Ten Movies

• Ten Best Harrison Ford Movies

  We have come to the end of our Harrison Ford season of the Ten Movies podcast and - in so coming - have learned many truths about Mr. Ford, America, and ourselves. We have learned what makes Harrison Ford a relatable everyman in his action hero roles - specifically, an air of befuddlement. The Rock and Jason Statham could never. For the rest of our findings - and for The Definitive Ranking of Harrison Ford's Movies (TM), we encourage you to listen to this episode. Brian and Hemal have enjoyed taking this journey with you. Make sure you subscribe to Ten Movies to see what iconic movie star we get into next season.

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• Blade Runner

  Though some of his other roles are more iconic, ‘Blade Runner' is perhaps Harrison Ford's most celebrated movie, at least in the world of genre films. Which, of course, made his career and has since gone on to entirely swallow contemporary cinema. But unlike Star Wars or Indiana Jones, Blade Runner is not a beloved franchise suitable for additional revenue generation in the form of lunchboxes and animated spinoffs. It's dark, claustrophobic, and confusing; a slow-paced futuristic neo-noir with a synthesizer score so heavy-handed you'll feel like one of those Raymond Chandler private eyes that are always getting hit in the back of the head and left in an alley. Though produced in the long-ago era of 1982, ‘Blade Runner' depicts the grimy, corporate-owned, neon-drenched Los Angeles of the not-so-distant future. Technically, the story takes place a few years ago, but that seemed far off when they made the movie, and the actual year 2019 came and went without moon colonies or outlaw cyborgs. Speaking of which, Harrison Ford spends the movie hunting down these rogue “replicants”, but - refreshingly! - his success is as much a matter of luck as of skill, and their deaths seem tragic, rather than badass. In the end, he realizes some stuff about our shared humanity. Brian and Hemal both enjoyed the film, though they admitted that, like ‘The Empire Strikes Back' from earlier in the season, its legacy is such that it's hard to take it on its terms and just watch it as a movie. While ‘Blade Runner' did not come to dominate popular culture in the fashion of Star Wars, its legacy in science fiction film and storytelling is just as significant.

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• Mosquito Coast

  This is an odd duck in the Harrison Ford canon. Instead of his usual decent everyman hero, here he plays a deranged libertarian inventor who becomes increasingly unmoored from reality - endangered a young River Phoenix and the rest of his hapless family in the process. Brian and Hemal had mixed feelings about ‘The Mosquito Coast'. It's a movie with a strong point of view. And it's some of the best acting we've seen from Harrison Ford; he really gets inside this largely unlikable character. In fact, it's the exceedingly rare movie where you forget you're watching Harrison Ford. But it's also dark and claustrophobic - a compelling movie, but not a fun watch. We did think the movie had a surprisingly sophisticated stance on some of the issues it touches on, from colonialism to racism to unhealthy family power dynamics. Rather than loudly letting you know that the characters in thrall to these pathologies are bad people, it trusts the audience to spend time with a character and draw their own conclusions.

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• The Fugitive

  Harrison Ford had it all - a beautiful wife, a flourishing medical career and a big chunky beard. But then a sinister one-armed man murdered his wife and the bumbling cop blamed him and he had no choice but to become The Fugitive. Being The Fugitive is a tough business. He spends most of the movie running around Chicago being resourceful - forging documents, stealing other documents, and looking for the truth. As a result, he ends up not having any reason to talk to any other characters. But there's no shortage of clever banter and flinty charm because lawman Tommy Lee Jones is also running around Chicago looking for Harrison Ford, along with his misfit band of clever US Marshals. Towards the very end of the movie they throw in a bunch of complicated extra stuff about an evil pharmaceutical company, but mostly it's a classic cat-and-mouse thriller.

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• Cowboys & Aliens

  A glossy, modern Hollywood western movie made with extreme attention to detail and featuring beloved A-List stars? And also aliens show up? The premise is solid gold - but the execution, sadly, left much to be desired. In ‘Cowboys & Aliens', released in 2011 and directed by Jon Favreau, Harrison Ford plays an excessively curmudgeonly ranch boss in the old West whose thoroughly unlikeable son is kidnapped by space aliens. Meanwhile, Daniel Craig is wandering around suffering from amnesia and bearing a mysterious alien weapon on his arm. (See? This all sounds terrific.) As they compete for the “most craggily handsome man”, the two stars assemble a gang of people representing every Western movie character stereotype and head off to fight the aliens. Olivia Wilde goes with them, who turns out to also be an alien, but with a different flavor. This explains her mysterious knowledge but does not explain why she's always gazing adoringly at Daniel Craig and taking her clothes off. Eventually, they have a big battle, and the two characters who aren't white guys get killed. All in all, a bit of a muddle, which was perhaps foreshadowed by the fact that the script had six authors. Brian and Hemal felt that the filmmakers lavished a great deal of love and care on the “Cowboys” part of the movie, while the “Aliens” part was given short shrift. In the movies that inform the alien component of the film, like ‘Aliens' and ‘Predator', the extraterrestrial entities are genuinely menacing, sources of dread and suspense. But here they are just rampaging monsters with laser weapons and flimsy motives. Worse, though, is the degree to which the movie makes no attempt to even acknowledge, much less answer, the outdated ideologies of the Western genre. One can perhaps understand why a movie from, say, 1975 might depict women and Native characters in subservient or unimportant roles and not question the right of European settlers to do whatever they wanted, but it's baffling that a movie made in The Year of Our Lord 2011 would do the same.

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