Blade Runner 2049

BLADE RUNNER 2049

Director : Denis Villenueve
Year : 2017
Genre : Science-Fiction
Rating : ***

In the wake of the backlash against films such as 'Ghostbusters', 'Alien Covenant' and 'Terminator Genisys', you would think that Warner Bros. would think twice before rebooting yet another beloved 80's science-fiction property - especially when it's one of the most revered and influential in cinema history. However despite all the odds stacked against it, ''Blade Runner 2049', Denis Villenueve's eagerly awaited sequel to Ridley Scott's 1982 neo-noir science fiction classic, miraculously manages to maintain the philosophical heart that was at the core of the original film while having the bravery and, some may say audacity, to be it's own unique vision without  solely relying on the legacy of it's predecessor. 

Replete with fine performances, a fascinating screenplay and consistently astonishing visuals, 'Blade Runner 2049' stands alongside Darren Aronofsky's incendiary psycho-shocker 'mother!' as one of the most impressive cinematic achievements of the 21st century and its influence is sure to be just as powerful and as important as those of it's genre-defining antecedent. However, while it is very easy to admire the visual splendour and thematic depth of the film, it is not so easy to admire the threadbare narrative that lacks the thrills or intrigue of the 1982 movie or the overlong running time of nearly three hours that undoubtedly fails to justify it. 

Like 'Blade Runner' before it, '2049' delivers some of the most beautiful, awe-inspiring and downright incredible imagery ever seen on the silver screen. Working once again with his 'Sicario' and 'Prisoners' cinematographer Roger Deakins, Denis Villenueve expertly builds on the world originally created by Scott and conjures up endlessly imaginative and intriguing vistas - extraordinary cityscapes brimming with the neon lights of giant electronic billboards, sun-scorched wastelands that glow with background radiation and agoraphobic interiors that are both simultaneously inviting and utterly menacing. As Roy Batty says at the and of the original film, ''I have seen things you people wouldn't believe.'' For too long, Deakins (whose work also includes 'Fargo', 'Skyfall' and 'Doubt') has evaded the Academy Award for Best Cinematography but with 'Blade Runner 2049', his much-deserved Oscar is all but in the bag. Underpinning the spectacle is Hans Zimmer's thunderous score which develops Vangelis' iconic themes while also creating an eerie, discordant soundscape which calls to mind the nightmarish ambiance of David Lynch's 1976 surrealist classic 'Eraserhead'. 

It is in this bleak, dystopian nightmare where we meet Ryan Gosling's apathetic android hunter K who, after years of 'retiring' his fellow replicants, has begun to question his own artificial existence.  However, while wandering aimlessly around the towering metropolis he calls home, K comes across a mysterious box of bones; a box which kicks off a plot which sees K uncovering the truth behind his own future as well as the fate of humanity. Despite a distinct lack of development or character, Ryan Gosling is very good in his central role while returning star Harrison Ford brings an extra level of depth and pain to the character of Rick Deckard around whom the second act of the film hypnotically swirls. Impressive too is  Sylvia Hoeks whose performance as the ruthless replicant Luv is every bit as threatening and as intimidating as that of the aforementioned Roy Batty played by Rutger Hauer in the original picture. However, special praise must be given to the beautiful Ana de Armas who brings dimension to her somewhat thankless role as Joi, K's holographic girlfriend whose warmth, love and compassion provides a ray of hope in his otherwise cold and miserable existence. 

Narratively, 'Blade Runner 2049' walks the the often-precarious tightrope of repetition and complete overhaul, with scriptwriters Michael Green and Hampton Fancher (co-author of the first film) reviving the philosophical thesis so important to the success of the 1982 movie while subverting the expectations of fans of Scott's picture. Like the best sci-fi, 'Blade Runner 2049' asks more questions than it answers while Villenueve (who once again proves to be one of the true masters of the artform) cheekily refuses to answer the conundrum at the heart of 'Blade Runner' - a choice which is sure to continue debate among film fans for years and even decades to come.   

As a piece of cinema, 'Blade Runner 2049' is a truly extraordinary experience to look at but watching it is far more of a chore than a pleasure. At 163 minutes, the film is much longer than the traditional sci-fi blockbuster and while length has never really been a negative for me, the lack of development and almost glacial pacing is. Frequently, 'Blade Runner 2049' threatens to grind to a complete halt and while the aforementioned visuals are truly something to behold in an auditorium, I must be honest and admit that I didn't really enjoy the experience which I found to be predominately tedious and at times, simply boring. That being said, I felt exactly the same way after viewing the original 'Blade Runner' which took another 3 watches before I finally realized just how great it really was so take from that what you will. 

Upon it's initial release back in 1982, 'Blade Runner' was met with a luke-warm response from both audiences and critics but no such fate has befallen its sequel which has opened to unanimously rave reviews despite underwhelming box office takings - with many calling 'Blade Runner 2049' not only one of the best films of the year but one of the best sequels ever made. I certainly don't agree that it is the audience-pleasing masterpiece that the critics of the world are boldly proclaiming it to be but I'm sure that (as was the case with the original film) 'Blade Runner 2049' will only get better with every caffeine-fueled re-watch.