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Ya I know a couple months ago I described this. But to be honest, I did a bad job. So here goes, this is the official rating system, across the gamut. Sorry to anyone who is annoyed if they think this is pointless, but if you read my reviews you might appreciate it.
I'm going to post the grades along with my reviews from now on, because it makes it more specific than doing percentages which are 10 points apart.
100%-------equivelant to an A+. Unequivocal Masterpeice
90%-------- is either an A or an A-, from now on I will specify that in my reviews.
80%--------equivelant to a B+
70%--------is either a B or a B-, from now on I will specify that in my reviews.
60%--------equivelant to a C+
50%--------is either a C or a C-, from now on I will specify that in my reviews
40%--------equivelant to a D
30% and below----------equivelant to an F
These Villains were doin’ it hard and fast, fo’ sho’; Kickin’ ass, takin’ names....but they were doin’ it for the money, the money and the cars, cars and the clothes. They were, in other words, Gettin Gory for the Glory!......ok here we go...
- The Joker in Batman........Let’s face it, Nicholson’s Joker is a Glamour Queen, doin’ it for the FAME! “Where does he get those wonderful toys?”....If only Joker could get em’, he’d be centre stage, in the LIMELIGHT!
The Joker: “And now, folks, it's time for "Who do you trust!" Hubba, hubba, hubba! Money, money, money! Who do you trust? Me? I'm giving away free money. And where is the Batman? HE'S AT HOME WASHING HIS TIGHTS!”
.............and tonight, on Nancy Grace........
- The Zodiac Killer In Zodiac.......this elusive mother fucker, we never see his face (or do we??), yet he gets all the press, all the law just infatuated with him for years on end. And he drives Jake Gylenhaal to torment. How interesting do people find the Zodiac killer, well....
Robert Graysmith: I've been thinking.
Paul Avery: Yeah?
Robert Graysmith: Somebody should write a book.
Paul Avery]: Somebody should write a fuckin' book, that's for sure. About what?
Robert Graysmith: About Zodiac. I've been thinking, if you put all the information together, maybe you could jog something loose. And then I thought, who better than you? I mean, you know all the players, and you have all of the files.
...............A little press attention goes a long way..............
- Bonnie Parker & Clyde Barrow.........why did they do it, shoot, ain’t anyone can really say. But dammit if they didn’t try for the fame they sure as hell got it.
Bonnie Parker: [reading her poem] You've heard the story of Jesse James / Of how he lived and died / If you're still in need / Of something to read / Here's the story of Bonnie and Clyde. / Now Bonnie and Clyde are the Barrow gang / I'm sure you all have read / How they rob and steal / And those who squeal / Are usually found dyin' or dead. / They call them cold-hearted killers / They say they are heartless and mean / But I say this with pride / That I once knew Clyde / When he was honest and upright and clean. / But the laws fooled around / Kept takin' him down / And lockin' him up in a cell / Till he said to me: "I'll never be free / So I'll meet a few of them in Hell." / If a policeman is killed in Dallas / And they have no clue to guide / If they can't find a fiend / They just wipe their slate clean / And hang it on Bonnie and Clyde / If they try to act like citizens / And rent them a nice little flat / About the third night / They're invited to fight / By a sub-guns' rat-a-tat-tat. / Some day, they'll go down together / They'll bury them side by side / To a few, it'll be grief / To the law, a relief / But it's death for Bonnie and Clyde.
Clyde Barrow:[about Bonnie’s Poem] You know what you done there? You told my story, you told my whole story right there, right there. One time, I told you I was gonna make you somebody. That's what you done for me. You made me somebody they're gonna remember.
-Han Solo in Star Wars........Han Solo was one greedy fuck. Before love struck his heart, it was all about the money, the money and his Millenium Falcon and “pal” Chewbacca. He was willing to turn any trick to swipe a quick buck including drug running for Jabba the Hut. But as fate would have it, the force redirected his spirit on a righteous path, and the ancient prophecies came to pass. In the new age supposedly, no one does it for the greed and glory. They do it for each other.
Luke: So. You got your reward and you're just leaving, then?
Han Solo: That's right, yeah. Got some old debts I gotta pay off with this stuff. Even if I didn't, you don't think I'd be fool enough to stick around here, do you? Why don't you come with us? You're pretty good in a fight. We could use you.
Luke: Come on. Why don't you take a look around. You know what's about to happen, what they're up against. They could use a good pilot like you, you're turning your back on them.
Han Solo: What good is a reward if you ain't around to use it? Besides, attacking that battle station is not my idea of courage. It's more like, suicide.
Luke: [angry] Okay. Take care of yourself Han. I guess that's what you're best at isn't it?
Han Solo: [as Luke walks away] Hey, Luke. May the Force be with you.
Han Solo: What're you lookin' at? I know what I'm doin'.
...................................................................................................."do you, Han, do you really" says the force, as the camera cuts away and Han Solo undergoes an off-screen change of heart and shows up at the last minute to help destroy the Death Star! LOL.
-Jake LeMotta from Raging Bull.......this guy was for himself, through and through. And anything he touched he consumed, and it too became a part of him. He literally wanted it all. I cannot even isolate a single passage as everything that flows from this perfectly realized character is just a testament to that fact. This is one of the great performances in film history from Robert De Niro, undoubtedly. In the end LaMotta is like a Balloon which is constantly being inflated and deflated.
-Mickey Knox & Juliette Lewis from Natural Born Killers............this couple was dementedly demented; its not often I use the same adjective to describe each other, but thats how demented this couple is. Their murder spree is basically tabloid fodder and is picked up like its headline news; the most known people in America? I should think so! Sound demented? Correct!
Mickey: The media is like the weather, only its man-made weather.
Reporter: Do you have anything to say to your fans?
Mickey]: You ain't seen nothin' yet.
Wayne Gale: Their subsequent trial turned into a sick, pathetic circus. The trial of Mickey and Mallory Knox was SUCH an event, that it made the crime spree that preceded it pale by comparison. The nation caught Mickey and Mallory fire!
[On a TV interview]
Boy 1: Mickey and Mallory are the best thing to happen to mass murder since Manson.
Boy 2: Yeah! But... they're way cooler!
Mickey: It's just murder. All God's creatures do it. You look in the forests and you see species killing other species, our species killing all species including the forests, and we just call it industry, not murder.
.................................................................................OK, Maybe the Natural Born Killers example is more about the Media than it is about the Mickey and Mallory, but whatever.
Ok folks that’s my blog, sorry if the swearing offended anyone but next time I won’t stop. As I say, if one must swear out of necessity, then swear, and if one must swear for swearing sake, then go right ahead. Till Next Time........
Throughout about 80 years of sound film, we've been blessed with some great movies. A key component of most of these movies were that they had good dialogue. sometimes great dialogue. And then there are those peak moments of dilogue perfection, dialogue you savour, that becomes stuck in your head and doesn't go away. I realize more and more every day just how special those words can be, and how hard it feels at times to procure them in my own writing process. When actors deliver the dilogue, it may seem effortless, and the words may seem so easy, but the sweat and tears that go in to those words are often never given a second thought. Consumers get caught up in the machine of hollywood, the image they create based around the star system, and usually that's right where the attention stay's, on the stars. But language isn't easy to master, and shaping it into something simply mediocre can even feel at times like a victory, nevermind creating something a person could consider art. But thats what the best films do, and the best dialogue. So here are some words that were shaped into gems that i cherish, an will cherish, for a long, long time.
The Usual Suspects: Caezer Soze to Agent kujan: "and like that.(poof), he's gone." this line is repeated twice in the film, and it's the second time has 10 times the impact.
Jaws: Brody to Quint: " You're gonna need a bigger boat." Simple, honest, full of dread, with a drop of wry humor.
The Godfather: Micheal to Kay: "No" a single word, a relief for the wife, but for us who have seen the first 2 1/2 hours of the film, and know what awaits in part 2, these words linger on in the mind and speak volumes of the overall relationship between these two.
Goodfellas: Henry Hill narrating: "As far back as I can remember, I always wanted to be a gangster." and so follows one of the most visceral, most well directed, most well written films of all time, and my favorite ever, period.
Goodfellas: Henry Hill narrating: "You know, we always called each other good fellas. Like you said to, uh, somebody, :You're gonna like this guy. He's all right. He's a good fella. He's one of us.: You understand? We were good fellas. Wiseguys. But Jimmy and I could never be made because we had Irish blood. It didn't even matter that my mother was Sicilian. To become a member of a crew you've got to be one hundred per cent Italian so they can trace all your relatives back to the old country. See, it's the highest honor they can give you. It means you belong to a family and crew. It means that nobody can fuck around with you. It also means you could fuck around with anybody just as long as they aren't also a member. It's like a license to steal. It's a license to do anything. As far as Jimmy was concerned with Tommy being made, it was like we were all being made. We would now have one of our own as a member."..................................Oh the hopes, the dreams,..........
Goodfellas: A dialogue between Jimmy and Henry:
jimmy: [smashing telephone] "Fuck. Can't fuckin' believe that, can't fuckin'..."
Jimmy : [crying] "Fuck it, fuck... the fuck... "
[Henry exits diner]
Henry: "What happened?"
Jimmy :" They whacked him. They fuckin' whacked him." Henry: "Aw, fuck."
[Jimmy kicks phone booth]
Jimmy :" Motherfucker!"
[pushes over phone booth]
Jimmy Conway: [cries.............................................................................................Oh, the agony of having your hopes and dreams snatched away in one murderous instant! Oh, the simply perfect screenplay...............
a clockwork orange: a conversation between Alex and a Femal Psychiatrist
Alex: "What are we gonna do? Talk about me sex life?"
Psychiatrist: "Oh, no. I'm going to show you some slides and you're going to tell me what you think about them. Alright?"
Alex: "Jolly good. Do you know anything about dreams?"
Psychiatrist: "Something, yes."
Alex: "Do you know what they mean?"
Psychiatrist: "Perhaps. Are you concerned about something?"
Alex:" Oh, no, no... not concerned really. But I've been having this very nasty dream. Very nasty."
Psychiatrist: "Now, each of these slides needs a reply from somebody in the picture. You tell me what you think the person would say. Alright? "
Alex: "Righty-right. "
Psychaitrist: "I'm going to show you a picture, and you tell me what that person might say.?"
Female Psychaitrist: "Let's Begin "
[Changes to a slide with two people looking at a peacock]
Female Psychaitrist: "Isn't the plumage beautiful?"
Alex: "I'm supposed to say what the other person would say?"
Female Psychaitrist: "Yes, just tell me the first thing that comes to your mind."
Alex: "Cabbages, knickers, It hasn't got A BEAK!"
Female Psychaitrist:" Good. "
[Changes slides to a man climbing into a naked woman's bedroom]
Psychaitrist: "What do you want?"
Alex:" No time for the ol' in-out, love. I've just come to read the meter!"
Female Psychaitrist: [Changes slide to woman handing bird eggs to a man] "You can do whatever you like with these."
Alex: "Eggiweggs. I would like... to smash them. And pick them up, and THROW- "
[moves injured arm]
Alex: "OW! Fucking hell! So did I pass?"
Alex: Is that the end then?
Alex: I was quite enjoying that.
Psychiatrist: Good! I'm glad.
Alex: How many did I get right?
Psychiatrist: It's not that kind of a test. But you seem to be well on you're way to a complete recovery.
Alex: and when do i get out of here? Psychiatrist: Im sure it won't be long now.................................................................................................................This is, to me the most perfect satire in the film, and while much of the film is satiric, its also simultaneously shocking, so this is like some fresh air in a real shocker of a film, especially coming out of the most depressing phase of the script.
I should probebly stop now, but I may do this again, as there are so many fine quotes and pieces of dialogue out there. Tll next time, then.
CORPORATE INFILTRATION: THE NATURE OF GOOD AND EVIL IN BLADE RUNNER
Ridley Scott’s Blade Runner: the Final Cut is a deeply layered film which defies strict genre descriptions such as its common neo-noir and science fiction labels; it fits these, but is so much more. Discarding classical cinemas single line of development, the film uses multiple ones, following different characters that are all coherently connected by the main plot structure. Tyrell pulls many of the films hidden strings, but the film’s focus is on Roy and Deckard, whose characters clash in the films climax; a revelation, transcending any genre labels results. Classic Noir devices are used as tools to cohere with the films setting and multiple themes. Noir devices such as fatalism, a despairing universe, loneliness, manipulation, and death are all present, yet are radically inverted in unexpected ways. In this respect, the film is not strictly revisionist, as in Curtis Hanson’s L.A Confidential, but strays from film noir altogether in many respects. One of the films many possible themes, and the one which will be explored, is that unlimited corporate manipulation will create fear and anger, resulting in a loss of innocence and the crumbling of society.
Blade Runner’s scapegoat antagonist is Roy Batty; however the true one is Tyrell, the corporate head responsible for the creation of the Nexus 6 replicants, as well as for society’s technological suffocation. Roy’s first words in the film are “Time? Enough?” which is a direct reference to the bane bestowed upon him by his maker, Tyrell. Roy’s terrible acts throughout the film come from a desire to live and the fear of impending death, which is a fear inherent in all of earth’s creatures. Implementing the four year life span, Tyrell brings and immediacy to the replicants desire for life, which proves in the end to be his downfall. Tyrell sees fit to use the corporate machine to manipulate, abuse, and throw away all worthwhile elements of society, as well as his replicant creations. The film’s opening shot is of an industrial field spewing fire, and this is a very telling shot; the Tyrell Corporation has turned the suburbs of L.A into a technological force, which has produced a wasteland, all for Tyrell’s own profit. After her Voigt Kampff test Rachel speaks sadly to Deckard about Tyrell, saying “He won’t see me”; Tyrell has notified the police, and Rachel is now hunted for retirement. This act exemplifies the fact that Tyrell sees the replicants as expendable beings, and that profit is his only goal. Tyrell’s opinion of the replicants is hardly worse than his opinion of real humans, as his industrial destruction has resulted in a world not worth living in. An advertisement states “Start a new life in off world colonies”; out of earth’s destruction, the limitlessness of corporate greed is seen, as people on new, untainted planets will result in a nearly unlimited corporate expansion. This type of expansion for increased profit is akin to what today’s corporations are doing, by deliberately outsourcing their projects to profit from lax human rights and natural resources. It is with the mirror imaging of this dystopian world with our real world that Scott points the finger most plainly at corporations; Tyrell is a portrait, a reflection of our society. His motive hangs over the films plot and sub-plots much like his headquarters tower over the crumbling society below it. It is a fact to say that every evil act in this film, including his own death at Roy’s hands, is a result of his own wilful behaviour.
The films main protagonist is Deckard, and even he is susceptible to the reaching arm of Tyrell. Rachel says to Deckard “Have you ever taken that test yourself?” under toning her thoughts that if she was manipulated into believing she was human, then Deckard may have been as well. In Future Noir: The making of Blade Runner, author Paul M. Sammon interviewed Ridley Scott and found out he was unhappy with the original theatrical releases omission of Deckard’s dream sequence, which shows a unicorn in a green field; this was because he meant for those in the audience who were “paying attention” to connect this scene with others, and by the dénouement to identify Deckard as more likely to be a replicant than not (sammon 376-377). Indeed the addition of the scene in the Director’s cut and Final cut versions aid in dissolving this ambiguity. Scott drops many hints throughout the movie which tie to the unicorn. Deckard says when he is given his assignment “what are they after?” in reference to the replicants, which shows that he is not only interested in killing them, but understanding their motive. Also, the collection of photographs above his piano are shown mere moments before the indicative dream sequence; a connection can be made between these two shots to hint at Deckard’s dawning understanding of his life being an artificial construction. In a scene in which Deckard lean’s over a sink, the foreground is sharpened and Deckard is fuzzed out in the background, with his eyes glowing much like the other replicants eyes have in other shots. More than simply dropping hints, Scott is making a statement about Tyrell’s infiltration into society, more specifically the law. If Deckard can unknowingly be a replicant, then anyone can be. Gaff and Deckard come to an understanding in the Dénouement, and his leaving of a foil unicorn at Deckard’s doorstep implies that he understands Deckard very well; this is a direct connection to the dream sequence, the most telling sign of Deckard being a possible replicant. On Gaff’s part, he’s realized that a fear of replicants cannot be total, and that thinking of Rachel as a threat is unreasonable. This mutual understanding between the police men is a small victory over Tyrell, who would have had Rachel killed.
Scott wants the audience to view the replicants as initially innocent beings that have been corrupted by the dystopian world for which they have been created. They are shown with human qualities, and they all respond differently to their situation. Their goal is a would-be common one for all creatures; to stave off death and not live in constant fear, a fear which is amplified by their four year life span. The replicant hunt which they become very aware of as time progresses is a catalyst for the murder and manipulation that the replicants resort to in order to achieve their goal. When Leon says “Let me tell you about my mother”, his action of shooting the tester is revealing of the replicants view that their mother is Tyrell, and that Tyrell only wants them while they are unknowing and obedient; if they become aware of their situation, as Leon has, then they must be retired. Yet Leon’s innocence comes through during the Voigt Kampff test, as he makes such statements as “what’s a tortoise?” The subsequent murdering shatters the idea of total innocence. Zhora’s image of innocence is similarly thrown aside; not only has she taken up a job as a stripper to avoid retirement, but when she is found out by Deckard she becomes cornered and lashes out. We initially see anger on her face as she attacks, but that is soon replaced by fear as she knows the end is near. The shattering of her innocence is symbolically represented by her literally crashing through panes of glass as she is shot, falling dead. These are examples of how replicants use anger and, when cornered, lash out, which in Zhora’s case proves to be her downfall. However Pris, the films femme fatale uses her knowledge of a dehumanized society to manipulate J.F Sebastian to her own ends. It is in this way that her innocence is shown to be tainted. Pris ‘desperately’ says “I’m lost” and Sebastian takes her in, the first step to her utilizing him to get to Tyrell, and the beginning of the end for Tyrell as well. On J.F’s query as to whether she has any friends, she replies “I have some, I’ll let them know where I am tomorrow” which foreshadows Roy’s arrival to take J.F with him to get in to Tyrell’s apartment. During the wait, Pris gets J.F to warm up to her even more; “How do I look?” she asks after having modelled herself after one of his toys, which J.F has described as being “my friends.” These are all examples of Pris playing the femme fatale to a tee. When Roy arrives, he feeds J.F a white lie about why he would like to meet Tyrell. A little more persuading, and they have created in J.F a sense of duty and friendship, and he succumbs to their will. Pris, as the femme fatale, and Sebastian, as her filmic counterpart have completed their main roles. The fifth replicant to lose her innocence is Rachel, but her reaction is more of heartbreak than of any other emotion. A heartbreaking line is when she tells Deckard “I’m not in the business...I am the business”, pretty much meaning that instead of being the seller, she has become the product. She does not display anger, but heartbreak. Perhaps, as Tyrell stated, the memories implanted in her brain have softened the blow of learning her true identity. As can now be seen, the loss of innocence in each replicant is mainly attributed to the imminent death awaiting them, which serves to lead them to do terrible things. Also responsible is the replicant hunt set up by the police and aided by Tyrell. Society’s degradation also serves as a reason. As can also be seen, the replicants are very human in the way they all respond individually to their very similar situations.
With Roy’s final acts, Scott shows not only that he is the false antagonist, but that he is also a saviour of sorts, having murdered Tyrell, and then going on to imbue Deckard with great knowledge on the nature of the state of the world. Roy’s innocence shines on last time as he plays a game of cat-and-mouse with Deckard. This is much more than a game however, as he is teaching Deckard just what it is like to a replicant. With Deckard having risked his life in order to save it, Roy states “Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.” That statement is too true, and too powerful for Deckard to deny; Roy has literally brought him down to the level of the replicants. When Roy spares Deckard he shows a greater capacity for good than any human has in the film. Suitably, after this lesson, Deckard does his greatest deed by risking everything and leaving with Rachel. Roy says “I’ve seen things you people wouldn’t believe”, and what can be garnered from this is that the difference between humans and replicants is a superficial one, and that Roy’s eyes are more valuable than another’s because he has witnessed so much. Roy’s final words are “All these moments will be lost in time, like tears in rain. Time to die.” Roy’s Catharsis, unlike Tyrell’s horror-induced one, is beautiful and heartbreaking. The final words imply that he is crying for his own death and that all his memories will fade with him. The releasing of the dove to the heavens to signal Roy’s death is symbolic of his own ascent, and solidifies his position as a saviour. He has left behind Deckard as a ray of hope, and Tyrell’s death is bound to result in corporate calamity.
It takes the film its entire length in order to undoubtedly show that Roy Batty is not a bad guy, a view that may be lost on many due to the long journey and terrible acts of Roy before we reach the end. Tyrell, on the other hand, can be seen as evil from the opening shot, if we so choose to make all of the obvious connections. We then have Deckard, who is the obvious protagonist, yet spends the length of the film in a sort of moral limbo only to be shown the light by Roy in the dénouement. We then have within the supporting characters varying states of corporate, judicial, and societal impact, and the varying results defy any sort of characteristic label as simple as good and evil. In fact, all of the characters, with the exception of Tyrell, prove that good and evil are ever changing, never whole, and not to be regarded without taking the other side in to account; this is a truth which detective Gaff, surprisingly, comes to realize by the end. What is true is that unchecked evil will result in the crumbling of society, and with that, a host of other troubles will arise. Only those willing to do what’s right, like Deckard and Gaff, or those driven by fear and hatred of the evil at hand, like Roy batty, can make any sort of difference.
Scott, Ridley, dir. Blade Runner: The Final Cut. With Harrison Ford and Rutger Hauer. Based on A novel by Philip K. Dick. Adapted by Hampton Fancher and David Peoples. Ladd Company and Warner Bros, theatrical cut, 1982, Final cut, 2007.
Sammon, Paul M. Future Noir: The Making of Blade Runner. New York: Harper Prism,1996.