Short Attention Span Review - Blade Runner 2049 (2017)

Short Attention Span Review - Blade Runner 2049 (2017)

Blade Runner is a film that I cherish, and I avoided this belated sequel for some time.  Honestly, I didn't think there was anything worthwhile left to say where this property is concerned, and I love the questions and discussion that the 1982 masterpiece from Ridley Scott generated.  Last night, I decided to take a look at Blade Runner 2049 in spite of my misgivings.  I'm not really sure why, and I admit that I fully expected to find myself at odds with the material.  From the onset, however, I realized that while Denis Villeneuve may not have matched Scott's brilliance, he authored a dazzling spectacle of his own.  The visuals are extraordinary, the sound is amazing, and the script is equally impressive.  While it is a bit slow, the methodical approach serves the intricate plot well, and allows the viewer to bask in all the breathtaking artistry on display.  It really is a treat for the eyes, with both the design elements and the special effects representing the best that the film industry has to offer.  Mind-boggling stuff, peeps.  The performances are just as compelling, with Ryan Gosling carrying the picture, while Harrison Ford is fully invested in a smaller role that gives the proceedings a strong center.  Jared Leto's extremely creepy work as an icy villain also warrants praise, and Sylvia Hoeks is a veritable powerhouse as his devious vessel of destruction.  Most importantly, like the original, Blade Runner 2049 grapples with difficult questions and big ideas--and it encourages us to explore many of the most important threads on our own.  Less a sequel than another distinct story inolving a shared vision of the future and many of the same characters, it doesn't tarnish what came before in any way.  In fact, I am shocked to admit that I feel that Blade Runner 2049 adds to this stirring landscape.  The pace and the runtime are likely to present issues for some viewers, and many others will long for more action.  This isn't for everyone, to be sure, but those who hope to discover invigorating science fiction ripe with dangerous ideas will find much to enjoy.    

Final Grade: A

Dark and introspective, Blade Runner 2049 is a brooding opus that features some of the best effects you're apt to see. 

Fabulous Faves - Blade Runner (1982)

Fabulous Faves - Blade Runner (1982)

Blade Runner is a film that remains spellbinding better than thirty years after hitting the scene.  It remains a thorough yet quizzical offering that paints a complex picture, exploring some epic questions with pain-staking attention to detail.  Yet it leaves the viewer to ponder many of these questions, and that is what makes it so majestic.  It has so many strengths, to include visionary director Ridley Scott's most creative work, one of Harrison Ford's best performances, and mind-boggling special effects.  Yet I find this beloved film's most potent draw to be dear departed Rutger Hauer's stunning portrayal of one of the cinema's most compelling villains.  Hauer's Roy Batty is as tragic as he is fearsome, and the actor owned the role.  He brought subtlety and introspection to the table, and he also brought brute force and a fiendish zeal.  He was explosive and yet utterly relaxed; it is a completely natural showing that displays remarkable theatrics.  When Hauer recently passed and I paused to look back on his body of work, I couldn't stop thinking about his poignant demise in Blade Runner.  That sequence is truly sublime, and it is merely one of the many vibrant flourishes that make this 1982 production so profound.  All these years after being released, it continues to provide viewers with a fully realized escape into a stark and strangely hypnotic vision of a future that did not come to pass.  It boasts incredible drama, excitement, and stimulation that lasts until the final frame--and beyond.  Blade Runner remains a stunning achievement that surely ranks among the finest motion pictures ever made.

Final Grade: A+

Blade Runner is overflowing with riches, but if I were to single out any one element of this landmark science fiction production as being the most spectacular, I would point to Rutger Hauer's work as Roy Batty.  Roy is the primary antagonist, and he's also the heart and soul of the picture.  You don't often see that.

Burt Reynolds Salute - White Lightning (1973) and Gator (1976)

Today, film icon Burt Reynolds passed away.  Known for a tumultuous career with considerable peaks and valleys, there was a time when he ruled the box office with his country charm and mischevious antics.  While he will probably always be best known for comedic gems like The Longest Yard or Smokey and the Bandit, one can't overlook his more serious work in powerful films like his breakthrough role in Deliverance or his big comeback decades later in Boogie Nights.  Given that I hit the scene in 1978 and Burt's greatest success came during the late 70s and extended into the early 80s, he was no stranger in my household.  I grew up in the foothills of the Appalachian mountains, knee-deep in moonshine country, so two of his lesser-known pictures were particular favorites.  I still consider White Lightning (1973) and Gator (1976) to be his best work, even if the sequel is not nearly as potent.  In light of Burt's demise, I thought I would share my thoughts on these southern thrillers with you here.

Burt Reynolds Salute - White Lightning (1973)

White Lighting is a revenge thriller with some serious deep south flair, and it all hinges on a layered performance from Reynolds.  He plays "Gator" McClusky, a hotshot moonshine runner who is cooling his heels in the joint when his little brother is murdered by a sadistic sheriff.  Set on vengeance, Gator mounts a reckless escape attempt that ultimately fails.  Without any other means of getting revenge at his disposal, he decides to turn informant for the feds and shake down the corrupt lawman responsible for his brother's death.  This gives the film more weight than one might expect from this genre, as there isn't much of anything so reviled in the film's setting as a federal informant, regardless of his intentions.  Making matters worse, Sheriff J.C. Connors (Ned Beatty) is no pattycake, and if Gator intends to take this cold-blooded killer with a badge down, he has his work cut out for him.  The picture is moody and deliberate at times, but it also sports a lot of rip-roaring thrills, with some five star car chases highlighting the excitement.  There's also room for a couple of brawls, and Reynolds gets to show his comedic side as well as his action chops, so there are some big laughs in play as well.  There are even some heavy dramatic beats, and Reynolds never falters in the lead role.  Director Joseph Sargent does a splendid job, and he makes great use of his budget and the gothic trappings of the film's setting.  This one is part drive-in flick and part film noir, and Burt was at the peak of his powers, elevating the proceedings at every turn.  Beatty was also doing great work at this point, and here they are assisted by stellar players like Diane Ladd, Bo Hopkins, Matt Clark, and R.G. Armstrong along the way.  This is a picture that I like to revisit, and I am always struck by its depth; it is incredibly dark at times, and it also bursting with warmth in places, mostly due to Burt's unmistakable charisma.  It is never dull, and it remains incredibly unique all these years later.  Some would label White Lightning a sleeper hit, but I have never hailed it as anything less than an American classic.  Thank you, Burt.

Final Grade: A+

Yes, he was famous for his "aw shucks" demeanor and that sly grin, but White Lightning was one of many vessels that also benefited from his considerable range and his simmering intensity.  

Burt Reynolds Salute - Gator (1976)

Reynolds made his directorial debut with this sequel, a lighter and lesser affair that still offers up boatloads of fun.  Honestly, the best decision Reynolds made when making this lean romp was casting Jerry Reed as the heavy.  As Bama, Reed plays a sleazy villain who is really just trying to be a good friend.  During a lifetime of crime, he has grown so corrupt that he doesn't realize just how revolting some aspects of his lifestyle are.  He thinks he is helping Gator out by ingratiating his old buddy into his sordid lifestyle, and it is this bizarre relationship and Reed's red-hot performance that steal the show--and stealing the show in a Burt Reynolds picture couldn't have been an easy task, much less with Burt in the director's chair!  Oh, and before I go any further, it has to be said that Reed's title song is 100% badass and it helps to start the film on a major high note.  Yes, Gator is a retread in a lot of ways, and it is streamlined for maximum entertainment value, robbing it of its predecessor's depth.  Of course, it still manages to put some compelling material on screen, and even if Reed is given a richer part and nails it, Burt is also on fire.  Most importantly, even if the movie stumbles here and there, and feels more than a little derivative, it damn near atones for all of its sins during a rousing conclusion.  The big finale consists of a nifty cat-and-mouse sequence at a motel followed by an epic brawl where Reynolds and Reed throw down on the beach.  Gator isn't on the same level as White Lightning, but it is a rousing picture that serves as a nice continuation for the title character.

Final Grade: C+

While vastly inferior to White Lightning, Gator benefits from a dynamic relationship between Burt's wily hero and Jerry Reed's sleazy villain.

Short Attention Span Review: Cold in July (2014)

Short Attention Span Review: Cold in July (2014)

Sam Shepard was a true legend, a gifted actor who was probably a better writer, and his passing has been marked with a wealth of tributes that honor his legacy.  As I read about his filmography, I realized that I had never watched Cold in July despite the fact that it had piqued my curiousity when it was released back in 2014.  Thus, I decided to go ahead and check out this slow boil of thriller set in 1989, and I'm certainly glad that I did.  The de facto star is Michael C. Hall from Dexter, and while he rocked a hideous mullet and embedded himself in his role, Shepard made for a bigger presence.  Not surprisingly, both of these quality performances were overshadowed by Don Johnson once he showed up about halfway through Cold in July, stealing the show in a part that falls just short of iconic.  The direction courtesy of Jim Mickle was sound and the real star attraction had to be the riveting score by Jeff Grace, who was clearly paying tribute to 80s cinema by way of John Carpenter.  The pace was a bit uneven here and there, and while I can appreciate a nice slow boil, things did drag a bit at times.  Given that the movie is based on the work of Joe R. Lansdale, it isn't surprising that it concludes with a gory showdown, though I was surprised that there were so many plot threads left dangling.  I don't think I can grade this one any higher than a B-, but it was one bloodthirsty B- and that may not even be a bad thing considering that Cold in July is a B movie by design.

Final Grade: B-

Next to the killer score, Cold in July's biggest assett is the trio of actors who bond on a subversive quest to make things right that requires them to bathe in blood.

Short Attention Span Review: Green Room (2015)

Short Attention Span Review: Green Room (2015)

Like most anyone who has been in a band and performed live, I've certainly seen my share of bad gigs.  Most of these lousy affairs make for funny stories, but The Ain't Rights (the struggling punk outfit at the center of Green Room) aren't so fortunate.  No, the bad gig that paves the way for this grim and wildly intense horror film is no laughing matter.  The movie takes its time with the opening reel, introducing us to the band and letting us get to know them a bit as they stagger through the last few stops on a humbling tour.  This pitiful venture is so profitable that the band has to siphon gas to keep their ragged van in motion, and while it may seem like quite the struggle, it's merely an appetizer for the carnage that Green Room unleashes after the band takes on a sketchy gig in the outskirts of Portland.  It is there that a gruesome struggle for survival will unfold as our likable heroes are hounded by some truly fearsome villains.  These bad guys are led by Patrick Stewart as a heroin-selling white supremacist named Darcy, and the man many know as Captain Picard or Charles Xavier makes for quite the icy fiend.  Stewart's performance here is undoubtedly one of Green Room's greatest assets.  Of course, the entire cast does a great job, with the late Anton Yelchin shining as Pat, the bassist and emotional center of the band.  Yelchin was one hell of a talent and he will be missed.  Other standouts in this dire shocker include Alia Shawkat as one of Pat's bandmates and Imogen Poots as a stranger who is stuck in the same dire predicament as The Ain't Rights.  The movie looks and sounds great--obviously, a picture like this needs a killer score, and I think the soundtrack is yet another tremendous asset to Green Room.  The violence is shocking and potent but never gratuitous, and the leisurely beginning really pays off as the movie grows darker and more vicious in the second and third acts.  There are no annoying characters we want to see killed off, so each death is a tragic blow given our affection for the players involved.  Writer and director Jeremy Saulnier is obviously a gifted cat, and while some may peg this as more of a thriller, I'm ready to anoint Green Room as the best new horror film that I've seen in 2016.

Final Grade: A 

Slayer - Repentless (Released 9/11/2015)

Slayer hit us with Repentless today, the first album the band has released since Jeff Hanneman passed away.  The impossible task of stepping in for Hanneman falls upon Gary Holt of Exodus.  Holt is a quality guitarist and he works hard to fill a significant void, though his efforts are somewhat diminished by Kerry King taking on a larger role.  For the most part, King actually plays it straight, but there are enough "Hey, look at me!" solos around to drag the proceedings down at times.  Paul Bostaph fills in nicely for Dave Lombardo on drums; there can be no doubt that he fits this band just as well as Lombardo, though I still give Dave a slight edge in ability and a bigger edge in finesse.  Tom Araya does a fine job with the vocals and bass, but that should come as no surprise.  It's a good album, much better than much of what's out there right now.  How does it stack up alongside Slayer's best recordings?  Come on, man.  Still, an average Slayer album trumps a top-shelf disc from the vast majority of acts playing the heavy metal scene in 2015.  I contemplated giving this album a "C+" but it occurred to me that I wasn't being very fair.  This would get no less than a "B" if it was released by most bands in the same vein, and there are several big name entities out there that have never produced something as worthwhile as Repentless.  The opening track, an instrumental entitled "Delusions of Saviour," is perhaps my favorite cut, though it seems like it should exist as the intro for the title track.  Speaking of the title track, the song is cool but the "Repentless" video is totally gnarly.  Slayer + Danny Trejo + a grisly prison riot = 1 extremely metal music video.  Other standout tracks include "Piano Wire," the punk-esque thrashfest that is "You Against You," "Vices," and "Pride in Prejudice."  I don't think that any of these offerings stack up well against any of Slayer's best cuts, but none of the songs on Repentless fall flat.  In the end, I am enjoying this one, even if it will never be confused with one of this legendary metal band's greatest albums.  It's still Slayer, even if things look and sound a little different, and Slayer still raises hell better than anyone.

Final Grade: B-

Slayer's new line-up delivers a solid album that is head and shoulders above
most of what's out there right now, though it is surely a far cry from their best stuff.

Top 5 Wes Craven Movies

Wes Craven was undoubtedly one of the most legendary creators ever to make his mark on the horror genre.  This amazing director gave us two of the biggest and baddest franchises in that realm and he was also directly responsible for a number of fright flicks that will be cherished for years to come.  Anyone who lived through the 80s (quite possibly the greatest decade ever) is well aware of this, and Craven was still making waves when grunge hit the scene--and beyond!  I hope you enjoy this tribute to a true master's work, a Top 5 where I discuss my favorite offerings from the one and only Wes Craven.

#5) Red Eye (2005)

Craven is best known for movies about things that go bump in the night, but this tense thriller is one of his coolest features.  It doesn't hurt that the leads are Cillian Murphy and Rachel McAdams, two top-notch performers who made the most of an exciting script.  Murphy is menacing and manipulative as the villain, while McAdams makes for a gutsy heroine who is intelligent and surprisingly tough.  Most of the film concerns these two playing a nice game of cat-and-mouse while seated beside one another on a red eye flight, but the picture never suffers from the sort of strain that often undermines tales that unfold in a compact environment.  Red Eye is clever and inventive from start to finish and it is bolstered by a nifty score courtesy of Marco Beltrami.  For his part, the director deftly explores his primary characters and the frightening situation that pits them against one another while keeping his foot on the pedal and constantly ratcheting up the tension until the gripping finale.  Red Eye was a bit of a departure for this horror maestro, but he did a fine job with it and I think it is worthy of the #5 spot on this list.  As we move forward, we'll turn our attention to the scary movies that Wes Craven is best known for, but this underrated flight into suspense from 2005 was surely a worthy addition to his legacy.

Craven does a fine job as director, but perhaps the biggest strengths of
Red Eye are Cillian Murphy and Rachel McAdams as the stars of the picture.

. . .

#4) The Hills Have Eyes (1977)

In 1977, Craven gave us The Hills Have Eyes, a horrific voyage into violence and terror.  The film concerns a fairly typical family on vacation who take a little detour into the California desert.  Yes, there's an old man who warns them of danger, telling them to stay on the main road.  Yes, they wind up stranded in an eerie expanse of rock and sand where cannibalistic savages lurk.  The sun sets and bloody horror ensues.  Craven is working with a strong script (he wrote it) and he does a great job with the mood and the atmosphere.  Additionally, though Dee Wallace and Michael Berryman are present in early roles, most of the cast consisted of unknowns, and the director was still able to wring sound performances out of them.  The Hills Have Eyes is exceptionally violent, and the family at the center of the picture is brutalized to such an extent that they damn near become monsters themselves.  Those who survive this grisly shocker will emerge with bloody hands and broken minds, and the carnage is laced with quality scares.  It's a simple picture, to be honest, and this film surely came at a time when Wes wasn't working with anything resembling a big budget.  However, the end result is a thrilling and disgusting tale of death and destruction that resonated with audiences.  In fact, The Hills Have Eyes was successful enough to generate a less potent sequel, and a modern reboot took the brutality to new heights and generated a less potent sequel of its own.  It's not classic Craven; he was still earning his stripes at this point, but it is one hell of a horror film and it clearly signified that the director was going to be a tremendous presence in the genre.

Savage and terrifying, The Hills Have Eyes is an ominous chiller
that features a wealth of violence and a handful of big scares.

. . .

#3) The Serpent and the Rainbow (1988)

Here's a fantastic chiller from Craven that is often overlooked despite the fact that it is one of his most ambitious films.  Starring Bill Pullman, The Serpent and the Rainbow is a wicked fright flick that concerns an anthropologist who travels to Haiti to investigate claims that a man has been raised from the dead.  Arriving during a revolution, Pullman's Dennis Alan soon finds himself embroiled in a sinister saga that is ripe with political intrigue and black magic.  Zakes Mokae excels as the villain of the piece, a fiendish madman who wields both the powers of tyranny and voodoo.  The Serpent and the Rainbow is loosely based on a book by botanist Wade Davis (a Harvard graduate) and is thereby billed as being "based on a true story" despite the fact that it doesn't adhere closely to the original text and the book itself was heavily criticized by the scientific community upon release.  Regardless, the picture is filled with spooky imagery and boasts a number of sequences that are guaranteed to make audiences squirm.  Perhaps the most gripping scene in The Serpent and the Rainbow is alluded to in the poster and most of the marketing materials for the picture, and Craven doesn't disappoint when it's time to bury Bill Pullman alive.  In addition to being scary and provocative, this one is surprisingly exciting and moves at a faster pace than many horror films.  The top two spots on my list are reserved for a pair of Craven's grandest successes, films that every fan of the genre will recognize, but the #3 spot belongs to this creepy little trip to Haiti.  Warning: the next time you drop in, don't ask the local witch doctor to show you how to make a zombie.

In The Serpent and the Rainbow, Bill Pullman plays
an anthropologist who has the time of his life in Haiti.

. . .

#2) Scream (1996)

Now, there are some who believe that Craven and screenwriter Kevin Williamson revolutionized the horror genre with this witty slasher flick in 1996.  I'm not one of those people, but I love Scream nonetheless.  I dig the entire series, to be honest, and I do love the way the characters in these films are so aware of the standard tropes that so many pictures in this vein employ.  Smart, edgy, and funny?  Yes.  Riveting and bloody?  Sure thing.  Revolutionary?  Well, I don't know about all that, but I'm still a big fan and I'm putting the first (and best) entry in this series at #2 on my list.  The cast is stellar and Williamson gave Craven one of the coolest scripts that he would ever get to work with.  The first scene is one of the finest openings in the history of the genre and the picture never loses steam.  Scream is ripe with gory kills, big laughs, and shocking twists.  What's not to love?  Neve Campbell offered up a performance worthy of Jamie Lee Curtis and would continue to thrill audiences in all four of the movies this franchise has produced to date.  David Arquette and Courtney Cox also excelled in what may be their finest big-screen roles, and the same case could probably be made for both Mathew Lillard and Skeet Ulrich if Lillard wasn't born to play Shaggy.  Scream isn't Craven's masterpiece (I imagine all of you who are reading this know where I'm going at #1), but it is one of the best slasher flicks of all time.  While it may not be the best slasher flick out there, I'm pretty sure that it is probably the most entertaining slasher flick of them all, and it is surely a fine example of a fantastic director producing a great film in a genre that he cherished.  

Anyone who enjoys a good horror film (and slasher flicks in particular)
should have a bloody good time with Wes Craven's Scream.

. . .

#1) A Nightmare on Elm Street (1984)

True story: the first A Nightmare on Elm Street is a genuine horror classic.  A first-rate slasher flick needs a fearsome villain, right?  Freddy is a demented icon, though later pictures would turn him into a bit of a clown.  That doesn't matter, for A Nightmare on Elm Street doesn't require Freddy to play for laughs the whole time--he cracks wise here and there, but there's no doubt that he's out for blood.  The Freddy that we meet in this landmark venture is vicious and creepy in equal measures.  A classic horror flick needs an epic score, right?  We've got one here.  What about some grisly kills?  The wicked mayhem that unfolds in this one is very creative and very, very bloody.  We also need a good cast and a strong heroine (dudes can apply for the gig, but it typically works better when we give this part to a chick in slasher fare) to round things out, and once again, A Nightmare on Elm Street is firing on all cylinders.  Hey look, it's John Saxon!  We just raised the ante in a big way, folks.  Yes, Wes Craven was at his very best as a director when he was at the helm for this smash hit, a picture that continues to scare audiences worldwide.  It remains one of the best slasher flicks of all time--if not the very best.  Only Halloween could present a legitimate challenge on that front.  In fact, A Nightmare on Elm Street is so twisted and so expertly plotted that some might chafe at the fact that I've labelled it a slasher flick, but I love slasher flicks so I don't consider that to be a slight.  Regardless, it's a big winner, and I have no problem giving this motion picture the highest of grades.  Wes Craven was a great director and the horror genre won't be the same without him.  A Nightmare on Elm Street was his finest motion picture, and it's a movie that will continue to haunt audiences for years to come.

Over 30 years after it was originally released, this legendary
gem from Wes Craven is still giving horror fans nightmares.