List of awards and nominations received by Moonlighting (TV series)

Transcription

Easy Harrison... don't be too hasty. I didn't kill my wife! I know, I've seen this one already. Drop the gun Harrison! Hands up! Now don't do anything stupid, I'm just hear to review your films. Do not move, damnit! I wasn't gonna shoot you. This isn't an arrest. This is Movie Night! Hello and welcome to Movie Night, in-depth reviews in less than five minutes. I'm your host, Jonathan Paula. Tonight we begin the second annual Action Movie Month - a series of episodes dedicated to some of the biggest and tough stars in cinema - and we're kicking it off with five Harrison Ford films. We've already reviewed the Star War trilogy, and I'm saving Indiana Jones for a future episode, so tonight I've selected a wide array of Ford's films across three decades. We'll start with "Blade Runner". Based on the awesomely titled 1968 novel, "Do Androids Dream Of Electric Sheep?" by Phillip K. Dick, this dystopian sci-fi film opened in theaters in June of 1982, where it edged out a small profit against its $28-million dollar budget. Director Ridley Scott crafted the adaptation with expert precision, even if the film didn't turn out how he wanted for another 25 years. Indeed, seven separate versions of this picture have been screened as a result of controversial changes made by the executives. The most recent is known as "The Final Cut"; released in 2007, it is the only version that Scott had complete artistic freedom over, and so, it is the copy I'll be reviewing. Harrison Ford stars as the title character, a retired police officer in the year 2019 who is tasked with tracking down and eliminating four lifelike bioengineered beings known as replicants - and destroy them. While Ford is perfectly capable in the lead, delivering his dialogue with a cold whisper or a defeated shout, it's his mechanical counterparts that really shine. Rutger Hauer plays the lead antagonist; a creepy and powerful replicant hell-bent on tracking down his maker. Daryl Hannah is a frightened vixen-like adversary who hides behind layers of make-up, while Edward James Olmos, M. Emmet Walsh, and William Sanderson contribute effective performance in the smaller parts. The film's primary detective-investigation thread is precise to the point of boredom, as every lead and tiny clue is examined in unnecessary detail. A secondary plot involving Sean Young as a beautiful replicant is far more intriguing; as she discovers her true nature. "Blade Runner" is a richly thematic motion picture, but this thread about self identity is perhaps its most important: what truly defines the authenticity of life? If we can feel, laugh, breathe, and think... is it only the uniqueness of memories that divides us, or is it something less tangible than that? These introspective questions that are demanded of the viewer is what really makes this R-rated story so thought-provoking. A powerful scene arrives when Hauer finally meets the man who created him, who explains his decision to give his android children a shortened lifespan by quoting an ancient Chinese proverb, "The light that burns twice as bright burns half as long." Hauer's violent response to this line is hardly reasonable, but intimately disturbing. A drawn out cat-and-mouse chase that closes out the picture is weirder than it is suspenseful, but its culmination is a beautiful and haunting monologue from Hauer. The Oscar-nominated art direction and set design show-offs a vibrant world filled with shadows and smoke - where bright search lights constantly probe into buildings. This is an oppressive and uncomfortable environment, gorgeously filmed with neo-noir visuals. Very impressive model and matte-painting work complete this palate with convincing effects. A synth-heavy score from Greek composer Vangelis provides for a somber and futuristic mood throughout the 117-minute film. Demanding your full attention, this is the type of layered and complex narrative you could write a thesis about. I don't watch movies to be reminded about school work though, and a great deal of this picture is detrimentally slow. For the patient however, this is a fantastic blend of neo-noir and science fiction. While it may not always entertain, it often makes you think - and at 30 years old, that's the mark of a truly well-made production. This isn't necessarily a movie I'd want to rewatch, but thanks to its many intricacies, you almost have to see it twice just to soak it all in. "Blade Runner" contains beautifully imagined allegories within a plodding story. Here now are some of your thoughts. Praising its premise and groundbreaking visuals, you thought "Blade Runner" was AMAZING. I definitely appreciated this movie more on a second watch, but its slower pace makes it really hard to stay invested. I though it was GREAT. For tonight's poll question, which Harrison Ford character is your favorite? Leave your response as a comment below. Next up, my review of "Witness". Released in February of 1985, this Peter Weir drama film was a huge success, slowly scoring over $50 million in profit, and eight Academy Award nominations, winning for "Screenplay" and "Editing". The R-rated thriller is one of the rare instances of a modern-day, original story released before October to see substantial Oscar attention... certainly not something you see anymore. The 112-minute narrative follows Harrison Ford as a soft-spoken police officer who goes into hiding in an Amish community to protect a small boy who is a material witness to a gruesome murder. As the plainly named "John Book", Harrison easily balances the quick-thinking detective persona with a kinder romantic relationship with local Amish homemaker Kelly McGillis. In the pantheon of Ford's massively successful career, this character mayn't be the most interesting or memorable, but the gentler story affords him the opportunity to showcase an acting range heretofore unseen, scoring the actor his lone Oscar nomination. It's this juxtaposition of a violent-man in pacifism environment that provides much of this picture's amusement and conflict. McGillis is equally commendable in her hesitant, but inquisitive role... who shares a tender and beautiful moment with Ford, as they sing and dance to Sam Cooke's "Wonderful World". As an elder member of the technology-free community, Jan Rubeš is magnificent sharing cautious wisdom and sage advice to his family, remarking on his abhorrence to violence, "What you take into your hands, you take into your heart." Eight-year-old Lukas Haas kicked off a his long successful career with his breakout performance here, and although he's sidelined for the second half of the story... his titular role is a pivotal one that's pulled off very well. Josef Sommer and Danny Glover pop in-and-out of the story as well as the picture's requisite bad guys. Since the Amish very famously don't prefer to have their picture taken, the film's large cast of background actors were played by Mennonites - including the acting debut of Viggo Mortensen. The well-structured and appropriately paced story gives audiences a rare look at Amish culture... depicting them as overly worried and afraid, but honest and hard working individuals. Supported by Maurice Jarre's quiet and rural-sounding score, this $12-million production maintains a clean and simplistic visual aesthetic - with no gimmicky shots, or special effects. As the enemies draw closer, and tensions heighten, it's the star-crossed lovers relationship at the film's center that really keeps this experience fascinating and touching. That said, the action-packed finale is as intense and thrilling as they come... pitting one man, out-manned, and out-gunned against a group of ruthless killers. Certainly not the most exciting or even rewatchable film, this is still a pleasant and enjoyable time for fans of old-fashioned cinema and quality storytelling. "Witness"; "Plain presentation, but emotionally captivating." - I thought it was a GREAT film. Third tonight, a review of "The Fugitive". Nominated for seven Academy Awards, including Best Picture - this action thriller from director Andrew Davis was a massive success, earning $368 million against its $44 million dollar budget. Released in August of 1993, the PG-13-rated story is based on the acclaimed 1960s television series of the same name which follows a man unjustly accused of murdering his wife, who must find the real killer while evading a nationwide manhunt. Harrison Ford stars as the title character, a warm and gentle Doctor who is forced to survive far outside his element, constantly looking over his shoulder at pursing US Marshal, played by Tommy Lee Jones. Balancing determination with fear perfectly, this is easily one of the strongest performances in Ford's storied career - expertly handling both the dramatic beats as well as the high-stakes action. But what makes his dilemma so compelling, besides his obvious innocence, is his willingness to help others, even when he's on the run. Never more than two steps behind, Jones is fantastic as the quick-thinking and relentless lawman tasked with tracking him down. He rattles off a host of marching orders to his troops without missing a beat, and his appropriately easy-going, yet serious attitude rightly scored him an Oscar for best supporting actor. Sadly however, out of its seven nominations, TLJ's trophy was the only one "The Fugitive" took home. When Ford confesses in a tense standoff that he didn't kill his wife, Jones responds, "I don't care!" This adversarial, yet respectful relationship between these two men makes for an intriguing backdrop to the story. As a result however, the supporting is mostly underutilized - but does include great work from Joe Pantoliano, Andreas Katsulas, Jeroen Krabbé, and early appearances by Jullian Moore and Jane Lynch. The centerpiece sequence that kicks off the film sees Ford narrowly escaping his prison transport bus, just as a locomotive crashes into it. Davis crashed an actual full-scale train for the film, and it results in an incredibly tense and realistic scene that is perhaps the film's most memorable. Even at a lengthy 130 minutes, this is an expertly paced experience that moves briskly. Cinematographer Michael Chapman makes great use of the Chicago locations, by framing the action with wide, steady-cam shots. A low, ominous score from James Newton Howard hangs over the film... which even manages to make a scene of Ford hurriedly shaving his beard exciting and tense. This is a believably handled chase movie that never disrespects the audience's intelligence, and the payoffs during the final act are that much more rewarding because of it. A captivating film no matter how many times you watch, "The Fugitive" is a taut and suspenseful script with excellent performances. And here's some of your thoughts on it. A double NINE for "The Fugitive". You loved the suspense and acting, scoring this an AWESOME, and I completely agree. Although this is the first installment in this year's Action Movie Month, I actually reviewed six other action films this week with my friend Adam Olinger over at Feud Nation - so check out his channel to watch us debate which trilogy is better; Taken or The Bourne Identity. And of course, if you enjoy the content, I'd encourage you to subscribe and check out the rest of Adam's work. Next up tonight, "Air Force One". This Wolfgang Peterson political action thriller was released worldwide in July of 1997 where it eventually earned back almost four times its $85-million dollar budget. The sharply paced R-rated story follows Harrison Ford as the President Of The United States, who must single-handedly thwart a team of Russian terrorists after they hijack the most secure aircraft in the world. To put it simply, this 124-minute story is "Die Hard On A Plane"... but God damn does it deliver. Ford is his usual gruff and confident self, able to stare down his adversaries without flinching, and he can coldcock them just as effortlessly. His bravery and luck may be a bit hard to swallow, but he's easily the coolest fictional president in movie history. During a high profile speech, he admonishes terrorism by forcefully declaring, "We will no longer tolerate, and we will no longer be afraid. It's your turn to be afraid." The incredibly versatile cast features Gary Oldman as a fierce and uncompromising Russian extremist, Glenn Close as the headstrong VP, and Wendy Crewson as the flustered First Lady. A multitude of other recognizable actors do great work in their smaller roles as well, including Dean Stockwell, Paul Guilfoyle, Xander Berkeley, William H. Macy, Tom Everett, Glenn Morshower, Philip Baker Hall, and Spencer Garrett. While it does share cautionary virtues about giving into demands, and the roles our government should play policing the world - it's the inventive twist on established formulas that drives the narrative. "Air Force One" rarely lets off the throttle, opening with a harrowing special forces kidnapping in the cold open, and culminating with an iconic fist fight at the tail of the aircraft where Ford sternly demands Oldman to "Get off my plane." As fantastic as that scene is though, there's still over 20 minutes of nail-biting action left to go. The absolute centerpiece is the terrorist's initial takeover of the blue-and-white 747. The film's Oscar-nominated sound mix absolutely deserves to be cranked here - the hectic fight for control of the plane is matched only in its intensity by the infamous "D-Day" sequence in "Saving Private Ryan". Utilizing a picturesque prison made famous in "Shawshank Redemption", a borrowed Japanese jetliner with a $300,000 paint job, and plenty of high-quality model work: the detail and environments really help sell this picture's authenticity. While the President's real plane may not have an escape pod, the fictional one is still impressive; as long steady-cam shots show off its large interior. Replacing Randy Newman at the last-minute, composer Jerry Goldsmith had only 12 days to construct the score, but his patriotic theme is some of his best work. Soft whistles and piano chords echo during the most suspenseful moments, while the gunplay and fights are backed by loud trumpets and drums. Michael Ballhaus's wider cinematography creates ample tension with rack-focused two-shots, which clearly establish the geography of the players before each encounter. With its bombastic American attitudes, one-liners, and some unconvincing CGI, the movie unfortunately feels a bit dated today: but by that same token, it also perfectly encapsulates everything that might pre-9/11 action movies so fantastic. The shot of Ford clutching onto the parachute ramp as a massive fueling tanker explodes behind him remains one of the most enduring images of 90s cinema. The superb cast and crew creates an undeniably thrilling experience that leaves me breathless on every viewing. It's also one of only two films I've bought on VHS, DVD, and Bluray. "Air Force One" is an unapologetic adventure that boasts unforgettable action. Here now are a few of your reviews. You were critical of its believability, but you scored "Air Force One" an EIGHT out of ten thanks to Ford's strong performance. I absolutely love this movie, and while it may not be perfect, it's top-notch entertainment - I think it's AMAZING. Last up tonight another movie I enjoy more than most, "Hollywood Homicide". This Ron Shelton action comedy was an unfortunate commercial disappointment when it was released in June of 2003, only earning back two-thirds of its $75 million dollar budget. The film's inventive title sequence, a quickly-cut montage of Hollywood signs around California is a particularly cool way to open the picture. Based on writer Robert Souza's true experiences as a LAPD officer, this PG-13 rated film follows two homicide detectives who investigate a quadruple murder while moonlighting in other fields. Harrison Ford and Josh Hartnett star in the buddy-cop adventure, the former doing real-estate work on the side, and the latter doubles as a yoga instructor. Simultaneously working two jobs is an amusing enough concept, but it's also a bit concerning that Los Angeles' finest wouldn't have the financial means to support themselves on a detective's salary. That said, Ford and Hartnett make an excellent pair, and it's their laid back banter and carefree attitudes that really make this picture work. When Hartnett confesses his desire to quit the force to become an actor, Ford shrugs and replies, "You're gay. I can deal with that." The supporting cast meanwhile surprisingly stacked, including appearances by Bruce Greenwood, Lena Olin, Isaiah Washington, Keith David, Dwight Yoakam, Gladys Knight, and Martin Landau - who may not all be at their best, but they seem to be enjoying themselves. Cameo appearances by Eric Idle as a rowdy celebrity, Lou Diamond Phillips as an undercover prostitute, and Smokey Robison as a cab driver are also pretty fantastic. While the main investigation story is rather pedestrian, it's the juxtaposition of the hard-ass Ford in ridiculous situations that makes for excellent comedy. It's impossible not to laugh when he begins dry-humping the one-way glass during an internal-affairs interview. Amusingly, Ford keeps taking real-estate phone calls throughout the movie, even in the middle of an exciting high-speed car chase through the surface streets of Beverly Hills, which ends in a huge crash right out front of Mann's Chinese Theater here. The absurdity reaches its zenith when Hartnett commandeers a minivan with the family still inside, and an aggravated Ford borrows a pink bike from a little girl. The 116-minute movie really drags during the middle act however, especially as the narrative is juggling so many moving parts and characters. But it thankfully all focuses together during the action-oriented climax. There's nothing particularly noteworthy about the music, editing, or cinematography, but they service the production well enough. A wonderful send-up of Los Angles culture that makes great use of its Hollywood locations - this is a quirky and fun adventure with great actors. And fans of Harrison should have no problem watching this one at least once or twice. "Hollywood Homicide" is an underrated procedural with silly situations - I thought it was a pretty GOOD film. Finally, let's take a look at what you're saying about films currently playing in theaters. If you see a new movie in theaters, Tweet your review with the #JPMN hashtag. Action Movie Month continues later this week with an episode dedicated to Wesley Snipes. Following up on tonight's movies about airplanes, fugitives, and presidents, we'll be reviewing "Passenger 57", "Murder At 1600", and "US Marshalls". Once you've seen these films, share your opinions by voting in the polls below, or by leaving a comment review. If you'd like to watch more Movie Night reviews, check out the "related videos" on the right, or click SUBSCRIBE to be notified of future uploads. Also be sure to follow me on Twitter, Facebook, Google+, Instagram, or Letterboxd for updates between episodes. Once again, my name is Jonathan Paula, thank you for watching and listening. Until next time, have a good Movie Night!