FIRST MAN (7 out of 10) Directed by Damien Chazelle; Written by Josh Singer; Starring Ryan Gosling, Claire Foy, Corey Stoll, Ciaran Hinds, Kyle Chandler; Rated PG-13 for some thematic content involving peril, and brief strong language; Running time 141 minutes; In wide release October 12. (And let’s not forget one of the Executive Producers–Steven Spielberg)   

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As First Man’s title would indicate, it’s a film less about space and more about the man who made “a giant leap for mankind.” The movie chronicles the life of Neil Armstrong and NASA’s achievements through his eyes from 1961 until 1969 when the Apollo 11 mission fulfilled its goal to land on the moon. Ryan Gosling plays a tortured Armstrong who is beset by tragedy after tragedy. Both personally and professionally. For a film that takes a look into one of mankind‘s greatest achievements, its tone is rather bleak. This isn’t a criticism but merely an observation. The lunar mission was not accomplished without sacrifices, and First Man gives us a harrowing glance into just how dangerous it can be to be an astronaut.

And when I say these events are viewed through Armstrong’s (Gosling’s) eyes, I meant it. His eyes are everywhere. Close up. Looking serious. Looking amazed. Looking sad. Oh my goodness if someone did a supercut of how often the camera zooms in on Gosling’s eyes it would probably take up a full half hour. But it’s through his eyes that we see not only the majesty of the view beyond Earth’s orbit but also the blood, sweat, and tears that went into each mission from physics and formulas and problem-solving abilities both here and beyond.

The film gives a real sense of what it must be like to be confined inside the various shuttles and the toll they take on the body. There’s the terrifying sense that they’re out in space  with only their equipment and intelligence standing between them and another NASA disaster.

Claire Foy (The Crown) is Janet Armstrong, portrayed as a suffering wife who stays home with the children and tries to connect with her distant husband. Not just emotionally distant, but so distant he’s literally beyond Earth’s orbit. She attends funerals for her husband’s colleagues, never knowing if he will be next, but she can barely get him to sit down and talk frankly with his children.

The cinematography, particularly of the at-home scenes is stark. Realistic. No glamour shots, no soft lighting to blur out wrinkles. It’s reminiscent of a documentary, often with quick cuts of flashbacks. It’s out in space where the beauty is revealed. Even the music is used sparingly, with subtle accompaniments and one pivotal moment punctuated by an epic piece, reminiscent of James Horner or Jerry Goldsmith. I would have put money on it being James Newton Howard since the former two have passed, but the composer is La La Land’s Justin Hurwitz, who previously worked with director Chazelle on that film.

It’s a film about loss and exploration. How loss drives a man to explore, to seek answers, to understand. Bad things happen but it’s possible to learn from mistakes. Create new life. Start over. But while Armstrong was the “First Man,” he didn’t get there alone, and that giant leap was for all of us. A footprint into the future and changing our view of the moon forever after.

BLADE RUNNER 2049 10 out of 10; Directed by Denis Villeneuve; Written by Hampton Fancher and Michael Green; Starring Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto and Sylvia Hoeks; Rated R for violence, some sexuality, nudity and language; Running time 163 minutes; In theaters October 6.

To say that Blade Runner was one of the most important and influential science fiction movies of all time is an understatement. Almost every single sci-fi film that was made in the last 35 years since it was released has borrowed, or in some cases, outright stole material or filmmaking techniques from Ridley Scott’s classic. And since it is held in such high esteem by fans worldwide, there was definite trepidation about the sequel, especially with a different director at the helm. Fans need not worry though as 2049 manages to not only expand upon the story and universe from the original but is easily its equal if not slightly superior.

Because I cannot stress the importance of going into the movie as blind as possible, I’m not going to say much about the plot because it needs to be experienced firsthand with no foreknowledge. All that anyone needs to know is that Agent K (Ryan Gosling) works for the LAPD and has essentially taken on the role of a Blade Runner much like Deckard did in the original. Namely he tracks down rogue replicants and “retires” – kills – them. During an early investigation, he learns that something odd has been going on, and he is directed by his superior, Lt. Joshi (Robin Wright), to track down an anomaly that could change the world as they know it if it is ever brought to light.

Simply put, this is a masterpiece of cinema. Director Denis Villeneuve along with cinematographer Roger Deakins have woven together a film that is not only layered and tense but also jaw-droppingly gorgeous. Villeneuve proved with Arrival that sci-fi is where he is strongest, and every trick he has learned on his previous outings are on full display here.

The story takes place in a world that is fully within the universe that the original setup, but everything is more gritty, desperate and dilapidated than it was 30 years ago. From the slums of Los Angeles and San Diego to the radioactively torn Las Vegas, this is a world that feels lived in and one that could easily be our future if we are not careful. So, like all good science fiction, it serves as a cautionary tale to a possible future that no one wants to see.

Of course, no story would be worth watching if the characters in it weren’t compelling and driven in their quests to find truth, and everyone here is at the top of their game. Gosling has already proven that he is a fantastic actor, but his performance here is the best he’s ever given. As the moody Agent K, he commands presence when he’s on screen and gives more emotion with a single glare or grimace than most actors can do with their whole repertoire of skills. Not to be outdone, Harrison Ford also shows he still has what it takes to keep up with the new generation of actors. This isn’t grumpy, phoning-it-in Ford. This is the Ford we know and love, and makes me excited to see him in more roles as he wraps up his twilight years in Hollywood.

For those who dislike Jared Leto, never fear because he is simultaneously menacing and restrained and only shows up in a few very key scenes and is never overused. Much more interesting is Sylvia Hoeks as Luv, his enforcer who works as a wonderful foil to Gosling’s K. But both pale in comparison to Robin Wright who once again shows that she is one of the best actors in Hollywood and brings an importance and gravitas to a role that few others could hope to hold a candle to.

Another important character that must be discussed is the score expertly written by Hans Zimmer. It replicates much of the feeling of the original with heavy synthesizer sections mixed with classic orchestrations. What makes it so vital is how heavy and oppressive it is. It is constantly pressing down on the story as it plays out and manages to make the bleak future feel even more claustrophobic and depressing than it already is.

Very rarely can I say that a movie is flawless, but that description fully encapsulates 2049. Even with an incredibly long running time of nearly three hours, it leaves the audience wanting more and wondering how the time flew by so quickly. There isn’t an ounce of fat on this film as it is packed with important exposition and absolutely no padding to its rich story. Not all questions are answered by the end, but there is a definite sense of catharsis that will leave everyone walking out of the theater satisfied with how things played out. Villeneuve and company have done the impossible and created a movie that is easily as good as the original and might even slightly top it. 2049 is the reason I love film and what keeps me excited to walk into a theater to see what is in store for me week after week. It is a work of art and will stand the test of time along with the original Blade Runner as one of the greatest sci-fi films ever.

10 out of 10

THE NICE GUYS (9 out of 10) Directed by Shane Black; Written by Shane Black and Anthony Bagarozzi; Starring Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Yaya DaCosta, Keith David, Beau Knapp; Rated R for “violence, sexuality, nudity, language and brief drug use”; Running time 116 minutes; In wide release May 20, 2016.

Fans of Shane Black, rejoice! Wrapped up like a Christmas present (ha!) in late spring, we have his signature brand of wit, film noir violence, and buddy cop hijinks on full display against the backdrop of 1977 Los Angeles. 

LA is gripped under a blanket of smog, the gas lines of the energy crisis, and shocked by the murder of porn star Misty Mountains. Enter Holland March (Gosling), a private eye of some renown despite being a borderline alcoholic and ne’er do well father to precocious 13 year old Holly. He is hired to look for Misty, as her far-sighted but financially well off aunt swears she saw her the day after she died. As part of his investigation he is tracking another girl, Amelia, who may have information on what Misty was up to.

Amelia, however, does not want to be found, and pays muscle-for-hire Jackson Healy (Crowe) to beat up Holland and intimidate him from coming looking for her again. But when other thugs show up to interrogate Jackson about what he knows about Amelia, he decides to team up with/hire Holland for the ever-so-classic 48 hour ticking clock to get to the bottom of the case. And that’s all in the first 15 minutes.

It descends from there into a story of greed, sex, murder, porn, corruption, and… environmentalism? Like the best detective dramas, its twists and turns will keep you guessing. And every loose thread gets beautifully resolved, as even tiny moments earlier in the story end up having greater meaning by the end. 

Shane Black is a master of his craft here, and he is certainly having fun. Speaking of having fun, both Crowe and Gosling seem to be having the time of their lives. It’s Crowe’s best performance in a decade– since James’s Mangold’s 2007 western 3:10 to Yuma— and he reminds us why he’s a fun actor to watch when he’s on. Comparisons to his breakout performance in LA Confidential are noted and warranted, as that film provides an almost perfect tonal companion piece to The Nice Guys— except that LA Confidential was never this funny.

This would also be Gosling’s best in a decade… except for his chameleonlike performance in The Big Short…. and his amazing performance in Drive. But still, one of his best.

But even more praise should go to teenager Angourie Rice, who steals the movie from two veteran actors. Not only is Holly the moral compass of the film, she’s also the most competent detective among the three of them. 

The real star here is the script and the direction. It is funny, heartfelt, riveting, exciting, and did I mention funny? It’s one of the most perfect scripts in a while, comparable to the Coen’s work on Hail, Caesar! or Bridge of Spies.

There is a single complaint, and that is that Matt Bomer is woefully underutilized. His character is the only underwritten part of the film, but, without going too far into spoiler territory, that is likely by design. As the strong, silent type, he’s likely not supposed to have a fleshed out backstory or motivation, and despite being fourth billed on the credits, doesn’t show up for most of the first hour of the film. But it seems a waste for the multi-talented Bomer whom it would’ve been nice to see more of.  

This is a near-perfect film, and fans of Shane Black’s particular brand of film will enjoy themselves immensely. Even those unfamiliar with Black or his work will find this a palatable, enjoyable introduction to his work, especially if they’re in the mood for a 70’s buddy detective drama with as many jokes as bullets.

9 out of 10

Do you want to see “The Big Short” before it hits theaters? Well click on this link for your chance to download an admit-two screening pass for an advance screening on Wednesday, December 16 at 7:00 PM in Salt Lake City! Seats in the theater are first-come, first-serve so PLEASE ARRIVE EARLY! “The Big Short” opens everywhere on December 23. http://www.thebigshortmovie.com/