I will say, “Mandy feels like the last movie I will ever be disappointed by.” And you will say, “That’s ridiculous. We will all go on getting our hopes up and sometimes be disappointed on a scale from rarely to usually, depending on the tightness of your clenched asshole.”
Blade Runner 2049
The 2018 Oscar ceremony is nearly upon us, bringing to a close the annual tradition known in cinephile circles as “The Grouchy Season”!
In past years, I’ve grouched along, with alternative nominations for every category (either from the previous year’s releases or from the Nicolas Cage canon, as appropriate).
Listen, guys, I’m going to let you in on a big secret: I’m woefully unqualified to write for any movie site. And of the many reasons why, one always comes up around this time of year. I don’t live near any art house or smaller theaters, so unless movies come to the theater attached to the nearby mall (hey, $5 matinees every day!),
Blade Runner — 1982’s Ridley Scott-directed, Hampton Fancher-penned sci-fi classic — wasn’t immediately received as the resolutely grimy masterpiece of a Philip K. Dick adaptation that fans now cherish.
The New York Times went with “muddled yet mesmerizing,” complaining that Scott “expect(s) overdecoration to carry a film that has neither strong characters nor a strong story,” for instance, and Roger Ebert, in an otherwise positive review, concluded “[T]he movie has the same trouble as the replicants: Instead of flesh and blood, its dreams are of mechanical men.”