antonjsw1
Joined Apr 2006
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antonjsw1's rating
Reviews79
antonjsw1's rating
After the high profile, but at the time commercial unsuccessful Bladerunner, Ridley Scott's meteoric rise into Hollywood juddered to a halt. Nevertheless Scott decided to head in a different direction with this small scale, archetypal and relationship oriented drama about how a committed but inexperienced working-class detective (Tom Berenger), under pressure to protect a charming and beautiful New York socialite (Mimi Rogers) as part of witness protection team plays out in circumstances of growing pressure and danger.
Berenger's character is working in shifts with two much more experienced detectives (well played in smaller parts by Tony DiBenedetto and James E Moriarty) and watching him develop a repressed human affection for Mimi Rogers character, who plays her character as vulnerable but also charming and assertive is involving and enjoyable. One event then tips this friendship over into a full blown affair, and the rest of the film deals head on with the consequences of this decision in the context of Venza's growing determination and finally desperation not to be identified as the murderer. Alongside this is how the relationship between Berenger's character and his family, well played by the relatively new to Hollywood Lorraine Bracco as his wife and child actor turned businessman Harley Cross as his son changes as the affair becomes public. This change is well realised, though the film's ending does feel a little too convenient, even if it is emotionally satisfying. However the progression of the story works well as Mimi Rogers portrayal of her character means the viewer ends up being sympathetic to the tragic circumstances unfolding of two individuals caring for the welfare of each other being placed in an ever more intense situation.
While hardly a success at the box office, (around $10 million in US takings against at $10-$15 million budget) as a film is was Scott's most human and relationship driven film at this point in his career. He coaxed solid performances from the cast, and despite a focus on characters he still produced a visually impressive film, making New York look fabulous. Technical credits are solid all round with a particular nod to Steven Poster's excellent photography.
Overall a fascinating and involving film.
Berenger's character is working in shifts with two much more experienced detectives (well played in smaller parts by Tony DiBenedetto and James E Moriarty) and watching him develop a repressed human affection for Mimi Rogers character, who plays her character as vulnerable but also charming and assertive is involving and enjoyable. One event then tips this friendship over into a full blown affair, and the rest of the film deals head on with the consequences of this decision in the context of Venza's growing determination and finally desperation not to be identified as the murderer. Alongside this is how the relationship between Berenger's character and his family, well played by the relatively new to Hollywood Lorraine Bracco as his wife and child actor turned businessman Harley Cross as his son changes as the affair becomes public. This change is well realised, though the film's ending does feel a little too convenient, even if it is emotionally satisfying. However the progression of the story works well as Mimi Rogers portrayal of her character means the viewer ends up being sympathetic to the tragic circumstances unfolding of two individuals caring for the welfare of each other being placed in an ever more intense situation.
While hardly a success at the box office, (around $10 million in US takings against at $10-$15 million budget) as a film is was Scott's most human and relationship driven film at this point in his career. He coaxed solid performances from the cast, and despite a focus on characters he still produced a visually impressive film, making New York look fabulous. Technical credits are solid all round with a particular nod to Steven Poster's excellent photography.
Overall a fascinating and involving film.
This film is a fascinating and involving experience if the viewer has the patience to experience the film properly. It has, despite its age, a tremendous visceral impact, especially if you can see it on a big screen in the dark. The final cut of this film is definitely the best version of this Ridley Scott classic.
The plot mainly focuses on ideas and how the key characters in the film deal with the situation they find themselves in. The actors playing the genetically engineered human replicants all give original, fresh, unusual yet convincing performances in their roles, led by the strong and committed central performance of Rutger Hauer is Rory Batty. The journey these replicants are on plays alongside a separate journey of another Replicant Rachel (well played by Sean Young) as a company owned experimental model that, by using human memory implants, is convinced she is a human until forced to question her existence by an interrogation by human detective Deckard. Deckard is played in a surprisingly low key and introspective performance by Harrison Ford. How the Deckard character interacts with Rachel, while he attempts to track down the group of replicants led by Hauer's character (their presence on earth is illegal) is very steadily paced, but interestingly and effectively executed as a dramatic police procedural story, including immersing you the viewer in a brilliantly realised environment of a highly polluted 2019 Los Angeles.
While moving through the films plot, the focus is on the gradual climax of the procedural story within the context of looking how these intelligent, super-strong, but emotionally child like engineered humans go on their journey to confront their human creator (brilliantly played by Joe Turkel as a billionaire recluse) about the truth of the nature of their existence. Juxtaposed against this is Deckard's disillusioned and largely emotionless human gradually having his humanity re- awakened by the development of an increasingly romantic relationship with Rachel, as well and questioning himself as to whether there is in fact a difference between humans and replicants. These plots are embedded is an amazing visual experience, largely down to Scott's amazing vision and execution (despite some well publicised problems during shooting), but brilliantly supported in its realisation by cinematographer Jordan Crowenweth, visual effects supervisor Douglas Trumbull and his Entertainment Effects Group Company, editor Terry Rawlings, production designer Laurence Paul and the truly amazing score of Vangelis. The final cut rightly restores an appropriate ending fitting to the noir overtones of the film, the original cut released in 1982 suffered from an out of place narration and ending that was not in keeping with the tone of the rest of the film.
It was surprising that ET beat this film to the visual effects Oscar, as in my opinion the work on this film was far more impactful and impressive. Overall an outstanding film experience that has stood the test of time remarkably well. It will be interesting to see what director Denis Villenuve, who in my view is an excellent choice does with the long-awaited sequel Bladerunner 2049.
An outstanding achievement.
The plot mainly focuses on ideas and how the key characters in the film deal with the situation they find themselves in. The actors playing the genetically engineered human replicants all give original, fresh, unusual yet convincing performances in their roles, led by the strong and committed central performance of Rutger Hauer is Rory Batty. The journey these replicants are on plays alongside a separate journey of another Replicant Rachel (well played by Sean Young) as a company owned experimental model that, by using human memory implants, is convinced she is a human until forced to question her existence by an interrogation by human detective Deckard. Deckard is played in a surprisingly low key and introspective performance by Harrison Ford. How the Deckard character interacts with Rachel, while he attempts to track down the group of replicants led by Hauer's character (their presence on earth is illegal) is very steadily paced, but interestingly and effectively executed as a dramatic police procedural story, including immersing you the viewer in a brilliantly realised environment of a highly polluted 2019 Los Angeles.
While moving through the films plot, the focus is on the gradual climax of the procedural story within the context of looking how these intelligent, super-strong, but emotionally child like engineered humans go on their journey to confront their human creator (brilliantly played by Joe Turkel as a billionaire recluse) about the truth of the nature of their existence. Juxtaposed against this is Deckard's disillusioned and largely emotionless human gradually having his humanity re- awakened by the development of an increasingly romantic relationship with Rachel, as well and questioning himself as to whether there is in fact a difference between humans and replicants. These plots are embedded is an amazing visual experience, largely down to Scott's amazing vision and execution (despite some well publicised problems during shooting), but brilliantly supported in its realisation by cinematographer Jordan Crowenweth, visual effects supervisor Douglas Trumbull and his Entertainment Effects Group Company, editor Terry Rawlings, production designer Laurence Paul and the truly amazing score of Vangelis. The final cut rightly restores an appropriate ending fitting to the noir overtones of the film, the original cut released in 1982 suffered from an out of place narration and ending that was not in keeping with the tone of the rest of the film.
It was surprising that ET beat this film to the visual effects Oscar, as in my opinion the work on this film was far more impactful and impressive. Overall an outstanding film experience that has stood the test of time remarkably well. It will be interesting to see what director Denis Villenuve, who in my view is an excellent choice does with the long-awaited sequel Bladerunner 2049.
An outstanding achievement.
This is my first thoughts review - and will add to this when I have though about it more. It is definitely up there with the best of the Star Wars films and significantly better than the Force Awakens - puts the 'war' into Star Wars!
Gritty, political, tragic and engrossing with some great action and great performances. The film really succeeds in creating a pervading sense of oppression and and all the Imperial characters are seriously nasty, including a certain Sith Lord and a certain regional governor who takes over control on the famous "its no moon... its a space station" during the story!
9/10 Go and see it!
Gritty, political, tragic and engrossing with some great action and great performances. The film really succeeds in creating a pervading sense of oppression and and all the Imperial characters are seriously nasty, including a certain Sith Lord and a certain regional governor who takes over control on the famous "its no moon... its a space station" during the story!
9/10 Go and see it!