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"Blade Runner" is a film set in a dystopian 2019, where humans have bio-engineered robots (replicants) for slave labor. After a few replicants go rogue, a Blade Runner is hired to track them down and "retire" (kill) them. The film stars Harrison Ford as Rick Deckard, the Blade Runner hired to track down four fugitive replicants, Sean Young as Rachael, Deckard's love interest and newly discovered replicant, Rutger Hauer as Roy Batty, the leader of the rogue replicants, and Daryl Hannah as Pris, Batty's partner. This is the third feature from legendary director, Ridley Scott. "Blade Runner" is a game-changing cinematic experience that successfully marries elements of film noir with the genre of science-fiction.

Harrison Ford is the film's center. He portrays an unconventional protagonist. The heroes of "Blade Runner" live in a grey area. Deckard is no different. He's stoic. He's aloof. He lacks compassion. Although Deckard is portrayed as a human, his temperament is not far off from the expectations of a replicant. Deckard is one of Ford's most prolific performances. Ford approaches each scene as if he's lived in the world of "Blade Runner" for hundreds of years. He's tired. He's groggy. However, the killings of a Blade Runner is never easy for him. In tense moments, Ford breathes heavy. He's afraid. At times shame seeps into Ford's performance. Ford attaches depth to the character of Deckard - much of which goes unexplored. Sean Young's Rachael is naive. She's innocent. She's inexperienced. She's young. Rachael is brought into a world that she is unfamiliar with. She shy's away from the world of replicants and Blade Runners. She's sheltered. Young is meek. She approaches each scene with tenderness. Her portrayal of Rachael is submissive. She's very docile. It works for Rachael's character. Young is able to balance Ford's experience. Where Ford's Deckard is a grizzled veteran in the dystopian world of 2019, Young is a total novice. Daryl Hannah's character Pris is overtly sexual, yet intimidating. She's cunning. Each scene that features Pris feels like a setup. She is always plotting. Hannah brings a lot of charm and sex appeal to the character. Her friendliness, physical imposing nature, and beauty are all elements that make the character intriguing. Hannah's delivery of lines is sweet, yet goading. Her movements are calculated. She performs handstands throughout the film, which adds weight to her physically imposing nature. She moves through each scene with speed and intensity. Pris is fun to watch. Much of the film's emotional weight comes from Rutger Hauer's performance as Roy Batty. He is scary good. Batty is the film's antagonist. Much like the protagonist, the antagonists exist in a shade of grey. Batty captures this perfectly. Batty pushes the viewer to question the ethics of the human-replicant relationship. He is often aggressive. Hauer carries himself as if he were portraying a monster. He's confused. He's in pain. He brings manifests those feelings through anger. Ironically, Hauer's performance as Batty is more human than Ford's performance as Deckard. Hauer's delivery is incredibly emotional. He's pointed. He's witty. Roy Batty is arguably the soul of the film. In sum, The character work and acting of "Blade Runner" are well-crafted.

Thematically, the film adds much to the conversation of "man vs. Technology." Much like the character work and acting, the narrative has a lot of depth. The relationship of replicants and humans is jarring. Replicants are viewed as sub-species despite having the make and physical appearances of humans. They are treated as less than humans. Conversely, they are built to be the superior. Some replicants are designed to be special in areas that humans are not. The script shows that humans and replicants are each special and unique in their own ways. The narrative of "Blade Runner" is slow and requires focus. The story is very methodical. It requires attention and patience. However, when finished, the story is a marvel. The viewer is left wanting to stay in the world of "Blade Runner," to explore other pieces of a grim future.

The production design of "Blade Runner" is amazing. The detail and the world building are some of the film's best attributes. The dystopian 2019 earth of "Blade Runner" is wondrous and dreadful. The world is shrouded in shades of black, gray, and brown. At times lit by lush, neon billboards, 2019 Los Angeles is gripping. Set pieces such as flying cars add to the spectacle of the film's futuristic nature. Weather sets the tone for the film. The city wears a perpetual rain and smog combination. The environment feels dirty. There is an aura of grit and grime. A moody soundtrack helps bring the fictitious setting to life. Synths and jazz are the film's signature. Vangelis crafted an incredible score that pairs perfectly with any rainy day. "Blade Runner" is a drug to the senses. Ridley Scott's vision for the world of "Blade Runner" is a compelling and unique cinematic experience.

Overall, "Blade Runner" is a must-see science-fiction classic. It masterfully brings elements of film noir to dystopia. The film transcends beyond cinema, offering a dialogue on the waning relationship between man and machine.

"Thief" is a neo-noir thriller about a jewel thief who deals with a shady Chicago crime syndicate for the score of a lifetime. The film stars James Caan as Frank, Tuesday Weld as Frank's wife, Jessie, Jim Belushi as Frank's partner, Barry, Willie Nelson as Frank's mentor, "Okla," and Robert Prosky as Chicago crime boss, Leo. This is the feature directorial debut of Michael Mann. "Thief" is a detailed and gripping crime drama that almost perfectly juxtaposes a seedy, dark underworld with lush cinematography.

James Caan is the heart and soul of "Thief." His performance as Frank is mesmerizing. He's charismatic and passionate. He's bold and ballsy. Frank is not a virtuous protagonist. He's honest in his misgivings. Caan captures Frank's sensibilities with his pointed delivery. He's aggressive in his movements. He gets through each scene with a sense of urgency that enhances the film's tense nature. Caan's performance is really strong - and at times it drives the film. Frank's friends and family add a layer of emotion that can't be reached in Caan's no nonsense performance. As Jessie, Tuesday Weld balances Caan's performance with patience and grace. She challenges him. She meets his brashness with levity. Weld is a breath of fresh air - adding a sense of calm to the otherwise tense narrative. Jim Belushi and Willie Nelson standout as loyal figures in a world built on deceit. Belushi is subtle, yet cool. His body language is often relaxed. Belushi's character, Barry, and Frank are the same in that they are master thieves, but different in their approach. Nelson's performance as "Okla" adds a mature aura. He is Frank's pseudo father. He motivates Frank. He adds and emotional tie to the narrative - grounding and reaching Frank in a manner that Jessie cannot. Finally, Robert Prosky's performance at Leo is jarring. Leo is polite, intelligent, and reassuring. However, he's also cold and calculated. Leo is intimidating in that he is overtly confident and believable. Prosky owns the screen with elegance and power. He adds much weight to the danger that lives in "Thief."

The film's strongest aspect is its' cinematography. Director of photography, Donald E. Thorin captures the world of "Thief" in a manner that is masterful and effortless. Everything in this picture is detailed. Scenes in which Frank and Barry are setting up their heists or completing a score are mesmerizing. The act of welding in the film is soothing. The heists are satisfying to watch. The film is shot in an uncharacteristically relaxed manner that juxtaposes the narrative's tense. For example, the rain depicted in the opening sequence serves as a true calm before the storm. The neon lights of 1980's Chicago are incredible to look at. The lights shine off of Frank's cadillac - reflecting the city's busy, yet lush nature. The use of lighting is almost dream-like. Often, the camera has a blue-ish filter on the lens, adding to the overall cold tone. If Frank is a master thief, consider Thorin a master photographer. The grain, the lighting, and the action are all aspects that are crafted masterfully and showcased in a style befitting of the film at large.

The story of "Thief" is fine. It is not excessively complicated. It at times is not to the point, nor is it entirely exciting. However, the narrative is carried by great characters and a strong vision. The use of sound in this film is well-done - however there are some minor hiccups. At times, dialogue is difficult to understand. But mostly, the audio is perfectly paired with each scene. For example, toward the end, Frank is in a situation where he is sneaking into a home. The audio is cut - and silence perfectly helps build the tension of the scene. Natural sound is used throughout the film - and it enhances the overall experience. There are stretches with no dialogue that are spectacular because much of the noise is diegetic. Additionally, the soundtrack is incredible. Tangerine Dream's music accompanies the film - completing the total experience that is "Thief."

Overall, "Thief" is one of the greatest heist movies ever made. It is mesmerizing in every sense. "Thief" is a film about a man who is a master at his craft - carried out by actors, a director, and a cinematographer who are nothing short of master's at their craft.

"Jackie Brown" is a crime-thriller about a flight attendant who finds herself caught up in an ATF investigation involving an arms dealer. The film stars Pam Grier as Jackie Brown, Samuel L. Jackson as Ordell Robbie, Robert Forster as Max Cherry, Brenda Fonda as Melanie Ralston, and Robert De Niro as Louis Gara. This is the third feature film from Quentin Tarantino. "Jackie Brown" is one of Tarantino's most unique pictures; excelling in subtlety, wit, and pacing.

The performances in "Jackie Brown" are well-constructed. Pam Grier plays the titular character. In contrast to many of her Blaxploitation roles, Grier takes center stage as more than a caricature for male fantasy. Jackie Brown is intelligent, cunning, and a bad ass all the same. Grier breathes life into Jackie Brown through a wide palette of emotion. In her dialogue, she exhibits anger, fear, and joy with the inflection of her voice. In addition to her delivery, Grier's body language is one of her strongest assets. By large, she is the film's glue. Samuel L. Jackson counterbalances Grier's soul with snakish charm. Jackson's portrayal of Ordell Robbie is devious and chilling. Ordell has charisma and style, however he is cruel. Jackson's best moments are displayed through non-verbal body language. His facial expressions are his strongest attributes. Ordell Robbie may be one of Jackson's most underrated characters. While Jackson and Grier excel in personality, Robert Forster completes that package with his old school Hollywood acting prowess. Forster's character Max Cherry is thrusted in the middle of the film's conflict. He steps in as the audiences surrogate. He is the film's straight man, yet he displays a lot of heart. Cherry gradually transforms into a warm character. Forster plays off both Grier and Jackson as the voice of reason, while simultaneously matching their strong performances. The supporting cast does a great job of keeping up with the film's three central characters. De Niro gives one of his most low-key performances as Louis Gara, while Brenda Fonda is bombastic and colorful as Melanie Ralston. Michael Keaton and Michael Bowen are sprinkled in as an ATF agent and LAPD detective. They each give weight to the film's circumstance through their non-yielding presence as the authorities. In sum, the cast of "Jackie Brown" is really good. They have great chemistry - and their performances double as a "how to" guide on fine acting.

"Jackie Brown" has a strong narrative. There are many twists and turns in the film's plot. While character motives can be seen as complicated, the film does a great job of identifying each person's central goal through exposition. The film's complex set up is one of its' strengths. There is never a dull moment. Tarantino crafted a tight screenplay that does not waver. One of the best aspects of "Jackie Brown" is the use of perspective. Akin to Francis Ford Coppola's park scene in "The Conversation," portions of the movie are depicted from different character standpoints that add new details and new meaning to the central action. Tarantino kills two birds with one stone by replaying the same scenes, while adding each character's essence to the aforementioned scene. One of Tarantino's defining trait is his well-written dialogue. "Jackie Brown" is no exception to this. The dialogue and language used in "Jackie Brown" is well-crafted. Each character feels unique, yet their speech connects to one another and adds more weight to the story. To say "Jackie Brown" has a good narrative is an understatement. The film's plot and dialogue are very strong.

The cinematography is great. Director of photography, Guillermo Navarro does a great job of matching the script's complex narrative with top-notch camera work. The opening scene is an iconic character introduction. The steady-cam dolly on Jackie Brown on a moving walkway is one of the film's best shots. Throughout "Jackie Brown," the camera often follows the characters, mimicking verite and presenting a documentary-esque feel. It makes the drama feel real - and proves compatible with the already excellent story. The film's editing is solid, but at moments rough around the edges. A few cross dissolves feel unnecessary. The sound-mixing is really good for the most part, yet when the characters talk on the other end of a phone - their audio tracks do not match. It's often as if the characters are in the same room as the other characters while being on the opposite end of the phone. It's a minor gripe that can be immersion-breaking. Despite, very minor editing issues, the film has a great style. The soundtrack adds so much to the mood and tone of "Jackie Brown." It's a fun movie to look at - with great music to compliment the visuals.

Overall, "Jackie Brown" is Tarantino's most underrated film. It's novel, it's witty, it's well-paced, it's charming, and it's a great experience. "Jackie Brown" should be remembered as a film that gave Pam Grier and Robert Forster their best performances. Defined no less than what it truly is - a thriller.