Since there were a lot of ways the sequel to the bizarre, Asianesque sci-fi noir classic Blade Runnercould have been awful, I was expecting Blade Runner 2049 to be handled about as well as Indiana Jones and the Kingdom of the CrystalSkull or Ghost in the Shell, both of which failed to delight their devoted target audiences. I was pleasantly surprised.
2049 has some disturbing violent moments, and the whole finale is one of those water scenes I really dislike, but I enjoyed it more than the original, I think because it generally made more sense, or because of some beautiful, colorful architectural shots, or perhaps simply because it was new and therefore I did not feel obliged to like it simply because, for two or three decades, other people already had.
There’s a lot of chatter about this movie’s ties to the original, and about philosophical questions relating to memory and the soul, but for me the movie is about the journey from blissful ignorance through mistake or self-deception to self-knowledge and finally acceptance. Ignorance is never bliss, and you always have a choice.
I’m beginning to understand the fuss on the internet about saving Matt Damon. He’s an endangered private on a WWII battlefield. He’s a stranded astronaut on a mission to Mars… the list goes on. In Interstellar, though he’s not the main character, he’s a researcher on a distant planet shrouded with frozen clouds.
Interstellar was not a fast-paced movie. There is action, but there are also long stretches of calm. The futuristic mumbo-jumbo is balanced by familiar human relationships; there’s as much drama as sci-fi.
I thought Interstellar was way better than Tomorrowland—certainly it was more complex—but the two movies have the same message: smart people who have hope can always solve the world’s problems.
I enjoyed it, except for the terrifying watery scene, and found the resolution satisfying. See below for a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder’s Save the Cat.
Jackie Chan is still kicking, punching, and jumping out windows. In this action thriller, he’s a sad dad with special forces training, trying to track down some anonymous bombers. The two main characters, Quan and Hennessey, are enemies, but I would say this is a buddy movie because they are trying to solve the same mystery. The movie is serious and satisfying but has a few funny moments in it.
Do NOT watch this movie… on a plane. The real value is in seeing the amazing CGI fights, which somehow never devolve into loud, meaningless smashing. They’re—well, they’re colorful, for Pete’s sake. It’s no fun to watch on a screen six inches wide, but it’s joyous when you can see what’s happening! I enjoyed my second viewing much more than I expected to, thanks to the top-notch execution by Industrial Light and Magic of the stunningly detailed artistic vision of Guillermo del Toro.
Okay, so you’re not a fan of monster movies? Me neither, but this one does some magnificent worldbuilding. The prologue of Pacific Rim has its own prologue, strangely enough, and it was way less dull than at least two others I can think of. Perhaps us Westerners wouldn’t be able to stomach a movie that just started smack in the middle of a war with aliens, where giant military mind-melding machines are the new norm. Huge robots are par for the course for the mecha sub-genre of science fiction (cfRahxephon), but they aren’t exactly Hollywood staples. This movie did well enough (on the strength of ticket sales in China and Japan) to spawn a sequel, coming to theaters next year.
Although I enjoyed the movie, it wasn’t what I’m used to, so it was hard to evaluate. The first time I watched it, I was confused by the story, either because I was stuck in an airplane watching on a tiny screen and started falling asleep, or because the plot was so straightforward I thought I must have been missing something. I kept expecting twists and turns that never materialized.
I felt better about the movie after I watched a couple of the featurettes included in this Blu-Ray package. The director explained that he wanted to tell a simple story about heroism using character types drawn in simple outlines. He didn’t want a lot of plot or expositiony dialog, he wanted realistic action coded with thematically appropriate colors. I’d say he got what he wanted.
I loved Firefly. Still do. I’m not quite as huge a fan of the movie Serenity.
I’m relieved that, thanks to the near-miraculous success of a grassroots fan campaign (“Can’t stop the signal!”), a movie was made that squared away the plot mysteries of Joss Whedon’s futuristic fantasy space universe show, but Serenity is vastly different in tone. In the movie, the crew have to risk everything to save everybody, and death doesn’t just lurk around every corner: it jumps out and claims victims. Serenity is anything but serene.
My husband and I recently re-watched the series on Blu-ray. Some of the dialog is memorable enough that even now we can speak it along with the characters. The characters and the pretend space-frontier setting felt thoroughly familiar and welcoming.
What is it about this fragment of a season of a show that makes it so lovable, so enduring? Say what you want about Joss Whedon, he has the ability to create people and places that we truly wish existed—and somehow, that makes them real, or real enough.
Pfft. The movie was just one huge, holy mess of CGI action scenes.
Also, how the heck are Metropolis and Gotham like just across the bay from each other? Gotham is undeniably New York City, and I always thought Metropolis was Chicago. Surely they can’t BOTH be New York?
Also, I’m tired of plots built on the idea that the public has turned the tables on heroes and has started criticizing them for their actions. The first few times you could argue that it’s necessary and interesting, but does every superhero movie have to be like that now?
Also, The Lego Batman Movie handles pretty much all the same themes that this one does, but it’s fun to watch—and this one wasn’t.
I’m glad I watched it, because I watched the movie before it (Man of Steel) and after it (Wonder Woman), and there was a kind of gap in the overall story, and now there isn’t. Wait, that’s not true… I still haven’t watched Suicide Squad. I didn’t realize that was part of the DCEU timeline.
I get the sense that this is the canonical buddy-cop movie. I didn’t get to watch the whole thing because the plane landed. I wouldn’t say I was necessarily enjoying it, but I would have liked to see the end.