Many years ago, I saw the sci-fi
classic Blade Runner several times in
cable. However, unlike many other films I
got to watch a couple of instances as a kid – especially genre films – it didn’t
really resonate with me. I can’t even
remember what particular version I had watched, for this movie is known for
having seven different cuts. A couple of
years back – when I was in my late teenage years or early 20’s – I saw its “Final Cut”, which is supposed to be
its most definitive version, as determined by creator Ridley Scott. I found it good, but it didn’t blow me away.
I also read Philip K. Dick’s Do Androids Dream of Electric Sheep?,
the novel it was loosely based on. I
thought it was okay, but it didn’t impress me as much as it should, since I only got to read it after having already read Isaac Asimov’s
Robot novels, which had a better take on human-created artificial beings.
Maybe I just didn’t get the whole Blade Runner thing. In fact, I appreciated its themes, elements, and
aesthetics much more when they were utilized in other films – films it probably
inspired – like Ghost in the Shell, Armitage, Gattaca, Dark City, The Matrix, and Ex Machina.
The sequel, however, is another
story. After only one viewing, I
immediately felt that Blade Runner 2049 is an instant cinematic classic.
When I
first learned that this movie was being made – a follow-up 35 years since Blade Runner was first released in
theaters – I thought it was another one of Hollywood’s cynical cash-grabs. But it turned out being inspired and
rewarding in its own right. It’s absolutely
superior to the original, in my humble opinion.
I even think it improved Blade Runner for me – I have to rewatch
it to be fully certain – as it revisits previous plot points and made them more
intriguing and sensible, especially those I felt was a bit problematic the first
time around. Not only did it expand its
mythology and philosophy, it probably even totally altered the meaning of the original
film.
The script is simply brilliant. It’s a bit slow paced though, and coupled
with its lengthy runtime (nearly three hours long) and its many exposition scenes,
it kind of slightly drags, especially in the first half. However, it’s because it really allows itself
to take its time in thoroughly establishing and realizing its characters and plot. And, as a result, I think the narrative
totally pays off. In addition, it doesn’t
spoon feed. Rather, it demands the
audience to pay attention, respects their intelligence, and then reward them
handsomely in the end.
Now, I don’t want to offer a plot
synopsis or character descriptions. 2049 is packed with surprising details
and development, and these are meant to be enjoyed once you are finally
watching the movie. The trailers are
even vague enough to serve this purpose. The only things about the plot that one needs
to know before going in is that Ryan Gosling is playing a new Blade Runner
named K, and in his latest assignment, he seeks the help of Rick Deckard, the
protagonist of the first movie, played by Harrison Ford.
Moreover, just like the first
movie, a love story is an important aspect of 2049. But while the romance
between Deckard and Rachel in Blade
Runner didn’t leave much of an impact on me, I really thought the
romantic subplot between K and his, er, “wife” (played by Ana de Armas) is very
interesting. They even have this unique
sex scene (it occurred off screen, but the set up to it was shown, and it was
extremely remarkable).
But while its story is splendid,
its visuals are twice as great. Sure, the
setting is a dystopian future. But this
doesn’t mean it had to look drab and anemic.
And, indeed, this movie is a feast for the eyes to devour. Lighting, colors, contrasts, camera
positioning, CGI, production design – all work together to make every frame
look gorgeously immaculate. Emotive sound
design then further enhances whatever mood or ambiance needs to be conveyed in
each scene.
Denis Villeneuve has
proven time and time again to be a master director. And with Blade
Runner 2049, he has arguably made the case that he deserves to be up there
with the Spielbergs and Scorseses and Tarantinos and Nolans.
In ending, let me simply reiterate:
Blade Runner 2049 is set to become a cinematic
classic.
(That being said, I am still willing to trade 2049 for an
entire Shinichirō Watanabe-directed Blackout 2022 series.)
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