Blade Runner On a Train

The Girl On the Train (2016): adapted by Erin Cressida Wilson from the novel by Paula Hawkins; directed by Tate Taylor; starring Emily Blunt (Rachel), Haley Bennett (Megan), Rebecca Ferguson (Anna), Justin Theroux (Tom), Luke Evans (Scott), and Alison Janney (Detective Riley): 

Based on a best-selling psychological thriller, The Girl On the Train is neither thrilling nor psychologically believable. Unpleasant pretty people do unpleasant things. Someone gets murdered. Whodunnit? Who cares! Emily Blunt's portrayal of an alcoholic probably merits inclusion in the Hall of Fame for Unintentional Funny Bad Performances by Otherwise Capable Actors. Not recommended.

Blade Runner 2049 (2017): based on characters created by Philip K. Dick; written by Hampton Fancher and Michael Green; directed by Denis Villeneuve; starring Ryan Gosling (K), Dave Bautista (Sapper), Robin Wright (Lieutenant Joshi), Ana de Armas (Joi), Edward James Olmos (Gaff), Sylvia Hoeks (Luv), Jared Leto (Niander Wallace), and Harrison Ford (Rick Deckard): 

A slow-burn fever dream of a movie, and a worthy successor to the cult-favourite original. Ryan Gosling is pitch-perfect, while the visuals are marvelous. It doesn't quite equal the original because Jared Leto as the new 'Tyrell' is terrible in that specifically Jared Leto Hambone Way. More operatic scenery chewing from Rutger Hauer, or someone like Rutger Hauer, would have helped give the film more drama. Nonetheless, it's a haunting work at points, one that stays in the memory. Highly recommended.

Spoiler-heavy thoughts on Blade Runner 2049

VIVA LAS VEGAS

1) Ryan Gosling's character is called 'K' and then 'Joe', which seems pretty clearly a nod to Franz Kafka's THE TRIAL . But I also wonder if K was chosen for Sir Kay, adoptive brother of King Arthur, with Deckard and Rachel's child being the Arthur figure for the replicants.

2) My meta counter-reading of Jared Leto's character goes like this: he's a parody of Ridley Scott and his belief in the loopy, overcomplicated scenario in which Deckard is actually a replicant in the original movie.

For one, BR 2049 does not answer the question 'Is Deckard a replicant?'

Instead, Jared Leto's character, when he meets Deckard, hypothesizes a ridiculously complicated plot in which Deckard is a replicant who was programmed to fall in love with Rachael and procreate with her, thus creating the first natural-birth replicant who can also reproduce naturally. 

Deckard's look of 'WTF?' during this scene can be read as commentary on Harrison Ford's oft-stated disdain for Scott's belief that Deckard is a replicant. 

And this plot makes even less sense than previous 'Deckard is a replicant' explanations, given that Tyrell could simply, you know, have had the Deckard replicant have sex with Rachael rather than programming it to believe it's a Blade Runner and send it on a mission to catch other replicants (all with the cooperation of the police and gov't) so that in the course of events it would meet Rachael, fall in love with her, have its life saved by her, and run away with her.

So if Jared Leto (whose character is blind and sees with the aid of several flying cameras deployed around him at all times, basically making him the Director of his own film crew) is Ridley Scott, Jared Leto's character makes way more sense and is actually a great piece of commentary on Ridley Scott.

The Past Isn't Even The Past

Scrooged (1988): written by Michael O'Donoghue and Mitch Glazer; directed by Richard Donner; starring Bill Murray (Frank Cross), Karen Allen (Claire Phillips), Bobcat Goldthwait (Eliot Loudermilk), David Johansen (Ghost of Christmas Past), Carol Kane (Ghost of Christmas Present), and Alfre Woodard (Grace Cooley): Bill Murray is on record as being displeased with the choice and work of Director Richard Donner. And he's right. Donner wasn't a comic director. How did he get this assignment? 

The best parts of Scrooged lie in the performances and a sharp script by Michael O'Donoghue and Mitch Glazer, the former a legendarily bleak original member of the Saturday Night Live writing team. But Murray's criticism -- that all Donner knew how to do in comedies was get everyone to 'go' louder and louder -- is valid. Putting the twitchy, adenoidal Bobcat Goldthwait in a role that called for finesse and an ability to generate sympathy really didn't help either. Karen Allen is welcome as always as the lost love of Murray's Scrooge-like TV executive, and Carol Kane also does some violently funny slapstick. Lightly recommended, for it could have been so much better with a lighter, funnier hand on the helm.

Elvis & Nixon (2016): written by Joey Sagal, Hanala Sagal, and Cary Elwes; directed by Liza Johnson; starring Michael Shannon (Elvis), Kevin Spacey (Nixon), Alex Pettyfer (Jerry Schilling), and Colin Hanks (Krogh): Fizzy, funny imagining of just what went on in December 1970 when Elvis met Nixon. Michael Shannon and Kevin Spacey nail the voices and mannerisms of Presley and Tricky Dick, respectively, despite not particularly resembling them physically. It's funny stuff, with maybe a bit too much sentimentality attached to the friendship of Elvis and Jerry Schilling, the latter being what we in the business would once have called The Narrative Focalizer (TM). But when Elvis and Nixon are in a scene, the scene shines, with Colin Hanks offering capable back-up work as one of Nixon's staff. Recommended.

Arrival (2016): adapted from Ted Chiang's "Story of Your Life" by Eric Heisserer; directed by Denis Villeneuve; starring Amy Adams (Louise Banks), Jeremy Renner (Ian Donnelly), Forest Whitaker (Colonel Weber), Michael Stuhlbarg (Agent Halpern), and Tzi Ma (General Shang): The first half-hour could have used some strenuous advising from someone in the military so as to lose all the military-movie cliches and counter-factual errors that arise. Once we're inside the alien ship, however, things start to sing in this tale of First Contact. 

It's really Amy Adams' show as an actor -- she's great, conveying both intelligence and heartache as the linguist drafted by the U.S. military to figure out the language of the aliens that just parked their giant contact lens in  Montana. More scenes with the aliens would have been appreciated. Canadian director Denis Villeneuve does some nice work with visuals and sound design here, though once again he's made a movie that seems just about 10 minutes longer than it ideally should be. And the sound design occasionally buries the dialogue, suggesting that Villeneuve may be attempting to emulate the sonic garble of Christopher Nolan.  Recommended.