Black Rain (1989)

It's risky making an action picture that breaks its violent stride to emphasize the difficulties of living up to preconceived ideas of masculinity. But it's that risk that makes Black Rain distinctive. By refusing to beat its Eastern and Western protagonists into comic-book pulp, the movie pays them, and the audience, a rare compliment.

In Black Rain, director Ridley Scott and his team pump in so much pyrotechnic razzle-dazzle that the movie becomes a triumph of matter over mind. It's a blast of pure sensation, shallow but scintillating, like a great rock melody, superbly produced, where the music pumps you up even as the lyrics drag you down.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

Black Rain is chock-full of moments, jazzy scenery and snazzy bits of dialogue, and stuffed with steroids. It's big, maybe too big for its shallow notions and commonplace structure. But it is also beautiful and terrible in the same ways that other Scott movies have been eye-filling. With its teeming Asian landscape, its dark kaleidoscopic palette and its heavily layered composition, it's reminiscent of Blade Runner. But this is an atmosphere that needs Sam Spade, not Dirty Harry.

The story of Black Rain is thin and prefabricated and doesn't stand up to much scrutiny, so Scott distracts us with overwrought visuals.