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See all in Reviews
Review: Big Mommas: Like Father, Like Son
Reviews
Blade Runner: The Final Cut
A cohesive revision from Ridley Scott
By
BRETT MICHEL
|
November 14, 2007
BLADE RUNNER: THE FINAL CUT
" alt="photo of 'BLADE RUNNER: THE FINAL CUT'">
3.5
Stars
Harrison Ford
"Are you for real?” asks stripper Zhora (Joanna Cassidy), snake draped around her nearly naked frame as she’s confronted by “blade runner” Rick Deckard (Harrison Ford), a semi-retired gumshoe charged with locating and “retiring” four renegade “replicants” –– 21st-century cyborg slave laborers. Neither the dick nor the dancer (and certainly not the reptile) is entirely “human,” but that’s the clever conceit of Ridley Scott’s dystopian vision of 2019 Los Angeles: in such an ersatz locale, what is “real”? The differences between this ostensibly final revision of Scott’s influential “future noir” and his 1992 “director’s cut” are subtle yet cohesive. Ford’s voiceover from the ’82 original remains absent, and that allows his appropriately synthetic acting to clash with Rutger Hauer’s
sympathetic hyper-emoting as Christ-like replicant Roy Batty, more than ever the film’s ironically “human” archetype: man in search of his maker.
117 minutes | Coolidge Corner
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Firewall
You could trace a history of American anxiety through the bad guys Harrison Ford has had to fight to protect his on-screen family: industrialization in The Mosquito Coast (1987), the IRA in Patriot Games (1992), Russian terrorists in Air Force One (1997), himself in What Lies Beneath (2000).
Shafted
American Gangster , Ridley Scott’s adaptation of Mark Jacobson’s New York magazine article about ’70s Harlem drug kingpin Frank Lucas, is as generic as the title.
EXTRAS! EXTRAS!
As much as I lament the continuing decline of attendance at the cineplex, it’s also easy to understand.
Review: Robin Hood (2010)
“And so the legend begins . . . ”
The future of an illusion
When I first realized that movies would, for better or worse, dominate my imagination forever, I really gave no thought to the forces at work creating these transfiguring images on a screen.
Crossword: ''Shrinkage''
A few inches have been lost.
February 2008
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June 2008
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March 2008
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April 2008
April's planetary themes are fire and earth and a touch of water, which basically amounts to the conditions needed for pottery.
May 2008
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[
02/20
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"Optical Noise: American & British Prints/Films from the 1960s-1970s:
@ David Winton Bell Gallery
[
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Third Annual Providence Children's Film Festival
@ Cable Car Cinema
[
02/20
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"The Providence Postcard Project"
@ Brown University's Granoff Center, Martinos Auditorium
ARTICLES BY BRETT MICHEL
REVIEW: THIS MEANS WAR
| February 16, 2012
What promises to be a modern Jules and Jim (until you realize it's directed by a 43-year-old who calls himself "McG") quickly devolves into Spy vs. Spy territory, only with incompetently staged and edited action and little of that ol' Mad magazine zing.
REVIEW: THE VIRAL FACTOR
| January 17, 2012
Made for a modest budget of $17 million — and feeling like it (who needs convincing explosions in an action movie?), Dante Lam's latest still gets the job done from a run-and-gun standpoint.
REVIEW: EXTREMELY LOUD AND INCREDIBLY CLOSE
| January 17, 2012
Too soon? For Stephen Daldry's 9/11 drama, the right time is "never."
REVIEW: THE DIVIDE
| January 10, 2012
Many a teleplay for The Twilight Zone threatened atomic Armageddon, and though Frontier(s) director Xavier Gens nukes New York in the opening shots of his latest thriller, he finds more inspiration in the horrors of human nature as seen in the old TV show's episode "The Monsters Are Due on Maple Street."
REVIEW: MISSION: IMPOSSIBLE – GHOST PROTOCOL
| December 20, 2011
Impossible Missions Force agent Ethan Hunt (Tom Cruise) returns to the screen in dramatic fashion as new teammate Jane (Paula Patton) and the returning Benji (Simon Pegg) break him out of a Russian prison.
See all articles by:
BRETT MICHEL
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