The Running Man, Blue Moon and Eternity

 

Despite many positive reviews, I was disappointed by Edgar Wright's The Running Man. Mainly because lead actor Glen Powell maintains his fierce and angry personality throughout. The introduction was far too familiar, and they had spent an awful lot of money on the sets, the action and the extras. But where was the subtlety and some characterisation? And it was far too long, a good half hour could have easily been cut. And don't get me started on the ending that takes place on a plane. Fortunately  we did have Emilia Jones in this latter section. So not a patch on the original, and surprising for an Edgar Wright movie when his previous films have been so good. 

Thank goodness for the next two movies, both written so well. Which was a good job as they are completely led by the dialogue. When I heard that Blue Moon was about lyricist Lorenz Hart I couldn't wait. His songwriting credentials, with music by Richard Rogers, are enormous. Directed by Richard Linklater with a brilliant screenplay by Robert Kaplow, this is a one scene and one set film that is always interesting. It could be performed as a play sometime. Ethan Hawke (a Linklater regular - Before Sunrise, Before Sunset and Before Midnight) is almost unrecognisable as Hart who is much shorter in height than the rest of the cast. 

We are in the bar of Sardi's where Hart enters having left early on the opening night of Oklahoma! Rogers has now partnered with Oscar Hammerstein for this show. There are hints later on why this should be. And although none of Hart's songs are performed here, we do have Morty, the piano player in the bar, quietly running through his repertoire. But Hart is the centre of attention, never stops talking, especially to the barman Eddie. But he spots a quiet man in the corner jotting things down in a notebook, who just happens to be E B White, cleverly played by Patrick Kennedy. (After an early career writing for papers and magazines, he's here thinking about a children's book. His Stuart Little and Charlotte's Web led to a special Pulitzer Prize in 1978). 

Enter the main party for the after show celebration. Richard Rogers, of course, being accosted by Hart. However, I was not that impressed by Andrew Scott as the flimsy composer. But more so by Margaret Qualley (playing a twenty year old?) with whom Hart is in love. But she does have one superb long speech when they find a quiet place, all about a boyfriend who has ditched her, but with whom she is still in love. Typical of all these wonderful conversations as Hart gets more and more inebriated. As usual. 

A funny love triangle is set in the afterlife. For such a flimsy fantasy, Eternity is saved again by some great writing by director David Freyne. So, nearly all dialogue, some funny, some sad. It again could make a great play. The three leads buy into the plot. Waiting in this version of a waiting room for heaven is barman Luke played by Callum Turner (Emma).  He's been there decades waiting (not faithfully) for the love of his short life to finally appear. But first to arrive is her second, and decades long husband Larry (Miles Teller from Whiplash). But it's not long before Joan (a classy Elizabeth Olsen from Martha etc) appears and the struggle to be with her for ever begins. A clever premise that delivers a smart and amusing film. Mark Kermode was impressed with the script and performances. As was I.