Blade Runner 2049 Reviews
They drag the story on forever, almost fell asleep during, and I udually don't fall asleep with movies I haven't seen before...
There is hardly any action...
If I remember correctly it doesn't do the 1982 any justice, I Wil re-watch that and make a review...
As a sequel, the tape looks incredibly well from the first minute it is visible that the project was a true fan of the original film. The atmosphere absorbs the head, the events stretch smoothly and slowly, which is a characteristic feature of the series and for many it is a minus (but not me). Despite the close relationship with the original, tape Villeneuve is sure to surprise and show something new. Almost completely disappeared aesthetics of film Noir, and instead proposed increased portion of action and a greater variety of locations, introduces viewers to the world of the future outside of big cities.
Speaking about the actors and their characters I would like to highlight Dave Batista, which was very little, but in such a short amount of screen time he managed to create a memorable and interesting way, the background which can be seen in the short prequel to "2048: Nowhere to run", filmed by Luke Scott. Also for a small fraction of the duration in time perfectly to reveal the characters of Jared Leto and Harrison Ford. The latter even in the joint scenes with the main character managed to pull the viewer's attention on himself his endless charisma. The Key Officer in the performance of Ryan Gosling is ambiguous. In General, the role of the canadian classic - Ryan plays silent maloemotsionalny young people with a sad look, and in this film it is also due to the peculiarities of the character.
There were, of course, and without the drawbacks. For me, the obvious shortcomings of steel sagging narrative at the end of the first hour timekeeping, small, slow, even compared to the original tape, not until the end of the open arches of the characters (mostly Wallace), as well as the soundtrack. He, of course, good, Hans Zimmer as always on top, but still a new "Running" lacks the charm that gave the tracks by Vangelis, composer of the first part. But none of these minuses can not name at least serious, why the impressions of the paintings remain very positive.
Done a great job with the material, the technical side of the film is just beyond praise and deserves at least Oscar nominations for the soundtrack, visual effects and cinematography. A worthy continuation of the classic, which once again proved to everyone that Denis Villeneuve is one of the best directors of our day.
One of the goals for the film set by director Denis Villeneuve was to venture beyond extending the dystopic Blade runner universe to expand it. The visual impact made by the original change the way the future was depicted. The streets were crowded, rain seems to be constant and the looming buildings festooned with gaudy, animated billboard advertisement. The opening shot of this film depicts a car, on autopilot as its occupant, K (Ryan Gosling), waking from a nap. The wide-open vista of this scene contrasted with the start of the original tells volumes without needing dialogue. Although the landscape is bright with the palette sliding from blues to orange, the overall feel remains desolate, bordering on despair. K is a Blade Runner whose mission is to retire outdated or rogue replicants. There was a long-standing debate as to whether Decker (Harrison Ford), was a replicant himself. K is unmistakably one of the advanced models. The distain displayed by his fellow officers calling him the ultimate pejorative for a replicant, skin job. A crucial piece of exposition is provided when K confronts his target. The replicant slated for retirement is one of the last of the old Nexus models. Before returning to headquarters. He found a box containing the remains of a female replicant who died during an emergency cesarean section. Against their design specifications, replication has somehow obtained the ability to reproduce sexually. When K reports his findings to his supervisor, Lieutenant Joshi (Robin Wright), who is concerned that if this fact became general knowledge, it would result in a panic that would result in the war pitting humans against replicants. Joshi orders K to locate and retire the child replicant. K's first destination is the Wallace Corporation, the successor to the inventor of the technology that replicants feasible, the now-defunct Tyrell Corporation, for help in identifying the maternal replicant. Through a thorough analysis of the DNA, it is determining that the sample belonged to an advanced model replicant known as Rachael (Sean Young). She was the seductively beautiful replicant who became involved with the original old school Blade Runner, Rick Deckard. Playing into the perennial favorite plot motivation, corporate greed is naturally infused as Wallace CEO Neander Wallace (Jared Leto) wants to discover the secret to replicant reproduction placing market share, profits and technological monopoly above any concern for the safety of humanity.
K has a holographic girlfriend, Joi (Ana de Armas), who is formed using a projector on a free moving armature mounted on the ceiling. Besides basic companionship, Joi is capable of synthesizing rather substantial insight. When K discusses seeing a date '6-10-21' carved in the trunk of a tree, he recognizes it as a childhood memory. In talking to Joi, he realizes that since replicant memories are artificial, Joi suggests he might have been born. This exploits a narrative device of plot convergence. The idea of replicant reproduction careering towards the origin story of the principal protagonist. This ignites K's curiosity motivating his search of the LAPD leading to the discovery an unusual set of twins born on that date. K's investigation has the added benefit of providing details about the process used to manufacture replications. Crucial to the process is the creation of the artificial memories, fans always knew the existed, but now the audience is introduced to Dr. Ana Stelline (Carla Juri), a designer of replicant memories. There is no sense of contrivance as this new information seamlessly infused crafting a film that is satisfying to the most diehard fan of the original.
To be fully accepted by the fans a sequel is required to receive some indication that the new installment is 'blessed' confirming its status as canon. The fan could never accept this movie if Harrison Ford were not included in the primary cast the project would have been dead on arrival. This applies in general but after returning to his signature role, Indiana Jones and Hans Solo, after a considerable amount of time. His presence validates the movie permitting it to create its narrative. Instead of immediate dismissal 'Blade Rubber 22049' is the movie fans have been anticipating for thirty-five years. The theme of the story was unencumbered these ancillary concerns. Expanding some of the psychosocial questions raised by Philip K. Dick in his novel, 'Do Androids Dream of Electric Sheep?' the question under consideration is among the most ancient, what does it mean to be human? The defining qualities of humanity have been pounded by religions, philosophers, and storytellers since people first gathered around a fire at night questioning the unknowable fabric of nature. This has been one of the most popular topics in science fiction often viewed through the prism of robots and later androids. With the growing concerns over the singularity, public attention has intensified. Over the intervening thirty-five years, sentient artificial beings have gone from our conjecture to the realm of possibility. This was the perfect time for this film. Pragmatically, Mr. Ford is 75 years old and plans to extend too far in the future would not be feasible. From a narrative perspective, the singularity is a hot topic, the subject of intense sustaining in the hallow halls of academia in disciplines encompassing quantum physics, computer science, and sociology. Having the replicants gain the ability to autonomously reproduce an intrinsic quality necessary to define life, at the lowest possible level.
As a bonus surprise, Edward James Olmos reprises his role as the enigmatic Gaff. Over the years Mr. Olmos has grown from a highly sought-after journeyman character to an A-List artist capable of incredibly nuanced performances. Addition of an actor of this caliber helps in providing the gravitas to the film necessary of rising to the intricacies inherent in the themes, so many sequels, particularly those overly delayed, are little more than the studio executives seeking to pad the year-end profit report. There is a literary impetus behind the creation of this movie, a genuine need to return to the story that has been with many of us for most of our adult lives. As with any worthy discussion of depth and meaning, this portion of the story raised more question than an answer. It should give the next generation something of substance to consider.