Blade Runner (1982)
★★ / ★★★★
Rick Deckard (Harrison Ford) was given an assignment by the leader of the Tyrell Corporation (Joe Turkell): to hunt four replicants (Rutger Hauer, Daryl Hannah, Brion James, Joanna Cassidy), human-like creatures who lacked natural emotional responses as humans, and “retire” or assassinate them when they reached planet Earth. Rick’s mission became a bit complicated when he started to fall for another replicant named Rachael (Sean Young) who wasn’t aware of her true nature. The first time I saw “Blade Runner” back when I was in high school, I was far from impressed with it. But after having more experience with films, I decided to give it another chance. Unfortunately, I still think it’s an overrated postmodern science fiction picture. Obvious questions were left answered. For instance, how can we discern a replicant from people with abnormal psychology such as those diagnosed with antisocial personality disorder? Having only one factor that supposedly determined whether someone was a replicant or not was, for a lack of a better word, foolish. It didn’t sound like science and the screenwriting was to blame. Admittedly, it had influenced the look of gritty sci-fi movies that came after it and I was impressed with its visual and special effects. I felt like I was actually there. But the look of a movie isn’t enough to elevate a material that lacks an emotional core. The way Ridley Scott directed the project left me cold. I tried to buy the budding romance between Rick and Rachael but I didn’t feel friction and tension between them. Rick was supposed to be tortured for falling in love with a replicant and Rachael was supposed to find herself through Rick but their self-discoveries felt like a tertiary element because it lacked focus. As for Rick hunting down the four murderous replicants, I felt like the situation could have been solved in thirty minutes. I didn’t think they were menacing because I didn’t find them interesting. Their mission was to find a way to prolong their four-year lifespan. However, Scott didn’t invest the time for his villains to ponder over their existence. Instead, there was a formula. We observed the villain doing something out of the ordinary and then Rick appeared to perform his assignment. It was one dimensional and I was exasperated with its lack of ambition regarding character development. As a film about dystopian future, instead of looking forward and trying innovative things, it used a formula as a crutch and that’s what I found to be unforgivable. While it might have been visually inspiring, everything else felt insular and inaccessible. Audiences and critics expressed their distate for the film back in 1982 and for a good reason. No amount hyperboles regarding its visual mastery can persuade me that it’s an outstanding, well-rounded picture if I don’t feel something.
Repo Men (2010)
★★ / ★★★★
Jude Law and Forest Whitaker star as former childhood enemies whose job was to extract vital organs from people’s bodies when they fell behind on their payment plans. But after Law was involved in an accident during a job, his boss (Liev Schreiber) didn’t waste a second to get Law to sign a document so he could get an artificial heart. Only then did Law began to sympathize with the people he decided to shock into temporary paralysis and cut open without remorse. I liked this movie in parts but not as a whole. I thought the second half of the movie was much stronger than the first because it eventually didn’t second-guess itself in delivering the action, blood and violence. The first part of the movie felt a little bit forced; not for one second did I believe Law and Whitaker as colleagues let alone friends. I also thought that the scenes with the Law’s wife and son were a bit redundant and if I were to disregard those scenes altogether, the overall product would have been the same. In other words, the director (Miguel Sapochnick) wasn’t quite efficient in terms of time, which scenes were really important and which others needed to be taken out. Although the movie had some nice ideas splattered throughout, none of them were fully realized because the characters were not fully developed. Since it lacked character development, it was difficult for me to read their beliefs despite what they portrayed on the outside and their specific motivations. Just when I thought it was about to dive deeper into its characters, the scene would have a drastic change of tone and it took me out of the moment. I wished that it had taken one route instead of trying to balance thoughtfulness (comparable to “Gattaca”) and pure escapism (comparable to “From Paris with Love” and “Shoot ‘Em Up”). Instead of me enjoying the picture as a whole, I liked specific scenes such as Law trying to sneak into his former workplace, scenes that involved bloody surgeries, the white room, the battle to the pink room, and the final scene that (admittedly) took me by surprise. Overall, it made me think whether I enjoyed the movie despite its flaws or whether I enjoyed it because of its potential to be great. It had a great setting because it looked futuristic but not so far off that it was completely unbelievable. In some ways, it reminded me of post-apocalyptic films like “Children of Men.” Perhaps with a better writing and more focused direction, “Repo Men” would have had more punch to match its ambition.
The Fifth Element (1997)
★★★ / ★★★★
I didn’t know much about this movie when I decided to watch it so my expectations were not that high. I thought it was going to be another one of those science fiction movies that deals with the apocalypse and so happens to take itself way too seriously. I couldn’t be anymore more wrong because “The Fifth Element,” written and directed by Luc Besson, was as funny and interesting as the vibrant colors that could be found in it throughout. Every 5,000 years, a strange power appears and tries to engulf life. It could be stopped by combining the powers of fire, water, wind, earth and the supposed “fifth element” for another five thousand years and the cycle continues. Bruce Willis stars as Korben Dallas, a taxi driver in futuristic New York who used to work for the military. He got sucked into the madness of intergalactic battle when Milla Jovovich–the fifth element, also known as the perfect being–literally dropped into his taxi. Their mission was to gather all the elements and save the planet from being obliterated into oblivion. Gary Oldman as the evil Zorg, Ian Holm as the priest, and Chris Tucker as the hilariously flamboyant DJ also star. I enjoyed this movie more than I expected to because its pace was quick; it didn’t dwell on the specifics on who’s who and what their intentions and motivations are. This film definitely reminded me of a hybrid between the “Star Wars” saga and the B movies of the 1950’s because it had that nice balance of imagination and humor. The only minor complaint I had was that sometimes it managed to distract itself from the story to make room for some of the more obvious funny moments. Tucker was the one who stole most of the scenes he was in because he was able to focus his manic personality into a character that had to be very enthusiastic about everything every time he was on his program. As for the visual and special effects, yes, they are sort of dated but I really didn’t care because I’m more concerned about the concept, how well a film builds on the story, and how it utilizes its characters. “The Fifth Element” is one of those movies that one can really enjoy if one doesn’t mind watching something over-the-top on a slow night.