Tagmovies

A plea for The Replicant Edit

I do not believe that there are any exceptions to the rule that big-budget Hollywood action movies today — within which I include many SF and all superhero movies — possess the following traits:

  • They’re at least 30 minutes too long;
  • Most of that excessive length results from the decision to stage one massive action set-piece too many;
  • The decision to stage one massive action set-piece too many stems, in turn, from the catastrophically erroneous belief that raising the stakes — putting a city or (better) a country or (better still) a planet or (even more better) the universe or (best of all) ALL THE UNIVERSES THERE EVER WERE OR EVER COULD BE at risk — will increase viewers’ emotional investment in the story;
  • In order to turn the screw of tension ever tighter, some characters will be made to behave in ways wildly inconsistent with what they appear to be throughout most of the movie, while other characters will be pressed towards the abaolute extremes of heroism or wickedness.

I don’t think my claims here are seriously contestable, which leaves us with two kinds of movie viewers: those who don’t mind, and those who mind: those who can accept these traits as conventions of the genre and move beyond them in evaluating the success or failure of a picture, and those who can’t be reconciled to these traits.

I am in the latter camp, which is why I am not as crazy about Blade Runner 2049 as many of my friends. BR2049 is visually and aurally stunning — and I mean truly stunning: I am very happy that I got to experience the movie at an Alamo Drafthouse, where they really care about both projection and sound quality. But the screenplay is often inept, and the pacing is abysmally bad. During the interminable final fight scene I got seriously drowsy, and and possibly would have nodded off altogether if it hadn’t been for the occasional loud noises.

I read or heard somewhere that Denis Villanueve has said that there won’t be a director’s cut of BR2049 because “This is the director’s cut.” Well, good. But what we need instead is a Phantom Edit-style reduction. Call it The Replicant Edit. My suggestions: first, do away with that last big fight scene, and second (this is even more important), eliminate Jared Leto’s Wallace altogether. Delete him. Wallace is the Jar Jar Binks of BR2049. A number of people have complained about Leto’s performance, but I don’t blame him: the part is horrifically badly written, and literally no actor in the world could have made it work. In fact, everything between the crucial meeting in Las Vegas and the final scene could be done away with: the whole Replicant Resistance is introduced only in order to Raise Those Stakes and give K some information that he could have gotten in any number of other ways.

With all the crap out of the way, we’d have a story that is just as visually and aurally powerful as the version now on display, and one focused more consistently on Ryan Gosling’s K, who is the heart and soul of the movie. (N.B.: soul.) Gosling’s performance is truly remarkable, and his part is brilliantly written, thank God: through K all the questions about what it means to be human that were raised so powerfully and disturbingly in Blade Runner are extended and developed here with a shrewdness that quite overcomes all the fears fans of the original had about the likelihood of ham-fisted answers to subtle questions. If the internal crisis of Gosling’s K could be brought more consistently to the movie’s center of attention, BR2049 would be a worthy successor to the original, and the two films together would make a profound diptych for the emergent Age of AI. As it stands, I’m just looking forward to buying the Blu-Ray and skipping the scenes I hate. I think some important matters might come clear for me then.

“this is what you no longer understand”

We live in an era in which the overwhelming majority of filmgoers will have no experience of military life whatsoever, either as veterans or relatives thereof. “Dunkirk,” a visually stunning film—overwhelming in IMAX— will not give those audience members the illusion that by having watched the film they understand what war is. They will be moved, I’m sure; this particular story cannot be anything but. But its very distance from the communal character of military experience marks it as a film of our time trying to reach back to another era, when military culture was more generally understood, and show us: see, this is what you no longer understand.

Noah Millman

“Picturization”

Is it a good movie? No, not if you want plots you can follow and visuals that don’t seem to be maiming themselves. (On the other hand, why would you?) But it’s greater and stranger than most conventionally good movies because of this bizarre thematic Möbius strip: Welles tried to make a personal artistic statement out of a B-movie thriller, and the thriller became the exact nightmare he was trying to make a statement about. In a way, the art was more self-aware than he was; it refused to stop being life. He had built the hall of mirrors, then found that he’d wandered into it. Audiences in 1948, when Columbia released the film in America, were not prepared for something this opulently broken. The movie flopped.

Brian Phillips on The Lady from Shanghai

In 2005, The Lancet published a comprehensive review of the literature on media violence to date. The bottom line: The weight of the studies supports the position that exposure to media violence leads to aggression, desensitization toward violence and lack of sympathy for victims of violence, particularly in children.

In fact the surgeon general, the National Institute of Mental Health and multiple professional organizations — including the American Medical Association, the American Psychiatric Association and the American Psychological Association — all consider media violence exposure a risk factor for actual violence.

To be fair, some question whether the correlations are significant enough to justify considering media violence a substantial public health issue. And violent behavior is a complex issue with a host of other risk factors.

But although exposure to violent media isn’t the only or even the strongest risk factor for violence, it’s more easily modified than other risk factors (like being male or having a low socioeconomic status or low I.Q.).

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