I enjoyed the recent Blade Runner sequel, Blade Runner 2049. When it was first mooted, I, like many others, expressed anger at why Hollywood was daring to mess with something so sacred. This type of revisionism generally ends poorly, but director Denis Villeneuve had a good track record, and the resulting film felt more like a genuine follow up to the 1982 original than I could possibly have imagined.
One thing I read online around the time of the film’s release was somebody claiming that Ryan Gosling is the new Nicolas Cage. Not in looks or acting style, but in his scene-stealing buffoonery that shines through in every film. I used to love Nic Cage – his turn as H.I. McDunnough in Raising Arizona is one of my favourite cinematic performances of all time – and while he occasionally redeems himself with a great role (Big Daddy in Kick Ass, for example), his performances are generally as woeful as the films he chooses.
But in no way is Ryan Gosling the new Nicolas Cage. Gosling may suffer sometimes from the same level of screen charisma as a vase of flowers, but at least he’s watchable, particularly when he turns his best attribute – moody silence – to brilliant effect in films such as Drive and the aforementioned Blade Runner 2049.
I posit another theory – that the new Nicolas Cage is none other than Gosling’s Blade Runner 2049 co-star, Jared Leto. To take the mantle of the silver screen’s new Nic Cage, his successor must be a recidivist over-actor. Luckily for us, Leto has this in spades.
Not only does he chew the scenery as Blade Runner 2049’s blind villain, Niander Wallace, but he comes across as so self-absorbed that one gets the feeling he’d be more at home performing the film as a one-man stage-play.
Last week I also watched Chapter 27, the film about the murder of John Lennon. Inspired by Won’t You Take Me Down, Jack Jones’ book of interviews with Lennon’s assassin, Mark David Chapman, the film is a tough watch, as tough as Jones’ book is to read.
I’m not sure if it glamorises Chapman, but it definitely doesn’t seek to explain why he did what he did – something that he himself was so conflicted about (if Jones’ interviews are to be believed). As a result, the film has a horrible foreboding sense of resignation to it.
Of course, Chapter 27 gives Jared Leto the opportunity to pull out all the stops in his portrayal of Chapman, putting on a great deal of weight for the role and changing his voice to mimic the killer’s childlike whisper. I’m on the fence about whether it’s a great performance, as we really only have Leto’s interpretation to go by. Let’s just say that he definitely earned his salary. Chapman does come across as a creepy motherfucker, and I was quite happy when the film ended as I genuinely couldn’t bear any more time in his company.
It’s so heartbreaking to listen to this record when you consider what happened to Lennon just three weeks after its release. There’s a strong sense of optimism throughout both John and Yoko’s songs, as the couple looked ahead into the new decade.
Hidden Gem: I’m Losing You