Following in something of the grainy exploitation footsteps of James Cameron’s The Terminator (1984) — his 1986 film Aliens even gets a name-check here, though he was after all Kathryn Bigelow’s then-soon-to-be- and now-ex-husband — Near Dark takes instead the vampire mythos and reconfigures it into a dusty, grungy road movie with Western overtones. The word “vampire” is never uttered, so what we are presented with is a motley band of leather-clad ne’er-do-wells blazing a path across the mid-West, killing random locals and draining their blood for sustenance. One such is naïve farm boy Caleb (Adrian Pasdar), who is smitten with drifter Mae (Jenny Wright). She for her part takes pity on him and just bites him rather than draining his blood, meaning he survives but is turned into one of her kind. At this point, the entire crew is introduced, led by Lance Henriksen’s Jesse, although it’s Bill Paxton as the loud-mouthed and dangerous Severen who makes the most impact in the film (and so is given prominence on the posters). Even 30 years on, the film still looks excellent, with a score by German electronic group Tangerine Dream which is at once both an archetypal example of scoring from this strain of 1980s genre cinema and also somehow avoids seeming really dated, like a lot of the era’s soundtracks now tend to. Undoubtedly the film is playing with contemporary fears around AIDS and other epidemics — isn’t that what they always say about vampire films? — but it works as an enjoyable genre piece, if a rather nihilistic one.
Director Kathryn Bigelow; Writers Eric Red and Bigelow; Cinematographer Adam Greenberg; Starring Adrian Pasdar, Jenny Wright, Bill Paxton, Lance Henriksen; Length 95 minutes.
Seen at home (Blu-ray), London, Sunday 31 January 2016.
Tom Cruise has made a bit of a career in recent times at the thoughtful big-budget science-fiction genre. Perhaps he wanted to be in Inception and is trying to make up for it? In any case, while he’s very much front and centre in Edge of Tomorrow (or “Live Die Repeat” as the trailers and the, er, hashtag prefer to call it), the real standout hero is Emily Blunt as Sgt Rita Vrataski. She holds the key to unlocking the mystery of Cruise’s Major Bill Cage and his ever-recurring present (think Groundhog Day but with less comedy and more guns and violence), and she also proves herself the emotional centre of the piece. The film may not advance the genre, but it fills its generic shoes with uncommon concision and, much like the first Bourne film by the same director, makes for reassuring pleasures. Major Cage starts as a battle-shy media relations man in the Army at a time when the world is battling a shape-shifting seemingly invincible monster and has a great (and humorous) scene-setting tête-à-tête with Brendan Gleeson’s General in charge of all the world’s forces. If the media collage opening, with its glimpses of current-day political leaders intercut with Cruise, Gleeson and others in Starship Troopers newsbite form, seems to stretch credulity, it also hints that the film takes place in an alternate universe – or should that be “multiverse”, given the repetition at its heart. Cage is soon busted down to Private, and it’s here that the interplay between Cruise and Blunt takes over, to excellent effect. From thereon in it’s all fairly straightforward, with a few subtle shifts of setting that serve to keep the audience engaged, and a redemptive finale that doesn’t overstay its welcome.
Director Doug Liman; Writers Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth (based on the novel オール・ユー・ニード・イズ・キル Oru Yu Nido Izu Kiru “All You Need Is Kill” by Hiroshi Sakurazaka 桜坂洋); Cinematographer Dion Beebe; Starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor; Length 113 minutes.
Seen at Genesis, London, Monday 9 June 2014.