In directing Blade Runner 2049, Denny Villeneuve is trapped somewhere between reboot, sequel and superhero origin story. Whilst grasping for the original ambiguity of the Art House classic, the neo-noir wheels spin and we advance nowhere. And that is seemingly by a design absent of creativity.

The originality bursts by Villeneuve are the film’s peaks especially as Ana (Juri) triggers our sincere compassion. And we get it, the loose interpretation of the story dallies in the blurred lines of human definition, specifically sexuality. And that is great. Then two of the main female characters are named Joi (de Armas), K’s (Gosling) holographic girlfriend and Luv (Hoeks), the A+ henchwoman of the Wallace Cooperation, and we sigh. Then we have Doc Badger (Abdi), wonderfully timed and perfectly portrayed, balancing the overacting divinity of Wallace (Leto). It’s as if the entire picture cancels itself out.

The cinematography conveys the beautiful ugliness of the time and, to that, there’s no dispute. K draws sympathy in his search but seems emotionally contained for no reason. Deckard (Ford) surprisingly accentuates the film, but is tardy. Blade Runner’s persistent back and forth results in 2.999 napkins out of 5 as some stories are best left in the future.

Tommy Cruise, an FC Hall of Famer, makes American Made and, essentially, the genesis of drug trade into a wild and clownish hoot. And through the clouds of cocaine and flurries of cash, this historically made up true story teaches us a bit whilst entertaining us a lot.

Barry Seal (Cruise) narrates the story ideally with the help of some well placed cartoon cartography and real life flashbacks. Things happen fast, almost too fast, but that’s part of the farce and his witty guidance and time-stamping allow for precise historical recollection. Seal is clueless yet intelligent and overwhelmed yet gains control. He blurs the line of integrity with each sojourn and evolves into the antagonistic good guy.

The insanity of the time is personified by Shafer (Gleeson), the CIA operative who tugs Seal every which way while he maintains plausible deniability. Gleeson’s humorous authority and logic are exceptional. Seal flips the script on the government by introducing the Medellín Cartel to America. Escobar (Mejía) employs Seal’s naivety, greed and usefulness to their benefit. It’s a dizzying scene.

Cruise always multiplies the role with his investment. American Made puddle jumps into the Film Clas Elite, laundering 4.79 napkins out of 5.