M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
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M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)

M. Emmet Walsh, the character actor who brought his unmistakable face and unsettling presence to films including “Blood Simple” and “Blade Runner,” has died at age 88, his manager said Wednesday.

Walsh died from cardiac arrest on Tuesday at a hospital in St. Albans, Vermont, his longtime manager Sandy Joseph said.

The ham-faced, heavyset Walsh often played good old boys with bad intentions, as he did in one of his rare leading roles as a crooked Texas private detective in the Coen brothers’ first film, the 1984 neo-noir “Blood Simple.”

Joel and Ethan Coen said they wrote the part for Walsh, who would win the first Film Independent Spirit Award for best male lead for the role.

Critics and film geeks relished the moments when he showed up on screen.

Roger Ebert once observed that “no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad.”

Walsh played a crazed sniper in the 1979 Steve Martin comedy “The Jerk” and a prostate-examining doctor in the 1985 Chevy Chase vehicle “Fletch.”

In 1982’s gritty, “Blade Runner,” a film he said was grueling and difficult to make with perfectionist director Ridley Scott, Walsh plays a hard-nosed police captain who pulls Harrison Ford from retirement to hunt down cyborgs.

Born Michael Emmet Walsh, his characters led people to believe he was from the American South, but he could hardly have been from any further north.

Walsh was raised on Lake Champlain in Swanton, Vermont, just a few miles from the US-Canadian border, where his grandfather, father and brother worked as customs officers.

He went to a tiny local high school with a graduating class of 13, then to Clarkson University in Potsdam, New York, and the American Academy of Dramatic Arts in New York City.

He acted exclusively on the stage, with no intention of doing otherwise, for a decade, working in summer stock and repertory companies.

Walsh slowly started making film appearances in 1969 with a bit role in “Alice’s Restaurant,” and did not start playing prominent roles until nearly a decade after that when he was in his 40s, getting his breakthrough with 1978’s “Straight Time,” in which he played Dustin Hoffman’s smug, boorish parole officer.

Walsh was shooting “Silkwood” with Meryl Streep in Dallas in the autumn of 1982 when he got the offer for “Blood Simple” from the Coen brothers, then-aspiring filmmakers who had seen and loved him in “Straight Time.”

“My agent called with a script written by some kids for a low-budget movie,” Walsh told The Guardian in 2017. “It was a Sydney Greenstreet kind of role, with a Panama suit and the hat. I thought it was kinda fun and interesting. They were 100 miles away in Austin, so I went down there early one day before shooting.”

Walsh said the filmmakers didn’t even have enough money left to fly him to New York for the opening, but he would be stunned that first-time filmmakers had produced something so good.

“I saw it three or four days later when it opened in LA, and I was, like: Wow!” he said. “Suddenly my price went up five times. I was the guy everybody wanted.”

In the film he plays Loren Visser, a detective asked to trail a man’s wife, then is paid to kill her and her lover.

Visser also acts as narrator, and the opening monologue, delivered in a Texas drawl, included some of Walsh’s most memorable lines.

“Now, in Russia they got it mapped out so that everyone pulls for everyone else. That’s the theory, anyway,” Visser says. “But what I know about is Texas. And down here, you’re on your own.”

He was still working into his late 80s, making recent appearances on the TV series “The Righteous Gemstones” and “American Gigolo.”

And his more than 100 film credits included director Rian Johnson’s 2019 family murder mystery, “Knives Out” and director Mario Van Peebles’ Western “Outlaw Posse,” released this year.

Johnson was among those paying tribute to Walsh on social media.

“Emmet came to set with 2 things: a copy of his credits, which was a small-type single spaced double column list of modern classics that filled a whole page, & two-dollar bills which he passed out to the entire crew,” Johnson tweeted. “‘Don’t spend it and you’ll never be broke.’ Absolute legend.”



‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
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‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)

The Walt Disney Co.’s “Mufasa” claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.

The photorealistic “Lion King” prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount’s “Sonic the Hedgehog 3,” which has dominated the past two weekends, wasn’t far behind.

“Sonic 3” stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. “Mufasa’s” running total is slightly less, with $169.2 million.

In third place, Focus Features’ “Nosferatu” remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable.

“Nosferatu,” which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).

No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, “Moana 2,” claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.

The Bob Dylan biopic “A Complete Unknown,” dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in 2019.

A24’s drama “Babygirl," which added 49 locations, held steady at $4.5 million.

Another Thanksgiving leftover, “Wicked,” rounded out the top five. Universal’s movie musical was made available to purchase on VOD on Jan. 31, but still earned another $10.2 million from theaters. The movie is up for several awards at Sunday’s Golden Globes, including nominations for Cynthia Erivo, Ariana Grande, best motion picture musical or comedy and “cinematic and box office achievement,” which last year went to “Barbie.”

Also in theaters this weekend was the IMAX re-release of David Fincher’s 4K restoration of “Seven,” which earned just over $1 million from 200 locations.

The 2025 box office year is already off to a better start than 2024, up around 20% from the same weekend last year.