Directed by:
Denis VilleneuveCinematography:
Roger DeakinsCast:
Ryan Gosling, Harrison Ford, Sylvia Hoeks, Ana de Armas, Robin Wright, Jared Leto, Dave Bautista, Carla Juri, Mackenzie Davis, Lennie James, Barkhad Abdi (more)VOD (2)
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Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years. (Warner Bros. US)
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Much better than I was afraid of, but much worse than I hoped for. The first is true mainly due to the accurately captured peculiarly slow hypnotic "non-spectator" atmosphere (I felt like it was 2049 minutes long), addressing major existential issues through slight hints (however worse than in previous movies), refined in terms of design and ideas, functional update of the world by thirty years, the roaring and intoxicating audiovisuals prove that it is not the same with only slight changes, in other words we can see a real acting of Ford. The second is true because of several plot lines from the final sequence, which are questionable, or even reprehensible. There is quite a lot of too long or even superfluous scenes. It´s too cold, despite the desire to raise emotions and there are to many different topics that are only mentioned and then fade away as quickly as a flash. It will definitely not become a timeless legendary movie, only perhaps in terms of craftsmanship perhaps, but it´s absolutely more than just a damn good anti-utopian film. That´s for sure. The question, of course, remains whether "more than damn good" is enough in the case of the follow-up of one of the most influential films of the movie industry.
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A visually intoxicating sequel that should earn at least Deakins an Oscar. Villeneuve prepares the ground in the first half and takes us back to the familiar world from the mind of Phillip K. Dick, where the bullied Gosling is trying to do his work. The offering to racist roots works better than 12 years in chains. Digging about in the past is another tribute to old school detective movies and Elvis steals the show in the Vegas sequence. Heavy ruminations about the nature of artificial beings, about what is reality and what good is and is not good. A fantastically negative Leto who, in this memorable role, fundamentally means well. Ford’s return to Deckard’s shoes is expedient, not just a cheap promo. He’s still got it in him. Zimmer’s music again thunderous. Interlinked.
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There's probably no bigger fan of the original Blade Runner than me, so, first of all, I don't think a movie like this needed a sequel at all. In terms of the story, it's like The Matrix. There, the mythology was developed in the other two episodes, here, the story is developed in a way that makes sense, but does not enrich the original film. In terms of pure craftsmanship, it's a solid piece of filmmaking, but I didn’t feel the atmosphere of Scott's gem, that "Babylonian" mix of cultures and peoples with a predominantly Asian element where you could easily become an anonymous figurehead. Deakins does magic, yes, but the atmosphere is missing, and anyone who says otherwise has failed to feel the subtle nuances of the first Blade Runner. I missed an interesting character like J.F. Sebastian and his electronic toys in the prequel, I missed a fateful character like Pris, I missed a strong villain like Roy Batty whom you both hated and pitied. There's none of that in Villeneuve's film, just a terminator in a skirt and a bland Leto. Thanks at least for the holographic Joi, probably the only interesting character in the film. I just can’t avoid feeling slightly disappointed.
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Unfortunately, this one missed me. I turned off the old Blade Runner halfway through and it would have turned out the same had I watched this one at home. I consider Denis Villeneuve to be a very promising and skilled director, Sicario with Prisoners are among my favorite films, but I find Blade Runner 2049 unrewarding as an audience member. Visually, of course, it's a treat and makes you want to take a camera and photograph a every single scene. Ryan Gosling was a good fit for the lead role, but that's probably all there is to it. The vaunted Harrison Ford shows up 30 minutes before the end, a time when you are tired and exhausted, Jared Leto as the bad guy is there 10 minutes overall, which is perhaps one of the biggest problems, because a good bad guy makes a good movie. The R-rating is very underused, there are no twists and the action makes up about 15 minutes of the 163 minute running time, well no wonder 5 people left the theater and if I wasn't an proper movie fan I probably would have left too. Too artsy, surreal and dreamy, it almost gave me hemorrhoids from the constant changes of positions in my seat! 45%
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I adhere to the principle that if I don't have high expectations I will be pleasantly surprised from time to time. The new Blade Runner did not disappoint me, although I could express a few critical reservations. But overall, besides Nolan's Dunkirk, this was my biggest movie theater experience this year. It is more than a worthy continuation of Scott's film, or rather its modified version from 1992. It continues not only in terms of the plot but also in terms of atmosphere and style. The characters are all 30 years older and it clearly did not benefit any of them. Deckard has aged, the environmental crisis has deepened, social inequalities are more extreme, and fear and tension have increased everywhere. There are more replicants and they represent a greater challenge than ever before. Blade Runner 2049 depicts a world that has not yet exploded, but the fuse is already burning and the flame inexorably approaches the explosive. Denis Villeneuve creates impressive and depressive images of a world where humanity cannot handle itself, let alone coexist with artificial intelligence. The strength of his film lies in the direction and visuals, while the screenplay is noticeably weaker. However, a similar criticism can also be applied to Scott's film, which is stronger in building atmosphere and raising ethical questions than in the credibility of the constructed world. Blade Runner 2049 can be criticized for many things, from the uninteresting female antagonist who certainly does not match the replicant Roy Batty from the first film to the strange character of the CEO of the most powerful corporation, Niander Wallace, who resembles a leading figure of a religious sect, and whose appearance is probably supposed to refer to biblical motifs of the Creator God. Yet among current blockbusters, the film stands out. I agree with the criticism directed at the excessive readability, literalness, and genericness, but I would also compare this film to Prometheus, which is several levels worse in the aforementioned aspects, moreover, it has poor editing, the most basic narrative techniques fail in it, and it uses the cheapest symbolism. Therefore, I would be cautious with the hate and I would attribute some disappointments to unrealistic expectations and, last but not least, to the fact that Blade Runner betrays its commercial attractiveness. A slow three-hour action film built on long shots simply doesn't appeal to everyone. If you can't resist the lure of the new Blade Runner, I highly recommend watching it on the big screen because it loses a lot of its visual impact on the small screen. Gosling in the lead role may disgust some people with his limited acting range, but let's not forget that he plays an android, so we can forgive him for that. I enjoyed Blade Runner 2049 - not as a masterpiece of art that should be some fundamental reflection of our technological possibilities and fear of the near future, but as a magnificent visual blockbuster that is not as mindless as the majority of the others. Overall impression: 90%.
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