut)

    Original Release: 14th February 2003 (USA, UK & others)
    First Seen: cinema, February 2003

    Stars
    Ben Affleck (Pearl Harbor, Batman v Superman: Dawn of Justice)
    Jennifer Garner (13 Going on 30, The Invention of Lying)
    Michael Clarke Duncan (The Green Mile, Sin City)
    Colin Farrell (Minority Report, Alexander)

    Director
    Mark Steven Johnson (Ghost Rider, When in Rome)

    Screenwriter
    Mark Steven Johnson (Grumpy Old Men, Ghost Rider)

    Based on
    Daredevil, a Marvel Comics superhero created by Stan Lee and Bill Everett.

    The Story
    Blind New York lawyer Matt Murdock defends the innocent by day, and by night uses his special abilities to bring the guilty to justice as costumed vigilante Daredevil. When crime boss Wilson Fisk, aka Kingpin, hires Bullseye to take out a business associate, the assassin frames Daredevil for the crime, which brings him into conflict with the businessman’s combat-trained daughter, Elektra.

    Our Hero
    Blinded as a child, Matt Murdock found his other senses heightened. Following the murder of his father, he trained in the law. Now by day he’s a defender of the innocent, and by night hunts the guilty as superhero Daredevil. Even though the film mixes in his origin story, it doesn’t take a “Year One” approach to his crimefighting, which makes a change of pace even now. (In recent years a lot of the blame for the film’s failure has been laid at Ben Affleck’s door, because it’s popular to bash ’00s-era Affleck. Rotten Tomatoes’ short summary of contemporary reviews tells a different story, stating “Ben Affleck fits the role” as one of the film’s key qualities.)

    Our Villains
    Coming off the back of The Green Mile, Michael Clarke Duncan was the obvious chap to step into the giant shoes of Hell’s Kitchen’s crime lord, Wilson Fisk, aka Kingpin. The real fun comes courtesy of Colin Farrell’s crazy, campy killer, Bullseye, who enlivens the film any time he’s on screen.

    Best Supporting Character
    Jennifer Garner is terribly miscast as Elektra, really, but she makes a fair fist of it nonetheless, and the film doesn’t shy away from the outcome of that storyline.

    Memorable Quote
    “Hey, that light, at the end of the tunnel? Guess what? That’s not heaven… that’s the C train.” — Daredevil

    Memorable Scene
    Matt and Elektra spar in a children’s playground. It’s a scene some people despise, probably because of what it thinks passes for dialogue, but you can’t say it doesn’t stick in the mind.

    Memorable Music
    If you were of the right age and disposition back in the early ’00s, the Daredevil soundtrack was more influential than the film itself. It was partly responsible for launching gothy rock group Evanescence, who you may remember for Bring Me to Life, which was on the film’s soundtrack and was their biggest hit (it was #1 here for four weeks). I think they’re still going, despite numerous changes of line-up, though they release albums once in a blue moon.

    Letting the Side Down
    “All of it!” Oh, hush, you.

    Making of
    Originally greenlit as a relatively low-budget film, at roughly $50 million, during shooting Sam Raimi’s Spider-Man was released and became a huge hit (it was the first film to gross over $100 million in one weekend). Consequently, Fox upped Daredevil’s budget to $80 million, specifically to “enhance the film’s visuals”. I guess that’s where all the Spider-Man-esque CGI tumbling came from, then.

    Previously on…
    Although this is the first full-blown adaptation of Daredevil to actually make it to the screen, he’s turned up in other characters’ series down the years, including both live-acton (1989 TV movie The Trial of the Incredible Hulk, which starred John Rhys-Davies as Kingpin) and animation (episodes of the ’90s Spider-Man and Fantastic Four series).

    Next time…
    Although no sequel was forthcoming, Jennifer Garner starred in spin-off Elektra. Whatever you think of the 2003 Daredevil, Elektra is much, much worse. Numerous attempts at a reboot movie faltered, until the rights reverted to Marvel Studios, who used the property to kick off the Netflix arm of the MCU. As much as I like the movie, the TV series is much better. Season two is released this Friday, so if you’ve not seen any then you’ll soon have 26 episodes to catch up on, you lucky thing you.

    Awards
    1 Razzie (Worst Actor (Ben Affleck, also for Gigli and Paycheck))
    1 Razzie nomination (Worst Actor of the Decade (Ben Affleck, also for everything else he did in the ’00s))
    1 Kids’ Choice Award nomination (Best Female Butt Kicker)
    2 MTV Movie Awards Mexico nominations (including Best Colin Farrell in a Movie (it lost to S.W.A.T.))

    What the Critics Said
    “This is the Unforgiven of superhero films. Conventions are turned on their head, twisted, questioned. […] In almost every superhero film, there’s another conventional scene where the villain has the hero cornered and helpless. Yet the villain never unmasks the hero. That scene drove me nuts in Spider-Man. […] In Daredevil, no one ever hesitates to unmask DD. That’s what I mean by this being a film grounded in reality. People act real, do real things. Even if they are wearing silly costumes.” — “Dr. Michael Hfuhruhurr”, Ain’t It Cool News

    Score: 44%

    What the Public Say
    “Colin Farrell is deliciously hammy and steals every scene he’s in, showing he’s having a total blast (and to be honest, the hamminess suits Bullseye). Michael Clarke Duncan is PERFECT casting for Kingpin, for his size, stature, overall menacing feel. And honestly, I like Ben Affleck in this, too. He makes me believe he’s blind. He makes me believe that he’s a broken, tortured character who tries to put on a brave face in front of his friends.” — Nick Piers

    Verdict

    The runt of the litter when it comes to the (first) modern explosion of superhero movies, Daredevil has, believe it or not, always had its fans. The darker tone than contemporary X-Men or Spider-Man films works in its favour in that respect, though I know not everyone feels that way. Ben Affleck actually does a solid job as the titular hero, while Michael Clarke Duncan was perfectly cast as hulking villain Kingpin. Most enjoyable, though, is Colin Farrell’s finely-judged camp craziness as henchman Bullseye. Okay, the Netflix series has now easily surpassed it, but the Daredevil movie is still a moderately underrated film for its era. (The Director’s Cut is apparently much better, too, though I’ve still not made the time for it.)

    Season two of Marvel’s Daredevil is available on Netflix from Friday.

    #20 will be next… with character actors planning genocide.

    Children of Men (2006)

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    100 Films’ 100 Favourites #19

    The year 2027:
    The last days of the human race.
    No child has been born for 18 years.
    He must protect our only hope.

    Country: USA & UK
    Language: English… and German, Italian, Romanian, Spanish, Arabic, Georgian & Russian, apparently.
    Runtime: 109 minutes
    BBFC: 15
    MPAA: R

    Original Release: 22nd September 2006 (UK)
    First Seen: cinema, October 2006

    Stars
    Clive Owen (Inside Man, Shoot ‘Em Up)
    Julianne Moore (The Hours, Still Alice)
    Michael Caine (The Italian Job, Batman Begins)
    Chiwetel Ejiofor (Serenity, 12 Years a Slave)
    Danny Huston (The Proposition, X-Men Origins: Wolverine)

    Director
    Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban, Gravity)

    Screenwriters
    Alfonso Cuarón (Y Tu Mamá También, Gravity)
    Timothy J. Sexton (Live from Baghdad, The Liberator)
    David Arata (Brokedown Palace, Spy Game)
    Mark Fergus (First Snow, Iron Man)
    Hawk Ostby (First Snow, Cowboys & Aliens)

    Based on
    The Children of Men, a novel by P.D. James.

    The Story
    In the near future, mankind has become infertile, and no child has been born for 18 years. The world has gone to hell, with Britain one of the few countries that still has a functioning government, albeit a controlling, totalitarian one. In this world, government drone Theo is persuaded by his ex-wife, now head of an activist group, to escort a friend out of the country. Turns out that friend is a young woman… who’s pregnant — a situation that interests a lot of dangerous people…

    Our Hero
    Theo, disillusioned former activist, who’s roped back in, initially by kidnap, later with the promise of a hefty payday. Before long it turns out he’s actually a good guy at heart, of course.

    Our Villains
    “The rest of humanity” wouldn’t be a wholly bad answer here, as Theo and co keep bumping up against people violently concerned with their own interests. Within that, there’s the issue of if the activist group’s motives can be trusted…

    Best Supporting Character
    Theo’s friend Jasper, a former political cartoonist turned pot dealer, played by Michael Caine as a John Lennon-inspired old hippy.

    Memorable Quote
    “As the sound of the playgrounds faded, the despair set in. Very odd, what happens in a world without children’s voices.” — Miriam

    Memorable Scene
    Any of the (faked-)single-take action sequences is a worthy pick here. Alternatively, fans of a certain rock group will appreciate the inflatable pig floating over Battersea Power Station.

    Technical Wizardry
    As our heroes escape in a little Fiat, they’re attacked on a country road, the camera moving around the small person-filled vehicle in a single take. They used a special camera rig, along with a car modified to allow the windscreen to tilt out of the camera’s path, and seats that tilted to lower the actors out of the way too. The “single” shot took six takes in four locations, transition effects to seamlessly join shots, and CGI to create the motorbike, windscreen, blood, roof, and more.

    Making of
    The other most memorable single take is near the end, a running street battle during which Clive Owen’s layperson does his best to not get killed. It took 14 days to prepare the shot, with a delay of five hours every time it had to be reset. It was filmed over the course of two days, but only one complete take was actually captured. In the middle of one take, some blood spattered on the camera lens; Cuarón shouted “cut”, but was drowned out by the sound of tank and gunfire. Cinematographer Emmanuel Lubezki persuaded the director to leave it in, and that’s the shot in the final film. Pay attention during the sequence and you can see the liquid and dirt that gets splattered on the lens disappear during one of the ‘seamless’ cuts.

    Awards
    3 Oscar nominations (Adapted Screenplay, Cinematography, Editing)
    2 BAFTAs (Cinematography, Production Design)
    1 BAFTA nomination (Visual Effects)
    1 Saturn Award (Science Fiction Film)
    2 Saturn nominations (Actor (Clive Owen), Director)
    Nominated for the Hugo for Best Dramatic Presentation, Long Form.

    What the Critics Said
    “[Cuarón] increasingly shoots the film’s set pieces in virtuoso long takes — gliding tracking shots that evoke Tarkovsky and handheld work that suggests Kathryn Bigelow. What makes these scenes stunning is not only mind-boggling choreography and timing, with Emmanuel Lubezki’s camera somehow capturing multiple planes of action even while continuously changing position, but also their ability to realistically evoke the frightening chaos and simultaneous madness of war. […] Such overwhelming studio work might be too arty for those who like their genre served sans showiness. But Cuarón is implementing a verisimilitude that both matches the film’s edge-of-your-seat escalations and demonstrates a new understanding of blockbuster realism.” — Michael Joshua Rowin, Stop Smiling

    Score: 92%

    What the Public Say
    “Cuarón uses sequences evocative of Holocaust imagery and detention camps to implicitly communicate a world rife with injustice and pain. In designing the look of the film, Cuarón told his art department that he did not want inventiveness, but reference, so that an audience would be able to adequately recognize a distorted form of their own reality. For the reader and viewer who encounter this uncanny world, it feels all the more real because of its familiar elements.” — Mariel Calloway

    Verdict

    I saw Children of Men on a whim back in 2006. I can’t even remember why — I don’t think I’d seen any trailers or reviews, and it had been open for a good few weeks already. It was a time when I went to see loads at the cinema, though (in those days I paid good money to see Fun with Dick and Jane — does anyone even remember that?), and I think it may’ve been the only thing still on. Anyway, it meant I actually got in a little ahead of the hype that has gradually (and justifiably) grown around the film since, and still loved it. Cuarón mixes intelligent near-future sci-fi with exciting, and excitingly-realised, action sequences to create an action-thriller of a movie that stimulates both the mind and the adrenal glands. A fantastic film in every respect.

    #22 will be next… to give the Devil his due.

    Casino Royale (2006)

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    100 Films’ 100 Favourites #18

    Everyone has a past.
    Every legend has its beginning.

    Country: UK, USA, Czech Republic & Germany
    Language: English
    Runtime: 144 minutes
    BBFC: 12A (cut, 2006) | 15 (uncut, 2012)
    MPAA: PG-13 (cut)

    Original Release: 14th November 2006 (Kuwait)
    UK Release: 16th November 2006
    US Release: 17th November 2006
    First Seen: cinema, 16th November 2006

    Stars
    Daniel Craig (Layer Cake, The Girl with the Dragon Tattoo)
    Eva Green (The Dreamers, Sin City: A Dame to Kill For)
    Mads Mikkelsen (Valhalla Rising, The Hunt)
    Judi Dench (Iris, Philomena)
    Jeffrey Wright (Shaft, The Hunger Games: Catching Fire)

    Director
    Martin Campbell (GoldenEye, Green Lantern)

    Screenwriters
    Paul Haggis (Crash, The Next Three Days)
    Neal Purvis (Die Another Day, Johnny English)
    Robert Wade (Stoned, Skyfall)

    Based on
    Casino Royale, the first James Bond novel by Ian Fleming.

    The Story
    British agent James Bond, newly promoted to exclusive double-oh status, investigates a terrorist plot that leads him to Le Chiffre. Banker to the world’s terrorists, Le Chiffre has managed to lose a lot of his clients’ money, and intends to win it back in a high-stakes poker game at the eponymous establishment. Bond is charged with joining the game and bankrupting the banker, with treasury employee Vesper Lynd along to keep an eye on the money and off Bond’s perfectly-formed arse.

    Our Hero
    “James before he was Bond,” as the awful US tagline went. Daniel Craig instantly disproved the not-that-numerous-but-certainly-vocal critics (remember all the “Bond isn’t blond” rubbish?) by being perhaps the most convincing actually-is-a-highly-trained-agent Bond since Connery.

    Our Villain
    Le Chiffre, a total banker. Fond of poker, bleeds from his eye, brilliantly played by Mads Mikkelsen, who has deservedly gone on to many other things, no doubt some wholly due to this.

    Best Supporting Character
    Eva Green is Vesper Lynd, a woman so remarkable that Bond names his personal Martini recipe after her. He also falls in love with her. Considering the rest of the Bond canon, that’s not likely to end well.

    Memorable Quote
    “I’m afraid your friend Mathis is really… my friend Mathis.” — Le Chiffre

    Memorable Scene
    At dinner on the train to Montenegro, Bond meets Vesper for the first time. They verbally size each other up. She wins. “How was your lamb?” “Skewered. One sympathises.”

    Write the Theme Tune…
    Easily the best Bond theme of the Craig era (though I like the QoS one more than most, and my main objection to Adele’s is that it’s about a flying baby horse and its receptacle for bread waste), You Know My Name was co-written by the series’ regular composer since the mid ’90s, David Arnold. That meant he could integrate the tune into his score, which was a Good Thing.

    Sing the Theme Tune…
    Far removed from Bond’s Bassey-imitating default style, the slightly gravelly sound of Soundgarden’s Chris Cornell (the first male vocalist on a Bond theme for nearly 20 years) helped indicate the series’ harder, manlier new direction.

    Technical Wizardry
    After four films of honing the Maurice Binder “naked silhouettes” style, title designer Daniel Kleinman cuts loose with an array of inventive playing card-based imagery. The most original Bond title sequence since at least Thunderball and, by being so atypical, the most unique of them all.

    Truly Special Effect
    Chasing after a kidnapped Vesper in the middle of the night, Bond suddenly sees her in his headlights, tied up in the middle of the road. He swerves, his Aston Martin crashes, and barrel rolls… seven times. The stunt team set a world record with that, which (despite Fury Road’s best efforts) is still unbeaten a decade later.

    Making of
    James Ferguson, a doctor from Aberdeen, came up with the idea for the scene in which Bond is poisoned and then remotely diagnosed by experts at MI6 HQ in London. Ferguson, a Bond fan, was retained as medical adviser for future Bond films.

    Previously on…
    Casino Royale was adapted for TV in 1954, starring the great Peter Lorre as Le Chiffre, and its title (and little else) was used for the awful 1967 Bond spoof. This version is the 21st in the canonical James Bond film series, and the first time that series has performed a reboot: the film opens with Bond attaining his famed double-oh status, something we’ve never seen before.

    Next time…
    Daniel Craig’s second outing, the somewhat misunderstood and underrated Quantum of Solace, was the first direct sequel in the Bond canon, picking up on various plot threads from Casino Royale and even resolving a few of them. After Craig’s third, Skyfall, went off on its own, last year’s Spectre tried to tie together the entirety of Craig’s era, with mixed success. Beyond that, James Bond will return indefinitely, though Craig may not.

    Awards
    1 BAFTA (Sound)
    8 BAFTA nominations (British Film, Actor (Daniel Craig), Adapted Screenplay, Music, Cinematography, Editing, Production Design, Visual Effects)
    1 Saturn Award (Action/Adventure/Thriller Film)
    4 Saturn nominations (Actor (Daniel Craig), Supporting Actress (Eva Green), Writing, Music)
    2 World Stunt Awards (Best High Work, Best Stunt Coordination and/or 2nd Unit Director)
    1 World Stunt Awards nomination (Best Fight)

    What the Critics Said
    “I never thought I would see a Bond movie where I cared, actually cared, about the people. But I care about Bond, and about Vesper Lynd, even though I know that (here it comes) a Martini Vesper is shaken, not stirred. Vesper Lynd, however, is definitely stirring, as she was in Bertolucci’s wonderful The Dreamers. Sometimes shaken, too. Vesper and James have a shower scene that answers, at last, why nobody in a Bond movie ever seems to have any real emotions.” — Roger Ebert

    Score: 95%

    What the Public Say
    “While there is very much a dramatic and sensitive undercurrent to this Bond film, Casino Royale doesn’t shortchange the audience on action. From Bond chasing a skilled free runner enemy to a brutal staircase battle, Casino Royale delivers a harsher and bleaker sense of violence that had been missing from some of the predecessors and not seen since Timothy Dalton’s dark turn in Licence to Kill.” — vinnieh

    Elsewhere on 100 Films…
    Just before Quantum of Solace was released in 2008, I wrote that Casino Royale was “a damn fine Bond film, returning to Fleming and resetting the character without losing anything truly essential about the franchise. […] this one’s up there with the very best, not just of Bond but of action-spy-thrillers in general.”

    Verdict

    In the early ’00s, it didn’t feel like the Bond series was in need of a reboot. Die Another Day had been a huge hit at the box office and gone down pretty well with critics (no, really, it did), and Brosnan was all set to do a fifth (though, considering his age, likely final) film as Britain’s top secret agent. Then Bourne happened, shifting the playing field of the spy-action genre, at the same time as Bond’s producers finally regained the rights to Fleming’s very first Bond novel. For the first time in the series’ 40-year history, they decided to reboot.

    What Casino Royale does skilfully is acknowledge the changes brought by Bourne, but adapt them to Bond’s slightly more classical style (something Quantum of Solace fumbled). At the same time, it acknowledges and frequently subverts that Bond formula (“Shaken or stirred?” “Do I look like I give a damn.”), the antithesis of DAD’s uber-referentiality. In itself, it took Fleming’s relatively slight novel, with its lack of action by modern blockbuster standards, and expanded and modernised it effectively to fit current tastes. The result is arguably the best Bond movie ever made.

    #19 will be… the last days of the human race.

    Casablanca (1942)

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    100 Films’ 100 Favourites #17

    They had a date with fate in Casablanca.

    Country: USA
    Language: English
    Runtime: 102 minutes
    BBFC: U
    MPAA: PG (1992)

    Original Release: 7th December 1942 (Brazil)
    US Release: 23rd January 1943
    UK Release: December 1942 (BBFC)
    First Seen: DVD, 2006

    Stars
    Humphrey Bogart (The Maltese Falcon, The Big Sleep)
    Ingrid Bergman (Notorious, Autumn Sonata)
    Paul Henreid (Now, Voyager, Deception)
    Claude Rains (The Invisible Man, Notorious)
    Conrad Veidt (The Cabinet of Dr. Caligari, The Thief of Bagdad)

    Director
    Michael Curtiz (The Adventures of Robin Hood, Mildred Pierce)

    Screenwriters
    Julius J. Epstein (Arsenic and Old Lace, Cross of Iron)
    Philip G. Epstein (Arsenic and Old Lace, The Last Time I Saw Paris)
    Howard Koch (The Letter, Letter from an Unknown Woman)

    Based on
    Everybody Comes to Rick’s, an unproduced play by Murray Burnett and Joan Alison. (Despite the film’s popularity, a legal dispute between the playwrights and Warner Bros meant it wasn’t staged until 1991.)

    The Story
    Controlled by the German-subservient French government, Morocco in 1941 is a congregation point for German officials, collaborating French, and refugees attempting to get to neutral America. When letters of transit allowing that passage come into the possession of nightclub owner Rick Blaine at the same time as the love of his life, Ilsa Lund, walks into his joint with her husband, Resistance leader Victor Laszlo, Rick has some tough decisions to make — and quickly, with corrupt police captain Renault hunting for the letters and German Major Strasser gunning for Laszlo…

    Our Hero
    Of all the gin joints in all the towns in all the world, everybody comes to Rick’s. That’s because Rick is Humphrey Bogart. You’d go to a bar run by Humphrey Bogart, wouldn’t you?

    Our Heroine
    The most beautiful woman to ever visit Casablanca (a gross understatement), here’s looking at you, Ingrid Bergman. (Yes, I added this section pretty much just to say that.)

    Our Villains
    It’s set during World War 2 so, I mean, who do you think?

    Best Supporting Character
    Claude Rains was the Invisible Man, but here he’s Captain Louis Renault, a corrupt copper who — despite being fourth-billed in a film packed with memorable dialogue — still gets a good many of the best lines.

    Memorable Quote
    “Of all the gin joints in all the towns in all the world, she walks into mine.” — Rick

    Quote Most Likely To Be Used in Everyday Conversation
    “Louie, I think this is the beginning of a beautiful friendship.” — Rick

    The Most Famous Misquote in Movie History
    “Play it again, Sam.” — Rick
    (Ilsa says “Play it once, Sam,” and “Play it, Sam.” Rick says, “You played it for her, you can play it for me. If she can take it, I can take it, so play it!”)

    Memorable Scene
    As Laszlo boards the plane out of Casablanca, Ilsa thinks she’s staying with Rick… until he convinces her to go. Standing in the doorway of an aircraft hanger, it’s probably the film’s most iconic scene — if you’ve not seen it, you’ve certainly seen it parodied.

    Memorable Song
    You must remember this: a kiss is just a kiss, a sigh is just a sigh. The fundamental things apply, As Time Goes By. Play it again, Sam!

    Making of
    Casey Robinson re-wrote the film’s romantic scenes and was offered a credit, but turned it down because he only took credit for screenplays he wrote entirely himself. Of course, with that decision he missed out on winning an Oscar.

    Awards
    3 Oscars (Picture, Director, Screenplay)
    5 Oscar nominations (Actor (Humphrey Bogart), Supporting Actor (Claude Rains), Black-and-White Cinematography, Editing, Score)

    What the Critics Said
    “bear in mind that it goes heavy on the love theme. Although the title and Humphrey Bogart’s name convey the impression of high adventure rather than romance, there’s plenty of the latter for the femme trade. Adventure is there, too, but it’s more as exciting background to the Bogart-Bergman heart department. Bogart, incidentally, as a tender lover (in addition to being a cold-as-ice nitery operator) is a novel characterization” — Variety

    Score: 97%

    What the Public Say
    “the script’s greatest strength is not quotability. It’s character development. Rick, Ilsa, Renault and Laszlo are complex individuals, about whom we care, no matter their flaws. Sam (Dooley Wilson), an African American pianist, is layered by loyalty to Rick and emotional acuity, while Major Strasser, the antagonist, is not a comic book villain. Because he’s a Nazi, we do not like the Major, but director Michael Curtiz and his writers are smart enough not to make him stereotypically evil, instead opting to develop him as determined and efficient. Because all of the characters are so genuine, the filmmakers earn our emotional investment” — Josh, Cinema Parrot Disco

    Verdict

    Casablanca is remembered now as much for its selection of ever-quotable lines as for anything else — you don’t have to have seen the film to know that if you go walking into all the gin joints in all the towns in all the world and someone’s looking at you, kid, then maybe not today, maybe not tomorrow, but soon you should round up all the usual suspects again, Sam, for the beginning of a beautiful friendship. Or something. It’s much more than that, though: an engaging romantic drama, with enough overtones of noir to keep it snappy, set in perhaps a ’40s equivalent of the Wild West. It may be three-quarters of a century old next year, but it still merits playing again.

    #18 will see… Bond begin.

    The Bourne Supremacy (2004)

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    100 Films’ 100 Favourites #16

    They should have left him alone.

    Country: USA & Germany
    Language: English, Russian, German & Italian
    Runtime: 108 minutes
    BBFC: 12A
    MPAA: PG-13

    Original Release: 23rd July 2004 (USA)
    UK Release: 13th August 2004
    First Seen: cinema, August 2004

    Stars
    Matt Damon (The Talented Mr. Ripley, The Departed)
    Franka Potente (Blow, Romulus, My Father)
    Brian Cox (Manhunter, X2)
    Joan Allen (The Ice Storm, Death Race)
    Karl Urban (The Lord of the Rings: The Two Towers, Dredd)

    Director
    Paul Greengrass (The Bourne Ultimatum, Green Zone)

    Screenwriter
    Tony Gilroy (Proof of Life, The Bourne Legacy)

    Based on
    The character of Jason Bourne, created by Robert Ludlum. Not so much based on The Bourne Supremacy, the novel by Robert Ludlum.

    The Story
    Bourne and Marie are living a quiet life in India, until he’s framed for the murder of two CIA agents and the theft of files they were acquiring. After the actual culprit tries to kill Bourne, he believes the CIA have tracked him down, and makes good on his promise to bring the fight to them…

    Our Hero
    Living a life of seclusion with Marie, but still struggling with resurfacing memories from his time as a CIA operative, Jason Bourne has no intention of going anywhere near his former life… until they come for him, and the gloves are off. Bryan Mills ain’t got nothing on Bourne’s particular set of skills.

    Our Villains
    A whole host of interests are aligned against Bourne this time. From within the CIA, corrupt director Ward Abbott is still trying to cover his ass. A more physical threat comes in the form of Russian operative Kirill, referred to in early drafts of the screenplay as “Mock-Bourne” because he, a) frames our hero, and b) is his equal — well, almost.

    Best Supporting Character
    Pamela Landy brings some complication to the CIA side of the story: she’s out to get Bourne, same as the fellas from the first film, but that’s because she’s been conned too. Will she see the light and side with our hero?

    Memorable Quote
    Nicky: “It’s not a mistake. They don’t make mistakes. They don’t do random. There’s always an objective. Always a target.”
    Landy: “The objectives and targets always came from us. Who’s giving them to him now?”
    Nicky: “Scary version? He is.”

    Memorable Scene
    In Munich, Bourne visits the one remaining Treadstone operative. They fight, using household items as weapons (see “making of”, below). Then a team of soldiers arrive. Bourne turns on the gas, shoves a magazine in the toaster, and… well, the result was disproved by MythBusters, but it’s still cool.

    Technical Wizardry
    The cinematography and editing, according to some.

    Letting the Side Down
    The cinematography and editing, according to some.

    Making of
    The film famously features Bourne using a rolled-up magazine as a weapon in a fight with another Treadstone operative. Fight coordinator Jeff Imada looked over the set after it had been dressed to get an idea of what would be lying around that could be used as a weapon, and had the idea of a rolled up magazine. He had to demonstrate to sceptical crew members that it would indeed be a functional weapon, but was helped by actors Matt Damon and Marton Csokas giving each other bruises from practising with it.

    Previously on…
    The Bourne Identity left enough hanging to help fuel this movie.

    Next time…
    Although Supremacy was designed to wrap up the mysteries left dangling from Identity, they found plenty to drive a third film, which completes the trilogy by answering those remaining questions. A fourth film was essentially a spin-off. This summer’s fifth film will be about… something…

    Awards
    2 Saturn nominations (Action/Adventure/Thriller Film, Actor (Matt Damon))
    2 World Stunt Awards (Best Work with a Vehicle, Best Stunt Coordinator and/or 2nd Unit Director)
    1 World Stunt Award nomination (Best Fight)
    2 MTV Movie Awards nominations (including Best Action Sequence (the Moscow car chase))

    What the Critics Said
    “Greengrass keeps you off-balance throughout. When the fight scenes and car chases arrive, there’s no telling, from shot to shot, what we will see next or how we’ll see it. […] Working with cinematographer Oliver Wood, Greengrass shoots the fight scenes and chases so close in that we see some moments almost as a blur. The editors, Richard Pearson and Christopher Rouse, break those sequences up into quick jagged shots that key us up and keep us hyper-alert. The world is being broken into bits of information, and we look hard at the screen to take it in. The approach could have resulted in the usual visual gibberish that defines contemporary action moviemaking [but] you can always tell what’s going on” — Charles Taylor, Salon

    Score: 81%

    What the Public Say
    “I thought the movie was shot well, though at times I felt that the shaky cam effect was overused, as instead of pulling you into the action, it just gives you a headache and a dizzy spell” — Zoë, The Sporadic Chronicles of a Beginner Blogger

    Verdict

    Debate used to rage about whether Identity or Supremacy was the better film, centred on their very differing directorial styles. Fans of Greengrass’ sequel seem to have settled on Ultimatum as their preferred Bourne instalment now, though, leaving Supremacy to be generally regarded as the least-best of the first three Bournes. That does it something of a disservice: it’s an exciting, twisty, complicated thriller, and its groundbreaking visuals can’t be ignored for their contribution to the action genre — for good or ill.

    #17 will… always have Paris.

    The Value-for-Money Monthly Update for February 2016

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    It’s only words, and words are all I have to introduce this post.

    So let’s get on with it.


    The Martian#21 Predestination (2014)
    #22 Prisoners (2013)
    #23 Macbeth (2015)
    #24 Daybreakers (2009)
    #25 The Martian (2015)
    #26 Ex Machina (2015)
    #27 Quigley Down Under (1990)
    #28 Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)Ex Machina
    #29 SuperBob (2015)
    #30 The East (2013)
    #31 Pillow Talk (1959)
    #32 Home on the Range (2004)
    #33 Crimson Peak (2015)
    #34 Grand Piano (2013)
    #35 Home (2015)
    Crimson Peak#36 Noah (2014)
    #37 The Equalizer (2014)
    #38 The Second Best Exotic Marigold Hotel (2015)
    #39 Big Eyes (2014)
    #40 The Hangover (2009)
    #41 Muppets Most Wanted (2014)
    #42 Evangelion: 3.33 You Can (Not) Redo. (2012/2013)
    #43 Cinderella (2015)
    #44 Lucy (2014)


    • Value For Money Assessment, Part 1: before I cancelled Netflix last month, I watched 10 films on there. That’s £0.79 per film.
    • Value For Money Assessment, Part 2: after joining Now TV this month, I snuffled out 230+ films that interested me. Of those, I watched 10, plus the Oscars. That’s £0.91 per film/awards ceremony. (That subscription’s not over, so I’ll get more value out of it next month.)
    • Value For Money Assessment, Part 3: I bought and instantly watched four new-release Blu-rays this month. That was £11.87 per film. Picture quality and special features were lovely, though.
    • No WDYMYHS film this month, for reasons I’ll come to in a minute. I did watch two last month, though, so it’s OK.


    This month, I watched 24 new films. Yeah, that whole “watch fewer films so I can do other stuff” thing isn’t going so well. (“Moan when you’re not watching enough films, moan when you are watching plenty of films — what’s wrong with you?!” Yes, I do feel a bit Shinji-ish.)

    The reason? The Oscars. Not watching the nominated films, but paying £9.99 for a month of Now TV so I can watch them. Are the Oscars worth £9.99? No, of course they’re not — hence catching up on lots of other films while I have it. That’ll continue until the middle of next month… when I’ll get Netflix so I can watch Daredevil season two, and also attempt to extract maximum value for money by watching a load more films. So in the middle of April I may finally stop watching so many movies…

    Of course, watching so many films brings with it a number of personal ‘achievements’: it easily surpasses the February average (9.63) and crushes the February record (13, jointly held by four previous Februarys); it’s the 21st month in a row where I’ve watched over 10 films; it’s only the fifth month ever with over 20 films; oh, and it’s a new third best month ever. (“Best” in this sense just meaning “most prolific”, of course. Volume does not equal quality. Unless you’re Mad Max: Fury Road, in which case winning the most Oscars means you are the Academy’s best film of the year. Yes it does. Yes it does.)

    Quick inaccurate future predictions: following the relatively-huge January and February, and as I intend to maintain my ten-per-month minimum, this year’s looking at a final tally of at least 144 films. That would make it easily my second most prolific year ever. Which is nice. If by some failure of purpose I continued to achieve my current 2016 average of 22 films per month, I’d be looking at ending around #264. Sounds utterly ridiculous, but in January 2015 I laughed at the statistics suggesting I might make it to #192, and I ended up reaching #200.


    This month, I’ve all but finished posting my 2015 reviews. Just The Story of Film remains, joining Veronica Mars in the eternally-unreviewed club. Maybe I’ll fix them both next month. Plus, the debut of my monthly TV review.


    Superheroes, Disney, history, and noir — both classic and futuristic. Alphabetisation leaves the structure of this series to the whims of fate, but I think it’s a nicely varied month.



    The 9th Monthly Arbitrary Awards

    Favourite Film of the Month
    Any month with 24 films is likely to have more than its fair share of highs and lows, and so it was with February. Shortlisting contenders for both this and the next award showed more of the former than the latter (nine vs. three), thankfully, but I think this one boils down to a three-way five-star sci-fi stand-off. Of those, I think the best marriage of idea and execution may have come from Predestination.

    Least Favourite Film of the Month
    Two animations with “home” in the title are the frontrunners (rear-runners?) here. However, I expected Home on the Range to be terrible (and only watched it in aid of seeing all the Disney Animated Classics), whereas I only watched Home because I thought the trailer looked entertaining, so was thoroughly disappointed.

    Best Apocalypse of the Month
    Plenty of movies have shown us the end of the world now, but very few have done it in a story set millennia ago. For doing it so convincingly (if not plausibly), congratulations to Noah.

    Most Disappointing Shakespeare Cut of the Month
    “By the pricking of my thumbs, something wicked this way comes.” Why did they excise one of the best lines from Macbeth?!

    The Audience Award for Most-Viewed New Post of the Month
    Maybe it was the broad range of series covered, maybe it was just because it was something new and different, but my most-viewed new post in February was The Past Month on TV #1. (For the sake of keeping things on topic, I’ll add that the most-viewed film-related review was my Oscars-centric take on Star Wars: The Force Awakens.)


    Halfway.

    The Bourne Identity (2002)

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    100 Films’ 100 Favourites #15

    Danger is Bourne

    Country: USA, Germany & Czech Republic
    Language: English, French, German, Dutch & Italian
    Runtime: 119 minutes
    BBFC: 12A
    MPAA: PG-13

    Original Release: 14th June 2002
    UK Release: 6th September 2002
    First Seen: DVD, 2003

    Stars
    Matt Damon (Good Will Hunting, The Martian)
    Franka Potente (Run Lola Run, Creep)
    Chris Cooper (Lone Star, Adaptation.)
    Clive Owen (Croupier, Children of Men)
    Julia Stiles (10 Things I Hate About You, The Omen)

    Director
    Doug Liman (Swingers, Mr. & Mrs. Smith)

    Screenwriters
    Tony Gilroy (The Devil’s Advocate, Michael Clayton)
    William Blake Herron (A Texas Funeral, Ripley Under Ground)

    Based on
    The Bourne Identity, a novel by Robert Ludlum.

    The Story
    Pulled wounded from the sea, Jason Bourne can’t remember anything about his life, but is a highly-trained combatant. That comes in handy when assassins begin to hunt him down, as he races across Europe with the aid of Marie, a German woman he bumped into, trying to establish the facts about his identity.

    Our Hero
    A man found floating in the ocean with two gunshot wounds in his back, who can’t remember his own name but can speak several languages and has knowledge of advanced combat skills. A laser projector implanted under his skin leads him to a safety deposit box in Zurich that contains thousands of dollars in cash, a gun, and an array of passports, from which he chooses a name: Jason Bourne.

    Our Villains
    The CIA’s Operation Treadstone, led by Alexander Conklin, who have an interest in Bourne — an interest that may primarily involve killing him.

    Best Supporting Character
    Marie, a German woman in the right place at the right time when a chap offers her $20,000 to drive him from Zurich to Paris… and in the wrong place at the wrong time when it turns out a bunch of people want to kill him, and she’s acceptable collateral damage.

    Memorable Quote
    Bourne: “Who has a safety deposit box full of money and six passports and a gun? Who has a bank account number in their hip? I come in here, and the first thing I’m doing is I’m catching the sightlines and looking for an exit.”
    Marie: “I see the exit sign, too. I’m not worried. I mean, you were shot. People do all kinds of weird and amazing stuff when they are scared.”
    Bourne: “I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs 215lbs and knows how to handle himself. I know the best place to look for a gun is the cab of the grey truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?”

    Memorable Scene
    Bourne arrives at the US consulate in Zurich, unaware his presence has been flagged after visiting that safety deposit box. As security guards surround him, Bourne demonstrates just what he’s capable of…

    Making of
    One of the most fraught productions of recent times, the behind-the-scenes woes of The Bourne Identity are too numerous to recount here, but too interesting (if you’re interested in that kind of thing) to overlook. Check out #4 here for more, like this: “It’s very rare that a movie comes out a year late, has four rounds of reshoots, and it’s good.”

    Previously on…
    Adapted as a TV miniseries in 1988 starring Richard Chamberlain, which is reportedly much more faithful to the novel.

    Next time…
    Three sequels to date, with a fourth out this summer. 2008 video game The Bourne Conspiracy takes place in and around the first film, though doesn’t use Matt Damon’s likeness. The film series also revived interest in Ludlum’s books, and consequently nine continuation novels have been penned by Eric Van Lustbader since 2004, with a tenth planned.

    Awards
    1 Saturn nomination (Action/Adventure/Thriller Film)
    1 World Stunt Award (Best Work with a Vehicle)

    What the Critics Said
    “With a two-year shooting schedule, a script that was redrafted more times than the cast care to remember, and Matt Damon making at least two movies (Ocean’s 11 and Spirit) in the middle of all that mess, this thriller comes to the cinemas as much a marked man as its central character. Some of the joins do show, especially towards the end of the film, when a couple of minor characters disappear completely, but by then it has been too much fun to start picking holes.” — Emma Cochrane, Empire

    Score: 83%

    What the Public Say
    “a point of departure from the action/spy genre, further making The Bourne Identity an anti-genre-genre film, is the cat like reflexes of Jason Bourne. Our first vision of him in action (remember, we’ve never seen Matt Damon like this before) is when he is laying on a park bench in Switzerland, approached by two policemen who are about to accuse him of loitering. Within the conversation, Bourne discovers he can effectively speak Swiss-German, and then as soon as one of the officers reaches to touch him, he responds with breathtaking speed and accuracy and before we know it, there is a little pile of police at his feet. […] nice guy Jason can’t really help it. Posit this against the casual cold blooded and calculated moves of the relaxed and suave Bond” — Lisa Thatcher

    Verdict

    The name’s Bourne, Jason Bourne… Maybe it was just me, but this Matt Damon action-thriller seemed to arrive under the radar back in the early ’00s (I don’t think I even heard of it until it was on DVD), but quickly established itself as the influential new kid on the block. Perhaps the Paul Greengrass-helmed sequels have been even more influential (they can be credited with bringing the much-derided ShakyCam style of filming action into the mainstream), but for me this first film is still the best of the bunch: an engaging mystery-thriller adrenalised by excellent action sequences.

    #16 will be… Bourne again.

    Bloody Sunday (2002)

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    100 Films’ 100 Favourites #14

    January 30, 1972
    a day written in history
    a day when innocence died
    when truth was sacrificed
    and lives were changed forever

    Country: UK & Ireland
    Language: English
    Runtime: 110 minutes
    BBFC: 15
    MPAA: R

    Original Release: 20th January 2002 (UK)
    First Seen: TV, 20th January 2002

    Stars
    James Nesbitt (Millions, The Hobbit: An Unexpected Journey)
    Tim Pigott-Smith (The Remains of the Day, V for Vendetta)
    Nicholas Farrell (Chariots of Fire, Hamlet)
    Kathy Kiera Clarke (The Most Fertile Man in Ireland, Cherrybomb)

    Director
    Paul Greengrass (United 93, Captain Phillips)

    Screenwriter
    Paul Greengrass (The Murder of Stephen Lawrence, United 93)

    The Story
    Derry, Northern Ireland, 30th January 1972: MP Ivan Cooper leads a peaceful march to protest internment. British paratroopers observing the march, geed up after previous conflicts, respond to minor rioting by shooting into the unarmed crowd and at fleeing civilians.

    Our Hero
    James Nesbitt stars as MP and civil rights activist Ivan Cooper, a Protestant who was elected in a mostly Catholic constituency, and the organiser of what was supposed to be a peaceful protest march.

    Our Villains
    The British Army don’t come across in the best light, with Tim Piggot-Smith’s Major General Robert Ford issuing hostile orders, and the troops eager for a fight. The depiction is tempered by Nicholas Farrell as Brigadier Patrick MacLellan, battling his conscious even as he must carry out his orders.

    Memorable Quote
    “I just want to say this to the British Government. You know what you’ve just done, don’t you? You’ve destroyed the civil rights movement, and you’ve given the IRA the biggest victory it will ever have. All over this city tonight, young men — boys — will be joining the IRA, and you will reap a whirlwind.” — Ivan Cooper

    Memorable Scene
    After the day is done, Ivan Cooper delivers the above statement at a press conference. Intercut, at inconspicuous locations and under the cover of dark, young men queue up to join the IRA.

    Technical Wizardry
    Shot handheld on 16mm by cinematographer Ivan Strasburg, Bloody Sunday looks like news footage. It’s not trying to pass itself off as documentary, but rather it places the viewer in the heart of events. Clever shot selection and Clare Douglas’ editing mean that, even though a sense of confusion is evoked, the chronology and geography of events is maintained.

    Making of
    “Making the film Bloody Sunday was important for me, not only as an actor but for my understanding of myself as an Ulsterman. It helped me realise that this episode was the watershed, and that the ensuing 30 years of conflict in Northern Ireland were in large part due to what happened that day in 1972. For it was on that night that young men all over the country joined up with the IRA in a sense of rage and injustice at what had happened.” — James Nesbitt, The Independent

    Awards
    1 BAFTA TV Award (Photography and Lighting)
    4 BAFTA TV Award nominations (Actor (James Nesbitt), Single Drama, Editing, Sound)
    2 British Independent Film Awards (Actor (James Nesbitt), Director)
    3 British Independent Film Award nominations (Best British Independent Film, Screenplay, Technical Achievement (Cinematography))
    4 Irish Film and Television Awards (Feature Film, Director, Script, Sound)
    4 Irish Film and Television Award nominations (Actor (James Nesbitt), Actress (Kathy Kiera Clarke), Photography, Editing)
    Won the Golden Bear at the Berlin International Film Festival (tied with Spirited Away).

    What the Critics Said
    “you have to remind yourself at moments that you’re not looking at a documentary. […] Filmed in 16mm, with a hand-held camera that seems to be breathlessly attempting to keep up with the chaotic events, the movie has a stunning immediacy. It doesn’t feel as if Greengrass has staged the events, but that his camera (in the expert hands of cinematographer Ivan Strasburg) happened to be there when the tragedy occurred, a witness to the British officers’ planning, to the marchers’ anger and panic, to the soldiers’ gung-ho macho and to the cover-up that followed.” — David Ansen, Newsweek

    Score: 92%

    What the Public Say
    “The film has been criticized by some as focusing too much on the Cooper character, encouraging a “great man” view of history. This criticism seems overblown when one considers the breadth of Bloody Sunday, but Greengrass does acknowledge an interest in placing Cooper at the fore as a kind of “man between worlds,” being a Protestant politician campaigning for peace across Northern Ireland and for civil rights denied to his Catholic countrymen.” — spinenumbered, Make Mine Criterion!
    (Be advised, the Criterion Collection edition of the film described in this article is wishful thinking rather than a genuine release.)

    Verdict

    Bloody Sunday is a tough film to write about in a somewhat frivolous format like this one. It’s a film about a terrible moment in history, a shameful day for the British Army and a tragic one for the people of Northern Ireland, which it presents with documentary realism and an objective perspective, more concerned with presenting the facts as best it can than with apportioning blame. Even given that, it’s an inescapably emotional and affecting film. Powerful moviemaking.

    #15 will be… extreme ways.

    Blade Runner: The Director’s Cut (1982/1992)

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    100 Films’ 100 Favourites #13

    The original cut of the futuristic adventure.


    For clarification: as I didn’t see The Final Cut until after 100 Films started, and I’ve still not seen the theatrical cut, it’s only the 1992 Director’s Cut that is eligible for this list.

    Country: USA, UK & Hong Kong
    Language: English
    Runtime: 116 minutes
    BBFC: 15
    MPAA: R

    Original Release: 25th June 1982 (USA)
    UK Release: 9th September 1982
    Director’s Cut Release: 11th September 1992 (USA) | 27th November 1992 (UK)
    First Seen: DVD, c.2001

    Stars
    Harrison Ford (Star Wars, Raiders of the Lost Ark)
    Rutger Hauer (Soldier of Orange, The Hitcher)
    Sean Young (No Way Out, Dr. Jekyll and Ms. Hyde)
    Edward James Olmos (Wolfen, Battlestar Galactica)
    Daryl Hannah (Splash, Kill Bill)

    Director
    Ridley Scott (Alien, The Martian)

    Screenwriters
    Hampton Fancher (The Mighty Quinn, The Minus Man)
    David Peoples (Unforgiven, Twelve Monkeys)

    Based on
    Do Androids Dream of Electric Sheep?, a novel by Philip K. Dick.

    The Story
    L.A., 2019: cop Rick Deckard is dragged out of retirement to hunt and ‘retire’ a gang of Replicants — genetically-engineered androids, almost indistinguishable from humans, used for menial work off-world — who have come to Earth to extend their lives. As Deckard investigates, he comes to question what it means to be human…

    Our Hero
    Rick Deckard, former blade runner — which means nothing but does sound fairly cool. May or may not be a Replicant. (“He is!” “He isn’t!” “He is!” “He isn’t!”)

    Our Villain
    Roy Batty, definitely a Replicant. Committed the crime of wanting to live.

    Best Supporting Character
    Rachael — secretary, love interest, Replicant but believes herself to be human. Do we see a theme developing here?

    Memorable Quote
    “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain.” — Roy Batty

    Memorable Scene
    At the imposing headquarters of the Tyrell Corporation, blade runner Holden sits employee Leon in front of a strange machine. He begins to administer a Voight-Kampff test, a series of questions designed to provoke a response that the machine analyses. “You’re in a desert, walking along in the sand, when all of a sudden you look down…” “What one?” “What?” “What desert?” Leon’s test isn’t going to go according to plan…

    Memorable Music
    The synthesised score by Vangelis should by all rights sound terribly dated and oh-so-’80s by now, yet it’s somehow timelessly futuristic.

    Technical Wizardry
    Visually, Blade Runner is a non-stop marvel: the noir cinematography, the vehicle and set design, the lived-in world, the believable effects… The entire thing is imaginatively conceived and magnificently realised with unwavering plausibility.

    Truly Special Effect
    The realisation of future-L.A. airspace — packed with giant skyscrapers, videoscreen adverts, flying cars, at night and in the rain — is literally faultless, and only gains impact for being achieved for real with models.

    Making of
    The Director’s Cut came about after a 70mm print was discovered in storage and an LA cinema got permission to screen it at a film festival in 1990. Only then did anyone realise the print was the workprint version of the film. Warner Bros organised more screenings, advertising them as a “Director’s Cut”. Ridley Scott wasn’t best pleased, which led to some screenings being cancelled. The rest sold out, however, and so Warner decided to create a genuine Director’s Cut. With Scott busy on other projects, film preservationist and restorer Michael Arick was put in charge, using notes and suggestion from Scott to do the best he could. Although Scott considered it better than the theatrical cut, he was never wholly happy with the ’92 version, which ultimately led to the creation of The Final Cut another 15 years later.

    Next time…
    Between 1995 and 2000, Philip K. Dick’s friend K.W. Jeter continued Deckard’s story in three novels, which apparently attempt to resolve the differences between Blade Runner and Do Androids Dream of Electric Sheep? In 1997, Westwood Studios and Virgin Interactive released a “sidequel” point-and-click adventure game, where you play as another blade runner in a storyline that takes place alongside the movie (it’s excellent, by the way, though I imagine you’d have a nightmare making it run today due to its age, which is a shame). Finally, a long-mooted sequel is in development for a January 2018 release.

    Awards
    2 Oscar nominations (Art Direction-Set Decoration, Visual Effects)
    3 BAFTAs (Cinematography, Costume Design, Production Design)
    5 BAFTA nominations (Editing, Make Up Artist, Score, Sound, Visual Effects)
    4 Saturn nominations (Science Fiction Film, Supporting Actor (Rutger Hauer), Director, Special Effects)
    Won the Hugo for Best Dramatic Presentation.

    What the Critics Said
    “This is, [Scott] says, the version he would have released in 1982 if he could have. The Ford narration was added because the studio feared audiences would not understand his story of a futuristic Los Angeles. The new ending, which is ironic and inconclusive and gives Ford an existentialist exit line, was of course dropped by studio executives for a more standard violent outcome. I watched the original Blade Runner on video a few years ago, and now, watching the director’s cut, I am left with the same over-all opinion of the movie: It looks fabulous, it uses special effects to create a new world of its own, but it is thin in its human story.” — Roger Ebert

    Score: 89%

    What the Public Say
    “Its such a dark movie, but such a sad movie too. The sadness threatens to overpower everything. A character has her whole life undermined when she learns she isn’t real, not even her memories or experiences. It’s all a lie, a fabrication, as she is herself. Rick Deckard may not even be real. He might be just the same as Rachael. It’s not an idea I subscribe to, but it’s there, a possibility hanging over everything, underlined by the origami unicorn that he finds at the close of the film.” — ghost of 82

    Elsewhere on 100 Films…
    I reviewed The Final Cut in 2009, noting that it was “undeniably one of the most significant films of the last quarter-century thanks to its enduring influence. […] its dystopian future — all constant night-and-rain, busy streets, neon advertising, canyon-like decrepit skyscrapers towering over dirty streets, high technology rubbing with the everyday detritus of humanity — has been copied everywhere. Without this there’d probably be no Ghost in the Shell, no Dark City, no Matrix, no re-imagined Battlestar Galactica, no thousand other things that have nothing close to the brains but do have the look, the style, the feel.”

    Verdict

    Blade Runner remains something of a divisive film: its thoughtful pace is not to everyone’s taste, especially if they’re expecting a sci-fi action-thriller starring Future Indiana Jones. Instead, it’s a philosophical sci-fi noir, as concerned with issues of what it means to be human as with chases or punch-ups. Remixing sci-fi and film noir influences in a fresh style, realised with some of the greatest design, set-building, and special effects of all time, it’s been inestimably influential on swathes of sci-fi that followed in its wake — and yet, almost 35 years on, it still looks futuristic and feels unique.

    #14 will be… Troubled.