Blade Runner 2049

2017’s “Blade Runner 2049” directed by Denis Villeneuve.

Starring Ryan Gosling, Robin Wright, Jared Leto, Sylvia Hoeks, Ana de Armas, Harrison Ford, Dave Bautista, and Edward James Olmos.

Nominated for an Academy Award for Best Cinematography (Roger Deakins), Best Visual Effects (John Nelson, Gerd Nefzer, Paul Lambert, and Richard R. Hoover), Best Sound Editing (Mark A. Mangini and Theo Green), Best Sound Mixing (Ron Bartlett, Doug Hemphill, and Mac Ruth), and Best Production Design (Dennis Gassner and Alessandra Querzola).

 

 

What is it about?

“Blade Runner 2049” is the sequel to Ridley Scott’s 1982 sci fi classic, “Blade Runner”, itself based off Philip K. Dick’s novel, “Do Androids dream of Electric Sheep?”. The original was set in 2019, and featured Harrison Ford as a cop who hunted androids (called Replicants), who rebelled and terrorized their human creators.

Here the film is set in 2049, and we see that Blade Runners still exist, with Ryan Gosling taking on hunting duties for the LAPD (lead by supervisor, Robin Wright). Gosling uncovers some suspicious events that are impossible for androids, and it sets off a chain of reactions that will continue to push forwards some of the series trademark questions of real vs not real, and organic vs synthetic. Gosling has a girlfriend that he cares for (Ana de Armas), but complicating things is the corporate overlord, Jared Leto, the morally flexible owner of the corporation that creates the androids, and his sinister right hand “man”, Sylvia Hoeks. Will Gosling be able to do his duties while unearthing truths that change everything for him?

Why is it worth seeing?

“Blade Runner” is generally regarded as one of the best science fiction movies of all time, and it’s impressive questions that never received answers likely were a piece of what fueled the fervor for the cult following of the film. When it was announced that a sequel was being made, it was difficult to believe that it wasn’t just Hollywood yet again pillaging it’s archives to continue it’s ROI objectives (through sequels, reboots, and franchises). While not perfect, “2049” is one of the better sequels of all time, and any fans of the original will have plenty to enjoy here.

Director Denis Villeneuve (who created my #2 film of 2015, “Sicario”, and #5 film of 2016, “Arrival”) had a herculean task of adding on to Ridley Scott’s 1982 classic. How does one create a sequel that moves forwards the original premise of the story without being slavish fan service that goes nowhere or completely disregards the source material? Luckily, screenwriters Hampton Fancher and Michael Green introduce new wrinkles in terms of the setting and players involved, while Villeneuve and cinematographer Roger Deakins create an atmosphere and world that both nods to, and enhances the original’s look.

Roger Deakins has been nominated for an Oscar for Best Cinematography 13 times, and has never won. There should not be a 14^th occurrence. “2049” is the best looking film of 2017, perhaps by a country mile. The look of the film, and Art Direction, create more scenes that I’d be happy to frame and put on my wall than Prince Humperdink has fingers. Gorgeous doesn’t begin to cover it, and it’s tough not to think of a Edward Burtynsky photograph (with Ryan Gosling wandering through).

Detractors of the film will point out that because the universe of Blade Runner has been expanded, it takes away the mystery of the original where it was only set in (parts of) Los Angeles. But isn’t that why we came to watch a sequel? More pressing issues will be characters/sub plots that are abandoned, a generic chase, and the series’ continuing aloof density. Leto’s character does something between prophesizing and rambling, and in general the dystopian future seems to contain a lot of navel gazing in it’s overlong length.

In my review of the original, I pointed out how inappropriate Ford’s relationship was with the replicant, Sean Young, in terms of straight up sexual assault. Here, “2049” has a CONSENSUAL relationship, between Gosling and Ana de Armas, that fans of Spike Jonze’s 2013 “Her” will enjoy seeing expanded upon. The discomfort of relationships that aren’t copacetic at their different levels speak a great deal about a future that can remembered for you wholesale.

Having familiar themes, strengths, and weaknesses, “2049”’s greatest achievement is it’s nods to it’s source material while never replicating it. It might be Villeneuve’s greatest feat yet. Either way, one would likely benefit from taking in the most pleasing eye candy of the year.

Rating:

4/5

Trailer: Click Here.