The Love/Hate Legacy of ‘Blade Runner’

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October 2, 2017

Blade Runner is one of those staple films in the story of science-fiction cinema. Many genres build momentum from repetitive successes, be it the blooming gagster genre brought on by Coppola and Scorsese in the 70s, the decades-long domination of John Ford out West, or Walter Hill and the new action movement of the late 70s and early 80s. Genres have periods strung together by commonality; science fiction has moments, however, seminal films where the genre stops down to recognize a sea change among their ranks.

The Day the Earth Stood Still. 2001. Planet of The Apes. Close Encounters of The Third Kind. Alien. The Matrix. These were heavy spikes driven into the ever expanding pathway of science fiction filmmaking, and the influence of their brilliance writes the scrolls of the genre. While franchises like Star Trek and Star Wars have fueled the genre for decades, science fiction has more singular films that stand alone and reshape aesthetics.

One of those films is Blade Runner, for better or worse.

Ridley Scott managed to create two game-changing sci-fi films with Alien and Blade Runner, back to back. His 1982 noir, based on the Philip K. Dick novel Do Androids Dream of Electric Sheep?, changed the course of cinematic dystopias for the foreseeable future. It is a moody piece, soaked in style and deliberate in its pacing. It’s also one of the more divisive sci-fi “classics” we have, beautiful and mesmerizing, but for its dissenters, a dull, lifeless endeavor that is all style and no substance.

The style over substance criticism of Blade Runner could arguably be applied to Ridley Scott’s entire body of work. He has never been an actor’s director, so to speak, a filmmaker whose penchant for visual brilliance has so often outweighed any of the characters in his stories. Blade Runner might be the most egregious example of Scott’s shortcomings as a storyteller, but do the incredible aesthetics make up for the void of personality?

If the look of the film is to be praised, not all of it belongs to Scott. Syd Mead, an industrial designer and futurist, created the structure of this dystopian, rain-soaked urban hellscape. The expressionistic matte art, the neon glow, and the noir visuals are what make Scott’s film so undeniably influential in the pantheon of science-fiction cinema. It is a tragic beauty of a world pushing in on itself, disparate and grim, and the echoes of The Blade Runner Aesthetic can be felt even today… and I’m not just talking about Blade Runner 2049.

The adoration for the visual power of the film is often met with an equal amount of frustration or disinterest in the performances and the characters. It has rarely been a strength of Ridley Scott, to fully develop his characters; and, much like he does in Alien: Covenant, Scott succeeds in fleshing out androids and their emotions. OF course, Sean Young’s Rachael is a Replicant, as is (SPOILER) Harrison Ford’s Deckard. But their story is more about a romance and very human emotions. The central romance doesn’t work, not really at all, and it stalls the picture.

The scenes involving Rutger Hauer’s Roy Batty, Daryl Hannah’s Pris, and the curious craftsman J.F. Sebastian (the great, underrated William Sanderson) absolutely sing. There is honest tension and angst as Roy tries to find a way to outrun the Replicant expiration date. He is the villain, traditionally, but Hauer and Scott sell his desperation to the point of sympathy, much like Scott did with Michael Fassbender’s dueling androids in Covenant.

And so Blade Runner has traveled along this razor’s edge between masterpiece and mediocrity. It depends on who you talk to and how long it’s been since they have seen it. The film works in different ways as you age, which is one of the more underrated indicators of the power of a film. If it evolves, and perhaps even improves, with age, there is no better proof to the importance of the film.

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It’s Rick vs the President in the ‘Rick and Morty’ Season Finale – The Rickchurian Mortydate

By

Michael Fromm

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October 2, 2017

And just like that, season 3 of Rick and Morty has come to a close with the episode The Rickchurian Candidate, where President Keith David returns. And, oh boy, did it end on somewhat of a mild (yet mysterious) note.

Here’s a brief recap of the episode. Spoilers are abound. If you haven’t watched it yet, feel free to minimize your browser, watch the episode, and come back.

Our titular heroes are once again called upon by the President of the United States to get rid of an alien miscreant lurking in the Kennedy sex tunnels (yes, you read that right) of the White House. After finding their mission to be a tad boring, Rick and Morty teleport back to their home for a game of Minecraft.

The president and his advisers are not happy that Rick and Morty bailed on their country, and decides to cut the duo off completely – in lieu of a drone strike.

But a mere order from the president is not going to stop Rick and Morty. When they go to check out a colony of tiny aliens in Brazil, they are cut out by the president, who decides to take the matter into his own hands.

Meanwhile, after the events of last week’s episode, The ABC’s of Beth, Beth is having a meta crisis, wondering if she actually took her father’s offer and is actually a cloned version of herself. She calls Rick in an attempt to get an answer, but when he denies it and also throws in a comment about clones becoming self-aware, it makes her whole situation worse.

Back to the president, who is beaten to the punch when making first contact with the miniature society by Rick and Morty. They also managed to solve the crisis in the Middle East, which has significantly improved his approval ratings. This only angers the president further.

Beth’s goes to Jerry in her moment of crisis, where he recounts their first date and how much she means to him. The two reconnect.

Rick and Morty ambush the White House, wanting to take a selfie with the president for taking care of what he could not. The duel gets pretty intense, with a number of secret service agents getting killed in the crossfire. It turns out the president has just as many resources as Rick does, but Rick is still able to get the upper hand and get the selfie he and his grandson wanted. Only Morty is nowhere to be found.

Beth and Jerry have taken their kids to a cabin where Rick can’t find them, fearing Rick would murder his (potentially) clone of a daughter. Rick, realizing he doesn’t want to lose his family, gives up on his fight with the president and attempts to win them back.

Back at the Smith house, everything seems to be back in place. It’s a new start for the family, all under the same roof once more. It’s all a little too hunky-dory compared to the ending of season 2.

And with that, the season 3 of Rick and Morty has come to a close. While this season had some of the best episodes of the entire series thus far (see: Pickle Rick, The Ricklantis Mixup), it did have a few underwhelming episodes, including its season finale. Go on, search Twitter, and you’ll see a fan base divided.

Granted, this may be due to the fact this season was way too hyped due to its extended hiatus, and the following it had built over that time. There were just so many questions left unanswered, and plot points left unfulfilled. Why didn’t we get to see Phoenix Person return? What is Evil Morty’s ultimate scheme?

Regardless of how you feel about the season 3 finale, or the season in its entirety, you cannot deny the utter genius and thought that’s put into every episode. There are layers of depth and moments of tragedy that topple the dramas seen on television today. It’s also completely bonkers.

When the show will return remains to be seen. It could be a year and a half. It could be longer. It seems like the creators are in no rush.

What did you think of Rick taking on the president in the season finale? Let us know in the comments!

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‘Ghosted’ Pilot Has Hilarious Stars Hitting Basic Story Tropes

By

Jon Barr - TV Editor

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FOX’s new sitcom Ghosted is a buddy cop series taking on all forms of ghosts, aliens, and science. The show’s scope seems to expand beyond the spirit realm, taking on every “odd” spectacle they can. Helmed by Adam Scott and Craig Robinson, Ghosted is like a combination of X-Files and Brooklyn Nine-Nine. The stars are two comedy legends, and their dynamic is electric. While it makes for promising television, the pilot of Ghosted struggles with setting up what’s to come.

Pilots are hard to make, especially for concept-heavy comedies like this. There are some nice jokes in Ghosted, but they’re stifled under heavy plotting. The pilot plays like a basic CSI show, hitting several procedural tropes in the half hour. From the two protagonists yelling about how “we are NOT partners,” to the supporting cast of loose “experts,” everything feels familiar. The pilot sets up an unoriginal show with only the slightest of comic twists. Ghosted‘s premiere feels more like Law & Order than Ghostbusters.

Thankfully, the disappointing pilot has two experienced actors to lead the way. Robinson and Scott are great actors with awesome timing and chemistry. The banter between the two elevates the pilot beyond bland situational comedy. Considering the series is a “buddy comedy,” it’s nice that Ghosted found a strong duo. The two actors make the show Ghosted worth keeping an eye on. Now that we know what the show is about, the two actors can have more time to shine.

The two characters also get the most interesting plot point of Ghosted’s pilot. The show starts with the two characters, Leroy (Robinson) and Max (Scott) as disgraced professionals. The former star detective and professor are kidnapped and recruited into the government’s supernatural investigation force. The government agency is rather bland, and filled with the bland side characters mentioned earlier. But the reasoning for why these two are willing to hop aboard works well. Leroy wants a shot at being a real cop again, as opposed to being a mall cop. Max wants to find his long-lost wife, who he believes was abducted by aliens. Even though their dynamic of “learning to get along” is boring, the motivations for these characters feel real.

[embedyt] https://www.youtube.com/watch?v=ubbjVowDuys[/embedyt]

Ultimately, it’s too early to say whether Ghosted will pick up steam. Perhaps it will be a one-season nerdy comedy experiment. FOX has tried projects like this before – notably with Son of Zorn and Making History last year. The pilot sets up a rather basic procedural, and many will likely find it too boring. However, the two stars could make the show worth watching later down the line. We’ve seen how high-concept network comedies can succeed with NBC’s fantastic new show The Good Place. If Ghosted can break out of the buddy cop formula and embrace its weird comic potential, the show could be great. If nothing else, keeping Ghosted on the air could keep Hot Tub Time Machine 3 from happening.

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Thanks To ‘Rick and Morty’ McDonald’s Will Release Szechuan Sauce

By

Anthony Wendel

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October 1, 2017

On April 1st of this year, Rick and Morty debuted their long-awaited season three premiere, “The Rickshank Rickdemption.” In the course of the episode, Rick professes his love and desire for the Szechuan sauce Mcdonald’s used for the promotion of the movie Mulan. Afterward, the internet erupted with cries for the special sauce to return so they could use it on their McNuggets. Petitions were drawn, research was conducted, and the plea went out by the fans, “Give us the Szechuan sauce!” McDonald’s has finally heard the outcry and the sauce will flow.

The Sauce Returns

For one day only, on Saturday, October 7th, McDonald’s will bring back the sauce for one day only.Though there is a chance it will be available for more than a day, the overwhelming demand for the product will result in it going fast. Given the shows fan base and the eagerness to have the sauce return, this claim is justified. After more than 20 years (since Mulan came out) it’s impressive to see the power Rick and Morty has to resurrect a fast food promotion. McDonald’s previously sent a bottle of the sauce to creators of the show, which fans took as a sign of hope it would return to the restaurant again.

How should you prepare yourself for this event? If you’re like me, you’ll order a 20 piece McNugget, a large fry and coke, get all the Szechuan sauce allowed, and enjoy some Rick and Morty episodes while you feast on the spoils of war. Now with any luck, Rick and Morty can get Kentucky Fried Chicken to bring back their original Sweet and Sour sauce. One can only hope.

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Are you excited for the return of the Szechuan McNugget sauce thanks to Rick and Morty? Leave a comment below and let us know.

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This New ‘Stranger Things’ Poster Gets Us Ready For Halloween

By

Aric Sweeny

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October 1, 2017

The official Stranger Things Twitter has unveiled a new poster for season two, getting fans ready for Halloween.

Trick or treat. pic.twitter.com/77LMRPzdex

— Stranger Things (@Stranger_Things) October 1, 2017

Stranger Things stars Winona Ryder, Millie Bobby Brown, David Harbour, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, Matthew Modine, Joe Keery, Noah Schnapp, Paul Reiser, Sean Astin, Linnea Berthelsen, Sadie Sink, and Dacre Montgomery.

Season two picks up where the first left off. Whereabouts of Eleven are unknown and Will has been rescued from the upside down, with some pretty severe side effects.

The entirety of Stranger Things‘ second season hits Netflix on October 27.

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Why ‘Logan’ Could Be the First Big Superhero Awards Contender

By

Robert Yaniz Jr.

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September 30, 2017

After 17 years, Fox’s X-Men franchise is perhaps in its most creatively fruitful stage. Despite the underwhelming reception to X-Men: Apocalypse, the series contributed culturally significant entries into the superhero movie canon with R-rated game-changers Deadpool and Logan. The former may have missed its chance at claiming top honors during awards season — we’ll chalk that up to its comedic take on the genre more than anything else — but that hasn’t stopped the studio from positioning Hugh Jackman’s third Wolverine film as a major awards contender this year. Whenever a blockbuster (especially one with such broad appeal) guns for Oscars, it could very well wind up being a pipe dream. But what if it’s not? For your consideration, here’s our rationale for why Logan could be nominated for some of this season’s highest honors.

Pushing the genre creatively

For a superhero film to be taken seriously by voting bodies like the Academy of Motion Picture Arts and Sciences, it needs to do more than adhering to the traditional storytelling formula. That’s why so many are still frustrated that The Dark Knight only earned a single major nomination, ultimately winning for Heath Ledger’s performance. For its contribution to the genre, Logan has been compared to that film. With a distinctive aesthetic and a boatload of subtext, the 10th installment of the X-Men franchise is easily the most narratively ambitious, a fact that will only boost its awards chances.

Western promises

Co-writer/director James Mangold executes a singular vision with Logan, his second Wolverine film. Inspired by classic Hollywood Westerns, he uses the archetypes of films like Shane (referenced in the film itself) to ground the mutant shenanigans. Utilizing desolate settings and a moody lens, Logan has a vastly different color palette — moreso for the black-and-white version, dubbed Logan Noir — and tone than nearly any other comic book film ever made. Moreover, its reverence for as Oscar-friendly a genre as Westerns certainly bodes well.

Critical and commercial love

More often than not, the film that wins Best Picture is not a blockbuster by any means. Last year’s winner, Moonlight, only earned $27 million domestically, for example. Regardless, if a film is critically beloved, then earning piles of cash at the box office can only help its chances at landing major awards. Studios naturally don’t have to try so hard to campaign and spread awareness about films that everyone has seen. Coupled with Logan‘s $226 million domestic take, its near-universal rave reviews therefore only enhance its respectability and merit as a film worth a few gold statuettes.

Packing an emotional punch

At its heart, the X-Men franchise is a sci-fi action series. Although Logan finally unleashes Wolverine’s adamantium claws in all their bloody glory, the film’s intense action sequences aren’t the centerpiece of the movie. From beginning to end, it’s a character study that follows Wolverine’s emotional journey and takes a deep dive into the psychology of a damaged hero known for leaving the bodies of loved ones in his wake. With a more scaled-down, personal approach than many of its contemporaries (no CGI monsters or blue beams in the sky here!), Logan is as intimate a superhero film as we’ve gotten to date.

Franchise-best performances

Logan may be Jackman’s ninth go-round as Wolverine, but the Oscar-nominated actor is more committed than ever before, giving us the clearest portrait yet of who this iconic hero is. Moreover, Patrick Stewart’s layered, nuanced performance as an ailing Charles Xavier instantly inspired serious awards talk for the first time in X-Men film history. Of course, let’s not forget the revelation that is young Dafne Keen, who creates an unforgettably complex character in Laura/X-23 without saying a word for most of the film. If the performances in Logan don’t at least garner some awards love, then we’ll know for certain that award-giving bodies are biased against superhero films just on principle.

The end for Wolverine

If for some reason you still haven’t seen Logan (we doubt it), we’ll remain spoiler-free, but suffice to say, the film marks the culmination of Jackman’s 17-year journey as Wolverine, providing a definitive end to one of the most iconic portrayals of a comic book character in cinematic history. The Lord of the Rings: The Return of the King already proved that awards shows tend to wait for a genre story to reach its conclusion before honoring it. So perhaps that same logic will apply to Logan, which provides a satisfying conclusion to the franchise while simultaneously elevating it.

Do you think Logan has a shot this awards season? Share your thoughts in the comments section!

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5 More Classic Roles Harrison Ford Should Revisit

By

Robert Yaniz Jr.

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September 30, 2017

Blade Runner 2049 is finally coming to theaters, but with Harrison Ford returning to the role of potential replicant Rick Deckard just two years after he reprised Han Solo in Star Wars: The Force Awakens, fans of the iconic actor have begun to wonder what other franchises Ford is interested in reviving. In fact, the star himself playfully expressed his determination to reboot every franchise in one of the more memorable moments to come out of this summer’s San Diego Comic Con. While Ford’s comments may have been in jest, let’s consider for a moment what characters we actually would like to see him play just one more time. So here’s our rundown of some of Ford’s greatest hits, listed in chronological order.

**1. Indiana Jones, Raiders of the Lost Ark and its sequels (1981-2008)**

Arguably Ford’s most famous role (it’s a toss-up between Indy and Han, frankly), this one is a bit of a cheat, since we know that a fifth Indiana Jones film is in active development. Even though it currently has a 2020 release date, the film feels like a far-off wish, with few details officially released thus far. After 2008’s disappointing Indiana Jones and the Kingdom of the Crystal Skull, fans are understandably anxious to see the character redeemed. Here’s hoping that “Indy 5” manages to pull that off.

**2. John Book, Witness (1985)**

Most of Ford’s most famous roles rely on sci-fi worlds or pulpy adventure, but Witness is a bit of an outlier. The Peter Weir-directed film was both a critical and commercial hit, as Ford brought humanity and nobility to the role of Detective John Book. Though Witness focuses on a specific case in which Book must protect a young Amish boy before he can testify, the character was certainly memorable enough to make a sequel worthwhile. Perhaps Book is on the verge of retirement and takes on one last, life-changing case. Why not?

**3. Jack Ryan, Patriot Games (1992) and Clear and Present Danger (1994)**

For all his appearances in Tom Clancy’s novels, Jack Ryan has been notoriously hard to translate to the big screen. Alec Baldwin, Ben Affleck and Chris Pine have all played the CIA agent over the years, but only Ford has ever managed to reprise the role. Considering that Ryan becomes President of the United States in later novels, a proper follow-up to Ford’s two 1990s turns could catch up with him in the White House. Sure, John Krasinski is set to star in a Jack Ryan Amazon series, but even decades later, Ford is the actor most frequently associated with the role. One last film could wrap up his trilogy as Ryan, once and for all cementing his take as the definitive Jack Ryan.

**4. Dr. Richard Kimble, The Fugitive (1993)**

Films based on decades-old television shows frequently wind up being ill-conceived misfires. Yet, this Andrew Davis-directed film is one of the most notable exception. A critical and commercial smash that earned Tommy Lee Jones an Academy Award, the film sees Ford play Dr. Richard Kimble, an innocent man framed for the murder of his wife. Since its success revived The Fugitive as a recognizable brand, Jones returned for a lackluster spinoff and a short-lived 2000 TV show have squandered its goodwill. However, a new film set in the continuity of this classic thriller — with Ford’s Kimble in a supporting role, perhaps as an ally to the titular fugitive this time around — could finally make The Fugitive a viable franchise once again.

**5. President James Marshall, Air Force One (1997)**

No matter what your political bent is, these are some exceptionally divisive times. So having Ford return as a former president who once fought off Russian terrorists on his presidential aircraft would be a much-needed move we can all get behind. The Wolfgang Petersen original was a smash hit, and it would be interesting to see how Ford’s President James Marshall handles a similarly dangerous situation decades after leaving the White House. If Olympus Has Fallen can combine politics and Die Hard-esque thrills, there’s no reason why Air Force One be the launchpad for a similarly crowd-pleasing franchise. Make it happen, Hollywood!

Which classic role do you want to see Harrison Ford play one more time? Sound off in the comments section with your thoughts!

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Four Fascinating ‘Titanic’ Movie Facts You Probably Didn’t Know

By

Don Draper

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September 30, 2017

Two decades ago, ‘Titanic,’ the movie starring Kate Winslet and Leonardo DiCaprio showed us the real meaning of love. The most expensive film ever made in its time, no one had the faintest idea it would achieve the kind of success it did. Wondering where are the lead actors now and what are they up to? You can read more on that here: ‘Titanic’ turns 20: What has happened since!

An endless number of people dissected the film post its release, discussed the actual events which inspired it and became die-hard followers of its lead actors, but there are still many facts related to the movie that continues to be fascinating for everyone! Let’s take you through 4 of them below:

Leonardo and Kate weren’t the first choices

Although it’s hard to imagine the movie without them playing the leads, they weren’t actually the first choices. Matthew McConaughey and Gwyneth Paltrow were approached initially but things didn’t work out with them. When asked, James Cameron said that he would neither deny nor confirm that fact!

Kate was desperate for the part

She was so desperate to secure the female lead’s role in the movie that she got hold of James Cameron’s personal number and reached him directly! Reportedly she told him that she has to do this and he’d be really mad if he didn’t cast her! Even though she denied having done this, she did admit sending him roses post her audition, with a note “From your Rose!” Kate did mention later that many of her contemporaries like Winona Ryder, Gwyneth Paltrow, and Uma Thurman were fit for the character, and that Jim did take a risk by casting her.

Director is the boss and he settled the floating door debate

The end of the ‘Titanic’ shows Jack submerged in the cold water and Rose lying on a floating door. That ending sparked heated debates among the film’s lovers for many years. People wondered why couldn’t they just take turns and survive as a couple?! James Cameron gave the most definitive answer to that question and settled the door debate once and for all! His view on the matter was that: all you need to do is refer to page 147 in the movie script, which clearly specifies that Jack gets off the floating door and allows Kate to survive.

Well, if the director said so, that should be it!

There was a J Dawson indeed

Although makers of the movie say that Jack Dawson was a fictional character, that doesn’t undo the fact that there was indeed a person named J Dawson aboard that ill-fated ship. It seems like a mere coincidence that both of them shared the same name because Cameron says that he didn’t learn about his existence until after he had wrapped up the firm

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Casino Classics

By

Don Draper

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September 30, 2017

When it comes to niche movies, those based around the casino tend to be pretty good. The heart-in-mouth moments, the big money at stake and the dangerous characters associated with the gambling world make for compelling viewing and above all an exciting storyline.

We’ve compiled a list of some casino classics and what makes them so good, as well as a few interesting facts and figures along the way.

‘Ocean’s 11’ (2001)

The cast of ‘Ocean’s Eleven.’
Source: IMDb

Based on the 60s classic, the Steven Soderbergh remake starring an ensemble cast including George Clooney, Brad Pitt, Matt Damon, Don Cheadle and Andy Garcia is a true tribute to Las Vegas. With a fast-paced plot involving a trio of casino heists, the twists and turns are what make Ocean’s 11 a must-see for any casino fan. Apart from the witty dialogue and action, the sets and filing locations alone are enough to give viewers some brilliant views from some of the most famous spots in Las Vegas. Interestingly, George Clooney took advantage of the Las Vegas filming after hours to hit the casino himself, losing an incredible 25 games of blackjack in a row. Clooney had better luck with his paycheck; he received $20,000,000 for his role in the film, it was justified due to the success the film had at the box office. Ocean’s Eleven raked in a staggering $450,728,529 at the worldwide box office.

‘Rain Man’ (1988)

Tom Cruise and Dustin Hoffman. Source: Pinterest

A comedy with some tragic elements, Tom Cruise and Dustin Hoffman’s incredible performances bring the story of two brothers heading to the Las Vegas to count cards using Raymond’s (Hoffman) severe Savant Syndrome. The sheer quality of acting brings this story to life, but it’s the bittersweet ending following some pretty epic nail-biting gambling scenes that make the movie. Although Rainman was a total success, with Hoffman picking up an academy award, both actors didn’t feel things were going well and jokingly referred to the movie as ‘two schmucks in a car’ during filming. This classic has grossed $354,825,435 worldwide since its production back in 1988.

‘The Cincinnati Kid’ (1965)

A famous scene in the Cincinnati Kid.
Source: Quantam Gambitz

Setting a precedent for the poker movie, this classic puts Steve McQueen at the forefront of a series of exciting poker games. The poker scenes are top notch, and the whole movie has a decidedly retro feel, taking place during the depression. Many films have attempted to re-create this retro feel, in fact, it doesn’t stop there, even online casinos are getting in on the act. Films like the Cincinnati Kid influence websites, 1950s Las Vegas was a particularly famous era and one that many are keen to imitate; it is done particularly effectively at 777 casino. So it appears that the setting of the film and style of its main star, Steve McQueen, will last through the ages. The movie is famously set in Louisiana, the birthplace of poker, however, the book it is based on was set in St Louis, Missouri.

‘Casino’ (1995)

A tense moment in Casino.
Source: Filmoria.co.uk

Martin Scorcese’s return to the criminal underworld is also one of the best casino movies out there. Set in the 1970s and 80s Las Vegas, the epic drama follows Handicapper Sam ‘Ace’ Rothstein and his mob associate Nicky Santoro in a roller-coaster ride from success to abject failure. Amongst the violence and gripping storylines that Scorcese is famous for, there are some amazing casino scenes, including insight into cheating and the consequences as well as what money and greed can do to the residents of Sin City. The film was very well received and has grossed $116,112,375 worldwide. One of the film’s stars, James Woods, is actually a pro poker player away from the screen and still takes part in regular poker tournaments across the world.

Even though these classics won’t be toppled anytime soon, the good news is that there some more casino movies in the pipeline. The Ocean’s series will get a reboot in 2018, with an all-female cast picking up the reigns and Anne Hathaway already cast as the sister of Danny Ocean. In the meantime, why not try your hand at a few games to get you in the mood for the next big release?

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‘Battle Of The Sexes’ Review: Stone and Carell Deliver Strong Performances

By

Dewey Singleton - Film Critic

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Although Battle of the Sexes is slightly unbalanced, strong performances and inventive cinematography make this film worth seeing.

Summary

Battle of the Sexes tells the story of the widely publicized tennis match between Bobby Riggs (Steve Carell) and Billie Jean King (Emma Stone). While the outcome of the game is a matter of public record, this narrative fills the audience in on the backstory that ultimately leads to this match. Women on the tennis tour were grossly underpaid, and when word leaked that the prize money for the men was now eight times greater than the ladies, a group of women took a stand. King (Emma Stone) and a group of women’s tennis players broke away from the USLTA to form the Virgina Slims tour. The idea behind the split was to generate bigger prizes for the ladies and better exposure for these players. However, the most intriguing part of this narrative was King’s struggle with who she was genuinely attracted to.

What Worked

The first encounter between King and Marilyn Barnett (the tours hairdresser who was played by Andrea Riseborough) was electric. Everything in this scene looks and feels real. Barnett can see through King’s public persona and recognizes her worth and actual beauty. Stone portrays the tennis legend as more in love with her success than her actual life. Finding true love breathes life into a part of her life which was dead.

According to Indiewire, Academy Award Winning Cinematographer Linus Sandgren sought to create a nostalgic vibe when he shot the film. For starters, he shot the story with 35 mm film. This technique created a visual look that was reminiscent of the seventies. Sandgren also pushes the nostalgic envelope by making use of a more organic palette using browns and earthy tones to add another layer of authenticity.

Carell’s portrayal of Riggs was larger than life. His performance was the perfect mix of Michael Scott with a dash of a hustler. Riggs was always looking for the next great angle and how he could make the most money. He missed the limelight and being the male chauvinist villain allowed him to be in the spotlight. There was no difference between a professional wrestler today and what Bobby Riggs did during this period.

Writer Simon Beaufoy’s narrative struck the appropriate balance between the portions of the film dealing with advancing the perception of women in sports and King’s self-discovery. One of the more striking moments was towards the end of the movie when Stone’s character is the locker room post-match crying hysterically. This breakdown was the first moment in the film where the weight of this match had got to King. Sandgren pulled the shot in extremely close so that we all were witness to this moment of vulnerability. The only other time the camera pulls in that close is when she’s with Mrs. Barnett. While the event was a made for TV spectacle, we were to see the human side of this story.

The score was upbeat and made good use of a synthesizer which had everyone tapping their toes.

What Didn’t Work

The portions of the film which addressed Riggs and his issues tend to drag on. The only thing that drew my interest in those scenes was being able to watch Carrell pull of playing Riggs. There was also this portion which dealt with Bobby’s marital woes. While it appears these scenes serve as a reminder to why Riggs dreamt up the match, this part of the film could have easily taken out, and we all could have moved on.

Overall

While Battle of the Sexes is not a perfect film, it’s charming enough to warrant seeing in the theater. Stone and Carell are marvelous, and the messages this movie teaches is fantastic. Don’t expect any buyers remorse after seeing this release. But expect to walk out of the theater feeling empowered.

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