Blade Runner 2049 (B+ or 3/4 stars)
'Blade Runner 2049' (directed by Denis Villeneuve, Prisoners, Arrival) is the much-anticipated sequel to the 1982 sci-fi classic Blade Runner, set 30 yrs. after the events of the original. In 'BR2049', a new breed of replicants - genetically engineered 'people' created as exact replicas of human beings - has been created to serve humans without rebellion. K (Ryan Gosling) is one of them; a Nexus 9 working for the LAPD as a "blade runner". After finding one of the renegade Nexus 8 replicants (an imposing Dave Bautista), a fight ensues; but before his foe is killed, he mumbles something to K about once having witnessed a miracle. To that, on the premises, K finds a box containing the skeleton of a woman, which he takes back to his boss Lt. Joshi (an icy Robin Wright) & her forensics team for scrutiny.
K is then assigned to unravel this mystery behind this female's death, which will lead him to a host of bizarre, treacherous places. One such place is the replicant-manufacturing Tyrell Corporation, which is now controlled by blind, power-hungry tycoon, Niander Wallace (Jared Leto). He & his henchwoman Luv (bada*ss Sylvia Hoeks) scheme to use K for their own nefarious purposes. Over in San Diego, K ventures to a dumpy orphanage where he finds a wooden toy horse he "remembers" {legit memory or planted?} from his childhood. He also finds a research facility where Dr. Stillene (ethereal Carla Juri), enclosed behind glass, 'creates' memories for implantation into replicants. Finally he travels to the ruins of Las Vegas where he finds the secluded Deckard (Harrison Ford), who he hopes holds the key to unlocking the mystery behind the female skeleton, as well as the secret of K's own past & identity. He is haunted by the notion that there might be more to him than he knows; which is reinforced by that tiny wooden horse that he 'seems' to recall. Are his replicant memories planted ... or is it possible that they're real!?
At 164 minutes in length - and with a sprinkling of tedious moments throughout - I find it hard to outright love this beautiful piece of cinematic art. Coming 35 yrs. after the iconic original film, Villeneuve's sequel is heavier on mood, spellbinding visuals & performances than on big action, gripping emotions or profound themes, but it still provides food for thought. I'd have liked a good half hour shaved off the running time. I'd have liked a little more verve and a little less exposition in spots. I would have even preferred a slightly different ending. But when the individual 'parts' are as good as they are, it's easy to appreciate the 'whole'.
Some of the more amazing, provocative moments are thanks to Roger Deakins' neon-lit cinematography, Dennis Gassner's sensational dystopian production design & the sonar strains of Hans Zimmer/Benjamin Wallfisch's synth music score {it rumbles, throbs, yet contains such beauty - just like Vangelis' otherworldly music from the 1st film}. Everything from the dingy cityscape to the giant electric holograms to massive sculptures are incredible to witness. The '82 flick showed 2019 L.A. as a combo of the future AND retro. And this film continues that concept; just with state of the art CGI. Joe Walker's editing gives the film a brooding quality that is, at once, both an asset AND a detriment {if you're looking for that quickened pace}. The bursts of action are superbly choreographed (K's fight with Dave Bautista's character; K's strained interaction with Deckard in his hologram-rich Vegas casino; and an underwater confrontation btwn. K & Sylvia Hoeks' Luv). I could go on.
Having said that, I think this film might struggle with less cerebral audiences who expect your typical actioner and not an atypical sci-fi mood piece {audiences took to Villeneuve's similar Arrival, but who knows this go-around}. 'BR2049' is more concerned with creating atmosphere, mood & provoking ideas than providing an adrenaline high. The cast is solid, though. Gosling brings a stoic, determined, but also sad soulfulness to a character who may or may not have a soul. Harrison Ford's world-weariness is palpable. In just 2 scenes, Jared Leto lends mystery & cruelty. Sylvia Hoeks scared the crap outta me as formidable henchwoman, Luv. And Ana de Armas surprisingly lends a lot as K's hologram girlfriend, Joi. To 'connect' with Joi, replicant prostitute Mariette (Mackenzie Davis) morphs with hologram Joi to have a sort of 3-way with K -- you won't forget that scene or the ramifications of it later in the proceedings. Can machines have feelings?
So, yeah. The movie's exorbitant length wears a bit. Dialogue is at a premium. And the many moments of contemplative, pseudo-meaningful 'quiet' in the film didn't help me stay locked-in/fully engaged the way I wanted to be. But these flaws are few when compared to the enormity of successes throughout the duration. 'BR2049' doesn't quite reach the level of classic status that its predecessor does {in my opinion}, but its intangibles, the strength of performance, the magnitude of movie magic on display, as well as its ponderous themes of what it means to be human ... are potent.
K is then assigned to unravel this mystery behind this female's death, which will lead him to a host of bizarre, treacherous places. One such place is the replicant-manufacturing Tyrell Corporation, which is now controlled by blind, power-hungry tycoon, Niander Wallace (Jared Leto). He & his henchwoman Luv (bada*ss Sylvia Hoeks) scheme to use K for their own nefarious purposes. Over in San Diego, K ventures to a dumpy orphanage where he finds a wooden toy horse he "remembers" {legit memory or planted?} from his childhood. He also finds a research facility where Dr. Stillene (ethereal Carla Juri), enclosed behind glass, 'creates' memories for implantation into replicants. Finally he travels to the ruins of Las Vegas where he finds the secluded Deckard (Harrison Ford), who he hopes holds the key to unlocking the mystery behind the female skeleton, as well as the secret of K's own past & identity. He is haunted by the notion that there might be more to him than he knows; which is reinforced by that tiny wooden horse that he 'seems' to recall. Are his replicant memories planted ... or is it possible that they're real!?
At 164 minutes in length - and with a sprinkling of tedious moments throughout - I find it hard to outright love this beautiful piece of cinematic art. Coming 35 yrs. after the iconic original film, Villeneuve's sequel is heavier on mood, spellbinding visuals & performances than on big action, gripping emotions or profound themes, but it still provides food for thought. I'd have liked a good half hour shaved off the running time. I'd have liked a little more verve and a little less exposition in spots. I would have even preferred a slightly different ending. But when the individual 'parts' are as good as they are, it's easy to appreciate the 'whole'.
Some of the more amazing, provocative moments are thanks to Roger Deakins' neon-lit cinematography, Dennis Gassner's sensational dystopian production design & the sonar strains of Hans Zimmer/Benjamin Wallfisch's synth music score {it rumbles, throbs, yet contains such beauty - just like Vangelis' otherworldly music from the 1st film}. Everything from the dingy cityscape to the giant electric holograms to massive sculptures are incredible to witness. The '82 flick showed 2019 L.A. as a combo of the future AND retro. And this film continues that concept; just with state of the art CGI. Joe Walker's editing gives the film a brooding quality that is, at once, both an asset AND a detriment {if you're looking for that quickened pace}. The bursts of action are superbly choreographed (K's fight with Dave Bautista's character; K's strained interaction with Deckard in his hologram-rich Vegas casino; and an underwater confrontation btwn. K & Sylvia Hoeks' Luv). I could go on.
Having said that, I think this film might struggle with less cerebral audiences who expect your typical actioner and not an atypical sci-fi mood piece {audiences took to Villeneuve's similar Arrival, but who knows this go-around}. 'BR2049' is more concerned with creating atmosphere, mood & provoking ideas than providing an adrenaline high. The cast is solid, though. Gosling brings a stoic, determined, but also sad soulfulness to a character who may or may not have a soul. Harrison Ford's world-weariness is palpable. In just 2 scenes, Jared Leto lends mystery & cruelty. Sylvia Hoeks scared the crap outta me as formidable henchwoman, Luv. And Ana de Armas surprisingly lends a lot as K's hologram girlfriend, Joi. To 'connect' with Joi, replicant prostitute Mariette (Mackenzie Davis) morphs with hologram Joi to have a sort of 3-way with K -- you won't forget that scene or the ramifications of it later in the proceedings. Can machines have feelings?
So, yeah. The movie's exorbitant length wears a bit. Dialogue is at a premium. And the many moments of contemplative, pseudo-meaningful 'quiet' in the film didn't help me stay locked-in/fully engaged the way I wanted to be. But these flaws are few when compared to the enormity of successes throughout the duration. 'BR2049' doesn't quite reach the level of classic status that its predecessor does {in my opinion}, but its intangibles, the strength of performance, the magnitude of movie magic on display, as well as its ponderous themes of what it means to be human ... are potent.