Columbus

2017’s Columbus, directed by Kokonada.

Starring John Cho, Haley Lu Richardson, Parker Posey, Michelle Forbes, and Rory Culkin.

What is it about?

Columbus takes place in the architecturally rich town of Columbus, Indiana. Living there her whole life, is Casey (Haley Lu Richardson), who works at the library with Gabriel (Rory Culkin), while on the home front she looks after her addict mother (Michelle Forbes). Intersecting Casey, arrives Jin (John Cho), in town to help out Eleanor (Parker Posey), assistant to his renowned architect father, who has gone into a coma. Casey’s love of the plethora of modernist architecture in the town lets her play tour guide for Jin, and the 2 of them spend time together as observers to self discovery.

Why is it worth seeing?

Kakonada is a film critic/essayist who has done works praising the works of Japan’s Ozu (renowned for Tokyo Story), and the influence here shows. Columbus is one of the best composed films of the year, a confluence of people gracefully placed in their environment. Although the city’s widespread architectural monuments feature prominently, there’s also many shots of nature as well, all framing the characters throughout this lovely drama.

Framed around a mass of spires and angles and buttresses, Cho and Richardson display a tangible but patient chemistry, the 2 of them wandering through lovely landscapes like Linklater by way of Baraka/Samsara. It’s gentleness and airy ways carry a type of spirituality that is profound as it is quiet.

As our 2 main characters wander through the environment, things seem predictable- until they aren’t. Another of Columbus' charms are not going with the grain, in a movie where everything seems to function in harmony with the environment. Kokonada even does some Soderbergian experiments with space and time for the characters dialogue, a feature typically welcome.

Detractors will claim Columbus' pacing is glacial, its static modern environments overblown and alienating when framing its characters, and the dialogue too self aware at times- but its compositions' feng shui can be transcendent, and its whispers speak loudly amongst spires.

Rating:

4/5

Trailer: Click Here.

Rogue One: A Star Wars Story

2016’s “Rogue One: A Star Wars Story“, directed by Gareth Edwards.

Starring Felicity Jones, Mads Mikkelsen, Diego Luna, Donnie Yen, Wen Jiang, Forest Whitaker, Ben Mendelsohn, Riz Ahmed, and Alan Tudyk.

Nominated for an Academy Award in Best Achievement in Sound Mixing (David Parker, Christopher Scarabosio, and Stuart Wilson), and Best Achievement in Visual Effects (John Knoll, Mohen Leo, Hal T. Hickel, and Neil Corbould).

What is it about?

“Rogue One” is a Star Wars anthology fable, based around the time period between Episodes III and IV of the Star Wars canon (Star Wars 3.5?). We meet the enterprising Jyn (Felicity Jones), who at a young age had her father (Mads Mikkelsen) taken from her, and her mother murdered, by the Empire. Mikkelsen is forced to finish his engineering work on a powerful space station called, the Death Star. While completing it for his boss (Ben Mendelsohn, himself a tool for Darth Vader), Mikkelsen engineers a weakness in it’s design, a detail crucial to movies set in the future. Raised by Resistance leader Forest Whitaker, Jyn joins a rag tag group (Diego Luna, Donnie Yen, Wen Jian, and Riz Ahmad) that realizes that their only chance in fighting the empire will be to penetrate a planet stronghold and transmit the Death Star’s weakness to the rest of the rebels. With their fates already set, will they survive the Empire’s ruthlessness?

Why is it worth seeing?

“Rogue One” at times can suffer from the same drawbacks that prequels “Episode I: The Phantom Menance”, “Episode II: Attack of the Clones”, and "Episode III: Revenge of the Sith” do. With the series’ fate already known, just how much drama can be injected into a narrative we already know the ending to? However, the movie’s characters that exist mostly in the margins of the “Star Wars” universe, allows Director Gareth Edwards to bring an exciting sensibility to “Rogue One”- that being “Star Wars” as a legitimate war movie. Full of confusing and chaotic guerilla ground battle scenes that more accurately reflect the realities of warfare- that of consequence. The rebels are outgunned every step of the way, and “Rogue One” expertly depicts the desperation of the underdog, facing unbelievable odds and sobering conclusions.

“Rogue One” is especially refreshing after the initial film in Disney’s new ownership of the series, 2015’s “Star Wars Episode VII- The Force Awakens”. While it possessed plenty of strengths (and lens flare), “Episode VII” featured an almost slavish fan service to many character and narrative beats from 1977’s seminal “Star Wars Episode IV: A New Hope”. “Rogue One” also displays some really interesting battle techniques, and it has an artistic beauty to it, featuring plenty of sublime vistas and mushroom cloud themed backdrops. Finally, it shows us a segment of the Star Wars universe that we’ve not seen before, such as a robot that is actually lethal-  and not just comic relief.

The familiar path that “Rogue One” lays itself in can also be a strength- particularly for fans of the series’ iconic characters that show up here. But what is not a strength is the “uncanny valley” on serious display in digitizing character’s faces who either no longer look the way they used to, or are deceased. And ultimately, the movie’s greatest flaw is that we hardly knew ye’. Featuring many people with spunk but no actual purpose other than target practice, it makes cheering for characters that we really can truly understand and get behind feel a galaxy far away.

Rating:

4/5

Trailer: Click Here.

Star Wars VIII: The Last Jedi

2017’s “Star Wars VIII: The Last Jedi“, written and directed by Rian Johnson.

Starring Daisy Ridley, Adam Driver, Mark Hamill, Oscar Isaac, John Boyega, Domhnall Gleeson, Kelly Marie Tran, Carrie Fisher, Laura Dern, Andy Serkis, and Benicio Del Toro.

What is it about?

In the eighth installment of the Star Wars series, we continue on the arc set out in 2015’s “Star Wars VII: The Force Awakens”. We catch up with the rebel alliance fleet, trying to escape from the clutches of the tyrannical First Order. Having their work cut out for them, the rebels are lead by General Leah Organa (Carrie Fisher), with daring pilot Poe Dameron (Oscar Isaac), and mending turncoat Finn (John Boyega). They are pursued by Supreme Leader Snoke (Andy Serkis) calling the shots from behind the scenes, with right hand men, Kylo Ren (a magnificent Adam Driver) and General Hux (a delicious Domhnall Gleeson) in pursuit, with nothing that would make them happier than seeing the extinction of the rebels. Meanwhile, Rey (Daisy Ridley), last seen travelling to a remote island to meet up with hermit Jedi Master Luke Skywalker (Mark Hamill), is trying to convince him to train her and help out the rebel alliance’s fight against the First Order. With protagonist Rey, and antagonist Kylo Ren, sharing more and more of a connection through the force, will the rebels be able to fight back against the advancing first order?

Why is it worth seeing?

There are 2 points:

1. In 2012, Disney acquired Lucasfilms’ rights to the Star Wars franchise, and Disney subsequently supersized and streamlined the Star Wars commodity. This is the third effort so far, with inevitable returns. Anybody who knows of the classic Star Wars trilogy will instinctively speak to the reverential series’ universal themes of the heroes’ journey (sorry “Rogue One” and prequels), combined with ground breaking special effects, and quirky comedic characters- and “The Last Jedi” is no different.

2. When J.J. Abrams took over the helm for the initial non-George Lucas involved “Episode VII:The Force Awakens”, some criticism was leveled at the movie’s preference for (perhaps slavishly) following familiar themes already explored in the franchise, particularly those of the seminal "Episode IV: A New Hope". With newcomer director and writer Rian Johnson on board for "Episode VIII: The Last Jedi", one thing that can be said definitively is that his effort dares to be different.

As established in “Force Awakens”, the protagonist Rey is a force of nature who doesn’t yet understand her newfound powers, or her role in the Star Wars universe. Here Ridley is masterful in utilizing her raw character, full of a sense of justice and uncertainty towards how she fits into the grand scheme of things amidst her great surge of talent. Similar to this theme is Driver, who’s Kylo Ren may be the greatest Star Wars villain ever realized. His anxiety and sense of unease (accentuated by a crackling light sabre unique to the typically smooth hum of Star Wars’ weapons’ lore), combined with an unexplained attraction to Rey, makes for a fascinating character study that takes the story in profound directions never before seen in the Star Wars universe.

Johnson’s ingenuity and ease with the Star Wars canon means that at times familiar beats can be subverted, and this alchemy results in dizzying highs that few films in the canon can match since the franchise’s heyday. It makes one very excited about the news that Johnson will be directing 3 standalone films in the not too distant future. Even dissenting opinions ought to have challenges finding fault with an integral throne room scene that’s not only a marvel of art direction, but exhilarating, refreshing, and tantalizing in it’s realization of the seductive powers of the force’s dark side.

However, being a Star Wars corporate tent pole, much of the “The Last Jedi” has painful communication exchanges, overly cute and irritating creature cameos, less than productive adventures on CGI creatures, too many characters/call backs, political themes too complex to adequately address, and hammy acting amidst unrealistic circumstances. The drawbacks of the series are overtly displayed, for maximum worldwide corporate returns. And it’s overly long running time is the result of a lagging middle portion that may not be necessary.

But with an exciting opening, some propulsive action sequences, and displays of force abilities never before witnessed, all wrapped around a story worth forgetting the lesser efforts of the Star Wars universe, “Last Jedi” is a breath of fresh air to the series that has characters worth caring about, exciting action sequences, and an element of mystery that is tantalizing to imagine. The force is strong with this one.

Rating:

4/5

Trailer: Click Here.

Boogie Nights

1997’s “Boogie Nights“, written and directed by Paul Thomas Anderson.

Starring Mark Wahlberg, Burt Reynolds, Julianne Moore, John C. Reilly, William H. Macy, Heather Graham, Don Cheadle, Philip Seymour Hoffman, Luis Guzman, Jack Wallace, Thomas Jane, Philip Baker Hall, and Ricky Jay.

Nominated for an Academy Award for Best Screenplay (Paul Thomas Anderson), Best Supporting Actress (Julianne Moore), and Best Supporting Actor (Burt Reynolds).

What is it about?

During 1977, high school aged dishwasher Mark Wahlberg is working at a club one night when he meets pornographer, Burt Reynolds. With Wahlberg on the outs from his shrill mother and indifferent father, Reynolds becomes a surrogate father figure to him and introduces Walhberg into his de facto family of adult film creators. From matriarch (Julianne Moore) to brother in arms (John C. Reilly) to sister figure (Heather Graham) to fellow actor (Luis Guzman) to sound man (Philip Seymour Hoffman) to 2^nd Director (William H. Macy) to camera man (Ricky Jay) to financer (Jack Wallace), all of them figure into Wahlberg’s journey from a dishwasher to a pornography star to something else entirely. As the 70’s good times ebb into the more difficult 80’s, film transitions into video, and the positive vibes start to peter out, will Wahlberg be able to regain his mojo?

Why is it worth seeing?

Even though Paul Thomas Anderson’ s debut feature was 1996’s “Hard Eight”, “Boogie Nights” is really his coming out party. Packed with stars giving career invigorating (and revitalizing) performances, Anderson apes such icons such as Scorcese, De Palma, and Tarantino, but also crafts an immersive family drama- where none of the characters are related and every member has to come to grips with their respective traumas.

It’s easy to condemn the subject matter depicted here. This is a movie about the pornography industry through the 70’s and 80’s, and to some, hardly something worth celebrating. Not surprisingly, the characters have freewheeling lifestyles, and rather liberal attitudes about their behaviours in a society just beginning to discover video tape and the war on drugs. But a little insight reveals that our hero’s journey is the very definition of wayward, and that the surrogate family here is the stuff the “Fast and Furious” franchise claims to be made out of.

This may be Reynold’s most fully realized role, as his patriarchal porn director who deeply cares for his cast and just wants to make art, sets the table for some serious utopian ideals that may not hold up to society (Reynolds, brought back to life from career hell by Anderson, allegedly feuded with the director at times, and pissed away any good will that he generated here, fading back to VOD obscurity shortly after). Wahlberg is fantastic too, portraying the teenager/young adult as a combination of simple earnestness and a growing confidence in himself and his ahem, talent, that boils to a head. As his career advanced from an underwear model, it’s a place Wahlberg seems to have forgotten as he’s tried to present himself as a confident A lister- an awkward fit at times.

It would be easy to label “Boogie Nights” as a comedy. Some of it’s inspired scenes about the creation of Wahlberg’s pseudonym, Reynold’s detachment about his colleague’s professional choices, or it’s digs at dated technology and lifestyles, are a riot. But Anderson’s true strength is in his depiction of relationships, something that he is just exploring in this phase of his career, before going on to create masterpieces such as “The Master” and “There Will be Blood”, as well as “Magnolia”. Like any young and exciting filmmaker, Anderson does a fine job of copying masters before him, but some of the motivations that inspire characters to make their choices, or the characters themselves, can feel a little unnatural (Wahlberg’s parents for example). And watching a character make a choice during a hold up gone up wrong could have ended in a lot more ambiguity for increased potency.

Equal parts propulsive and hilarious, “Boogie Nights”’ feelings on being a bright star in a universe full of them fortunately remind us that in a weird and exciting world, sometimes family is all you’ve got.

Rating:

4/5

Trailer: Click Here.

The Florida Project

2017’s “The Florida Project“, directed by Sean Baker.

Starring Willem Dafoe, Bria Vinaite, Brooklynn Prince, Christopher Rivera, Valeria Cotto, Aiden Malik, and Mela Murder.

Nominated for an Academy Award for Best Supporting Actor (Willem Dafoe).

 

 

What is it about?

Set in and around a run down motel in Orlando, Florida, single mother, Holley (Bria Vinaite) lives a hand to mouth existence, as she struggles to raise her daughter, Moonee (Brooklynn Prince). Holley loves Moonee, but is powerless to properly supervise her, as Moonee runs around the community with other latchkey kids (Christopher Rivera, and Valeria Cotto) whom test boundaries and get into mischievous adventures. Worse, she’s unwilling to fully utilize the help of building manager, Bobby (Willem Dafoe), who operates more as a de facto caretaker and heart and soul of the building. Will Holley be able to siphon off some of the magic of nearby Disneyworld- or fall through the cracks?

Why is it worth seeing?

Director Sean Baker’s The Florida Project, along with his 2015 Tangerine, depicts lower income human beings, those underdogs clawing furiously to get by in the margins of society. For them, its always just one more grift, just one more loan from a kind soul, some kind of a distant goal that they need to keep in front of them, in order to cling to hope. The film’s motel setting, essentially low income housing for those who can’t afford monthly rent payments, here painted an unnatural lavender purple, accentuates the perversity of living so close to the fabled Magic Kingdom- while reality lies just down the street.

In this reality, the character of Holley (Bria Vinaite, who was discovered on Instagram and as natural as it gets), struggles to figure out how to pay the rent without running afoul of the law, or having her daughter Moonee go into the foster care system. It’s a real challenge for someone that has virtually no support network and minimal employable skills and education- but the real magic that Baker creates is that this doesn’t qualify as poverty porn. Instead, we see a sometimes grueling tale that explains the intersection of community and fantasy, of child-like wonder despite life’s challenges.


In the telling of a story involving a mother who  may be an unsafe caregiver, we see the emergence of child protection social work themes- but the real social worker here is Willem Dafoe’s character of Bobby. As the manager of the de facto lower income housing complex, he gives so much of himself, it’s hard not to recall his previous martyr roles, like 1986’s Platoon or 1988’s Last Temptation of Christ. Like a social worker, Dafoe’s heart is rivaled in size only by the impossibility of his situation. Bound by policies and unfortunate socio-economic situations beyond his control, he at times has to choose between keeping his job or doing the right thing, all while functioning as everything from a painter to a janitor to a babysitter. As the guy who brings the place to life, it’s an underrated and great performance, equal parts resignation and inspiration.

Baker’s documentary-like style shows us the class warfare society of the Southern United States that is so thick that it sometimes bubbles up through the sidewalks and into the children’s naiveté- but not before showing us some very street savvy kids, well versed in poverty and hustles. You are your environment after all. It’s a testament to Baker’s skills that some of us will be able to empathize with the more difficult to love individuals represented here (the rest of the population will cast their vote to lock these individuals in jail).

Writers Chris Bergoch and Baker’s script create a child-like milieu that is authentic to the meandering aimlessness of life, interjected with more adult themed encounters with landlords, police, security guards, unhappy customers, pissed off neighbours, and the glare of tourists passing through, and a magic that has nothing and everything to do with corporate behemoths. More about fantasy and optimism than evidence based practice, the film’s final shot confirms that The Florida Project has an unexpected way of sticking to you like Florida’s humidity.

Rating:

4.5/5

Trailer: Click Here.

Die Hard

1988’s “Die Hard”, directed by John McTiernan.

Starring Bruce Willis, Alan Rickman, Alexander Godunov, Clarence Gilyard Jr, Bonnie Bedelia, Reginald VelJohnson, Paul Gleason, James Shigeta, William Atherton, and De’voreaux White.

Nominated for an Academy Award for Best Sound (Don J. Bassman, Kevin F. Cleary, Richard Overton, and Al Overton Jr), Best Film Editing (Frank J. Urioste and John F. Link), Best Sound Effects Editing (Stephen Hunter Flick and Richard Shorr), and Best Visual Effects (Richard Edlund, Al Di Sarro, Brent Boates, and Thaine Morris). 

What is it about?

New York cop John McClane (Bruce Willis) flies out to a Los Angeles high rise to surprise his estranged wife (Bonnie Bedelia). McClane discovers some key issues: Californians are much more alien when compared to the comfortable hostility of New Yorkers, Bedelia is using her maiden name instead of her last name by marriage, and a group of European terrorists have taken the building’s Christmas Party attendees hostage (including Bedelia). Lead by the charismatic Hans Gruber (Alan Rickman), the terrorists are after the company’s bearer bonds, and aren’t afraid to take some innocent lives to get them. McClane may be a trained police officer, but he’s outgunned, and caught with his shoes off- will he be able to save the day?

Why is it worth seeing?

“Die Hard” is a timeless classic that is in the conversation for the greatest action film of all time (and, depending on the crowd: best Christmas movie of all time). It’s dominance of the genre can be best exemplified in how all other action films made afterwards make reference to it (including the Die Hard Franchise itself). Whatever the narrative, studios will be sure to market press quotes with such tributes as “it’s Die Hard on a Bus!” or “it’s Die Hard in the White House!”, etc. Such is the influence of the film.

With an amazing script by Stephan De Souza, “Die Hard” is a slam bang action picture, full of interlocking puzzle pieces set within the maze of a sometimes claustrophobic office building. Within it’s confines, a chess match of kick ass proportions and a great character study takes place between it’s protagonist and antagonist. The good guy, and the many bad guys play off of each other beautifully, and McClane finds many ways to be a fly in the ointment for the baddies. It’s also especially an underrated comedy, with tons of inspired bits that few other action movies provide.

Initially there were multiple actors considered for the iconic role of irreverent cop John McClane, but the relatively unknown Willis was cast instead (known previously for a TV show called “Moonlighting”), and after 5 entries (and counting), it’s impossible to imagine anyone else playing him. While John McClane has plenty of smart aleck comments and an A-hole New York City sensibility, what sets the character apart from the rest of the ripped abs and funny accent crowd is his vulnerability. Willis goes up through 35 floors of hell and back, with no shoes and almost no emotional support. We see his isolation, and feel his fear, his pain, and his self-doubt.

It’s surprising that after so many rip offs and inferior sequels that Hollywood can’t figure out what made Willis’ initial portrayal so successful. Yes, the wisecracks and devil-may-care attitude can go far as you gleefully blow people up, fill them full of lead, and drop them from great heights- but as hundreds of inferior action movies have proven, it takes a lot more than fighting a penguin suit to make a great action star. It’s being able to relate to them and wonder if you could do what they’re doing in the face of fear. As McClane prepares to do a ridiculous stunt to save his life, he wonders aloud to himself what he’s doing. It’s an unusual response to a desperate situation, since heroism is supposed to be about always being so sure of oneself in the face of adversity. But it’s the right choice, and it makes us wonder if this maniacal act of self preservation is actually going to work for this terrified hero. The stakes are high- and so is the spike in adrenaline.

Every hero needs a villain, and the casting of Alan Rickman, as the Eastern European terrorist Hans Gruber, is an inspired move. With a background mainly in theatre, “Die Hard” was his first film, and he’s so good in it that it’s almost maddening- to be that assured and effective in this role as essentially a rookie... Rickman leaves no stone unturned as the cold and calculating Gruber- thinking fast on his feet, deliciously hating every speck of McClane’s involvement, and even acting like he’s acting at one point. It’s a masterful performance. But there’s more: Gruber needs a crew to help him pull the job, and his lackeys at times have more personality than some protagonists in lesser movies. It’s an embarrassment of riches, and that’s before mentioning the clowns of local and federal law enforcement masquerading as professionals outside the pivotal building’s battle ground. 

With Jan De Bont’s amazing cinematography helping the movie to age gracefully, and Michael Kamen’s memorable and at times sinister yuletide score in the background, “Die Hard”’s kinetic yippee ki yay action, surprising character depths, and hilarious comedic beats are a Christmas treat worth visiting any day of the year.

Rating:

5/5

Trailer: Click Here.

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.