196. Starman

196. (09 Sep) /Starman/ (1984, John Carpenter)* 60



Starman precariously straddles genres, playing best as a romance, but opting for most of its runtime to be a high stakes chase film. Unfortunately, the high stakes feel disingenuous. When Karen Allen and Jeff Bridges face any sort of trouble, the pair are almost always dependent on the charity of others rather than their own ingenuity. That furthers the theme that mankind is at its best when things are worst, but it also makes for a plot too convenient to be believable.

The best scenes here play up Allen and Bridges's undeniable chemistry. Her emotionally fraught performance balances perfectly alongside his restrained, mannered turn as an alien. Even as the rest of the plot becomes implausible, their relationship feels increasingly real.

Alternate Best Actor 1993: Results

5. Jeff Bridges in Fearless- Bridges shoots for the sky but never quite reaches the heights that his performance wants to reach.

4. Kevin Costner in A Perfect World- Costner in a very atypical fashion dominates his film well, as well as gives a moving portrait of a man wounded by abuse.

3. David Thewlis in Naked- Thewlis gives an outstanding performance that is a fascinating portrayal of drifter, that is extremely watchable.

2. Bill Murray in Groundhog Day- This is just a great performance by Bill Murray that is both a hilarious joy that makes this film enjoyable to watch all the way through, but as well does realistically portray his character's life changing realizations.

1. Michael Douglas in Falling Down- I must say although I certainly very much enjoying watching and reviewing these great performances foolishly ignored by the academy, I have to say just like last year this was an insanely difficult one to choose since I love Douglas, Thewlis and Murray equally in their roles. This again is not so much a win, but rather just a current decision I really feel a rewatch of any of three could tilt the scales. Nevertheless at the moment I give to Douglas who gives both an incredibly viscerally effective performance that pierces through every scene, but he as well shows a moving portrait of a man completely lost in the ills of modern society.

Overall Ranking of the Year:

1. Michael Douglas in Falling Down
2. Bill Murray in Groundhog Day
3. David Thewlis in Naked
4. Liam Neeson in Schindler's List
5. Daniel Day-Lewis in In the Name of the Father
6. Jeff Daniels in Gettysburg
7. Robert Duvall in Falling Down
8. Kevin Costner in A Perfect World
9. Clint Eastwood in In the Line of Fire
10. Harrison Ford in The Fugitive
11. Anthony Hopkins in The Remains of the Day
12. Sam Neill in Jurassic Park
13. Tom Cruise in The Firm
14. Kurt Russell in Tombstone
15. Al Pacino in Carlito's Way  
16. Jeff Bridges in Fearless 
17. Johnny Depp in What's Eating Gilbert Grape
18. Christian Slater in True Romance
19. Tom Hanks in Philadelphia
20. Laurence Fishburne in What's Love Got To Do With It
21. Denzel Washington in Philadelphia

The Next Year Will Be 1985

Alternate Best Actor 1993: Jeff Bridges in Fearless

Jeff Bridges did not receive and Oscar nomination for portraying Max Klein in Fearless.

Fearless is film about a man dealing with his new found fearlessness after surviving a terrible plane crash, the film itself is well made, but I always felt it was never nearly as moving as it wanted to be.

Jeff Bridges is an actor I must admit I liked more before I started reviewing his performances. This really is mainly because most of the performances are saw of him beforehand are relatively lighter performances where is unique charm and humor came into play. When he goes for more complex portrayals I can't say he always succeeds. Here Bridges goes for something unique as well as quite strange as he portrays the man who lost all his fears because a traumatic accident. Bridges actually attempts to show almost an otherworldly quality to his performance as the character of Max Klein frankly feels between the world of the living and the dead.

I hate to say it, and I know many will disagree with me, but I just was not all that impressed by his performance here which is for a great while rather repetitive. He keeps giving that same stare as if he is looking between life and death a lot of the time, while usually smiling in his Bridges sort of fashion, while still seeming to be perfectly detached at the same time as well. His detachment goes away randomly, but it does goes away at times. Sometimes in the form of anger at those seeking to trivialize the tragedy, or just at those who do not understand because they were not part of it. There is not really a lot of method to this side of Max, but nor does there really need to be.

Now what did not astound me about this performance is I never really felt Bridges achieved that otherworldly quality he most certainly is looking to portray. He certainly tries to but I more of saw always as Bridges just being stuck in the same slightly out of it stare for most of it. Now I do not want to be mistaken I do no think in any way shape or form Bridges is bad here, especially achieving what Bridges is going for here is most certainly not easy task, but nevertheless I have to say I never did feel Bridges reached the place in his performance. Because he does not reach the point he needs to the performance never quite comes to life as vividly as it needs to be.

In the scene where he does break the mold actually do work well enough, they do not have a great deal lasting impact on the overall characterization really since Bridges portrays them as random as they should be considering his character's state of mind. Bridges shows the quick outbursts of anger pretty well as they are quick sharp and to the point, less impressive for me is his big scene where he tests his fear by standing on the very edge of a building looking down. This scene should be the powerful pivotal moment for the performance, but Bridges whole portrayal of it seems like he is just going through the motion of a powerful scene more than making it a truly powerful scene.

There is not anything about this performance that ever became as outstanding as it should be, he never really drove the film to the degree he should have. Much like the film itself it is always a work that wants to be more than it really ends up being. Bridges though really is never bad though either I should point this out as he does still portray the emotions as they should be I suppose for the character in mind, but as you might notice I am mentioning this in a very technical fashion because it only ever felt Bridges' performance to be technically good in almost every aspect, never turning into a great one.

Bridges does have one moment in his performance that I feel shows what might have been the rest of his performance which is when it shows the scene on the plane just when he it is about to crash. In this scene Bridges finally does seem to achieve that otherworldly quality, and shows exactly how good the rest of his performance could have scene. It is a very remarkable scene and Bridges finally creates this feeling of being in the in between. This scene only really serves in showing just how good he possibly could have been through the entire film, but for me this is the only great moment in an otherwise adequate performance.

Alternate Best Actor 1993

And the Nominees Were Not:

Kevin Costner in A Perfect World

Michael Douglas in Falling Down

Jeff Bridges in Fearless

Bill Murray in Groundhog Day

David Thewlis in Naked

Best Supporting Actor 1971: Results

5. Leonard Frey in Fiddler on the Roof- Leonard Frey gives an enunciation and energetic performance that might be a bit much, but is fitting for the part.

4. Richard Jaeckel in Sometimes a Great Notion- Jaeckel is barely noticeable most of the film, although he is always fine when he is on screen, but his final scene is quite effective.

3. Roy Scheider in The French Connection- Scheider although never has a scene really to himself or his character he gives a realistic performance that more than fulfills the requirements of his role.

2. Jeff Bridges in The Last Picture Show- Bridges gives a performance that I can never say wows me, but it is always a good consistently realistic turn that brings to life the confusion of his character.

1. Ben Johnson in The Last Picture Show- Johnson easily earns my win this year as Sam the Lion. Johnson creates a haunting and humane portrait of a man who stands for a certain noble dying nature.

Deserving Performances:
Andrew Robinson in Dirty Harry
Fernando Rey in The French Connection
Jack Albertson in Willy Wonka and the Chocolate Factory

Best Supporting Actor 1971: Jeff Bridges in The Last Picture Show

Jeff Bridges received his first Oscar nomination for portraying Duane Jackson in The Last Picture Show.

. Jeff Bridges portrays Duane Jackson one of the more popular teenagers in the town who goes out with the most popular girl Jacy (Cybil Shepherd). Jeff Bridges actually most certainly has a challenge here to make Duane a compelling or likable character. Duane after all is not at all sure of himself is in a point of his life where he understands very little about himself, or anything else and sees many things in a rather shallow manner.

It is than hard for Bridges to really a distinct characterization since Duane is constantly changing his attitudes, and ideas. Bridges actually though does have his usual charm he has in his roles but too a far far lesser degree than say in Thunderbolt and Lightfoot. It is still apparent but it can only do so far really, and I can't say even Bridges manages to make Duane likable, even though he does try.

Duane goes through a lot of phases in the film but mostly he just acts as a fairly shallow young man in his shallow relationship. Bridges in turn is properly shallow as Duane, and is most certainly realistic in showing his confusion as well as his shallow wants in his relationship. Bridges is entirely accurate but I'm hard pressed to honestly say I found his performance especially compelling.

I don't want to say he is ever bad though that is most certainly sure. He stays realistic throughout the ever changing Duane, from when he is impudent or later in his scenes where he ends up being cruel after being dumped by Jacy. To even his last scene where he shows Duane having any sort of understanding.

They are all part of Duane almost random journey that is fitting of inexperience youth, which Bridges does realize, I just must admit I never felt myself Duane become all that interesting or affecting in the film despite Bridges' efforts. I know there are many who love this performance, but I personally cannot see it more than just simply a good realistic performance.

Best Supporting Actor 1971

And the Nominees Were:

Leonard Frey in Fiddler on the Roof

Jeff Bridges in The Last Picture Show

Ben Johnson in The Last Picture Show

Richard Jaeckel in Sometimes a Great Notion

Roy Scheider in The French Connection

Tron Legacy - "I-can't-help-it. It's-so-beautiful."

I did a lot for this movie. I walked through freezing cold to the theatre. I avoid 3D as much as I can (till they come out of affordable prescription 3D glasses ... Well apparently there are clip on 3D glasses now for 4 eyes like me 8-) but I still went for this movie. I had a sore throat and a slight fever and still I went... In freezing cold! Lastly, I paid that extra £2,- to watch a 3D movie. Was it worth it? It most certainly was, and here is why.



See the thing about me is that I'm mad about neon and black lights. There is something about them that brings a smile to my face and turns me into a kid. This little infatuation I have always reminds me of a joke from the movie "A Bugs Life" that goes like this;

Mosquito #1: Harry, no! Don't look at the light!
Mosquito#2: I-can't-help-it. It's-so-beautiful.



So with light cycles and what not there was no way I was going to miss out on the Legacy of Tron. Then, Daft Punk's music has always been something I enjoyed and I had heard good things about what they did in this film. The music from the very beginning was mesmerizing. It has a futuristic feel to it, but it pulls you in the movie. You know, just by listening to the music, that there is something visually spectacular on the screen. The complete look of the film is simply a pleasure to feast your eyes on. The sets, the lights, the clothes, the lights, the music ... did I mention the lights? Everything simply makes our everyday world look bland and boring.



Now to move on to the other thing that make a movie ... The Story! I think the movie takes a step backwards here. The original Tron had a purpose and it made a statement. Tron Legacy has it's heart in the right place and starts off with making a statement that technology should be shared and made available and affordable to everyone, but then shifts to a totally different viewpoint of a fight between good and evil. There is a much deeper philosophy that underlines the movie, but I feel it doesn't have such a great impact on the viewer. Having a philosophy based movie also means that there are long intervals of no action and all talk that do take its toll after a while on the audience. I personally could have done with a few more action sequences. I also disliked the way the title character of Tron was dealt with. His character was completely underdeveloped and it would have been nicer to see more of him playing a more prominent part (he is the title character after all). The actors including Jeff Bridges, Computer generated Younger Jeff Bridges, Garrett Hedlund, Olivia Wilde (Sigh!... Oops did I just write that?), Bruce Boxleitmer and the charismatic Michael Sheen all do a wonderful acting job. I'm not going to go into the story of the film because firstly I strongly recommend watching the original Tron before watching this one which will make the whole experience easier to watch and understand. Secondly, it's an escape movie at heart with a deeper philosophical soul, but one should see and decipher this philosophy on his/her own.



So, a visually stunning piece of cinema with a great soundtrack that lacks a strong story but has it's heart in the right place. I wanted to give it a 3.5/5 but will fall prey to my liking of neon/black lights and give it a 4/5.


Raghav

Location:Gurgaon, India

TRUE GRIT

Written and Directed by Joel Coen and Ethan Coen

Starring Jeff Bridges, Hailee Steinfeld, Matt Damon and Josh Brolin

Rooster Cogburn: I'm a foolish man who has been dragged into a goose chase by a girl in trousers and a nincompoop.

To have grit, one should have an indomitable spirit. For that grit to be true, one would need to subscribe to the theory that grit can achieve some sort of altruistic state of constant existence but that’s just not how grit goes, far as I see it. From where I’m standing, grit is something that, for those fortunate enough to have it inside, shows itself when life requires it, in those situations when you suddenly find yourself needing to get through something you can’t imagine getting through. In TRUE GRIT, directors Joel Coen and Ethan Coen exhibit a whole whack of grit getting through their first “remake” but I’m not convinced they ever reached any real truth along their journey.

TRUE GRIT is said to be an adaptation of the Charles Portis novel and not the 1969 Henry Hathaway film that starred John Wayne and won him an Academy Award for his performance as Rooster Cogburn. The role has now been appropriated by another Oscar winner, Jeff Bridges, and, while I cannot comment on the how the performances differ having not seen the original film, I can say that Bridges definitely lays down the law as a dirty boozer of a U.S. Marshall who has agreed to help one feisty, young lady (Hailee Steinfeld) find the man who killed her father, so that she can have him brought to justice. Matt Damon plays a bounty hunter who is also looking for the same man and so the three reluctantly embark on their mission. This is a western though so the pace of this mission is much more trot than gallop, leaving a lot of time to talk about the weather. The performances drive the film but not fast enough to have kept my interest in achieving the goal.

The Coen Brothers are indisputably two of the most talented contemporary film directors around and this is abundantly evident in TRUE GRIT. They take their craft very seriously and have clearly done their homework here. That said, the aimless nature of the western genre might have been too much for them as it seems to have exacerbated their philosophical tendencies to the point of meandering ramblings. The film can be gorgeous, thrilling and engaging but it took a little grit of my own to get through the leaner parts.

TRON: LEGACY

Written by Edward Kitsis and Adam Horowitz

Directed by Joseph Kosinski

Starring Jeff Bridges, Garrett Hedlund and Olivia Wilde

Twenty-eight years is a long time to go between films. When the original TRON was released in theatres in 1982, I was but five years old. I can’t say I remember anything about it at the time, other than that the effects and animation were really cool. Special effects have come a very long way since then but after seeing the sequel, TRON: LEGACY, I can essentially say pretty much the same thing about this one as I did about the first when I was five; the special effects were cool and twenty-eight years from now, that will be all anyone will remember about the new one too, if anything at all.

The story has not changed. In 1982, Kevin Flynn (Jeff Bridges) was sucked into the computer world he helped design by the Master Control Program. In 2010, it is his son’s turn to play. Sam Flynn (Garrett Hedlund) pays a visit to his dad’s old arcade after not having seen his father for nearly twenty years. Someone is still paying the electricity bill though as everything still works, including the passage way to Flynn Sr.’s secret computer lab. Once inside the system, Sam, a user, is easy to spot amongst all the programs and it isn’t long before he is brought face to face with good old Dad, who has been trapped in this world all this time. Together they must vanquish Clu, Kevin’s virtual counterpart (a surprisingly impressive effects designed younger, more strapping version of Bridges) before he takes his desperate need for perfection outside of the computer and into the real world.

The truth about both TRON films is that nothing other than the special effects and some high-energy game playing sequences matter in either of them. How else can you explain that they basically recycled the story from the first for the second? Both films imply that there is something deeper being said about religion, technology and how mankind can’t seem to get his head around how close these two concepts truly are to each other, but neither film actually leaves the viewer with any true insight. Philosophical constructs are simply a device to fill the space between each mind-blowing game scene and this is done adequately enough to distract from how empty all that space really is. It doesn’t hurt either that the space, albeit empty, is incredibly gorgeous, with all its geometric exactitude and bursts of light and colour to break up all the darkness.

And so I say, let the games begin. TRON: LEGACY, for all of its clunky dialogue and questionable plot points, is completely mesmerizing when the games are on. The original elements of the games are still intact but updated in such a way that they justify the entire existence of the film. Couple that with the dynamic and driving Daft Punk score and you have two hours that will dazzle your senses like you’ve never known. When those two hours are up though, you will put down the game and it will almost be like you never played at all.