It has been nearly 35 years since a certain science fiction
crime noir film came out in theaters and captured the imagination of the few
viewers that gave it a chance despite not making back its money in production
cost considering its lukewarm reception from critics and audiences alike. However, with the numerous refined cuts and
the final cut released in 2007, it has been recognized as a classic film that
defined a visual language for many sci-fi films, TV shows, anime, and video
games to move away from campy/exaggerated styles of the future to blend those
ideals and themes with a grounded yet believable world that could exist. What makes the seminal crime noir drama Blade Runner stand out from most films
of that genre is the practical use of effects and set/art design that feels
tangible despite the distinctive nature of each design. It also was timely with its themes of
humanity being duplicated in better form but at the cost of individuality and
freedom to choose who we want to be, evident in the constant struggles of
Richard Deckard (Harrison Ford) and Roy Batty (Rugter Hauer) as they face their
own mortality and values towards humanity throughout the story. It has aged reasonably well in its effects
and visual storytelling despite its rather thin plot and somewhat weak
character development throughout all the cuts.
This is a film that truly embodies the “show, don’t tell” philosophy of
filmmaking that is sorely lacking in today’s films these days.
As of today though, we now have a sequel from a talented and
quality director Denis Villeneuve fresh off of his critically acclaimed films
such as Sicario and Arrival with a star studded cast of new
and returning characters. We also have
Michael Green (fresh off the surprisingly entertaining show American Gods) and Hampton Fauncher (one of the original writers of Blade Runner) as writers this time out. On top of all that promise, we have a higher
budget cost to recreate the world that sci-fi fans fell in love with throughout
the decades. An influential film that
inspired the visual style, look, and tone of stories within its genre is now
back to tell another story set in this unique yet relevantly believable world
of Los Angeles set in 2049. Let’s get
right into the case file and look at the story profile for this film.
It has been 30 years since the 4 skin jobs called Replicants
were discovered and retired by Blade Runner officer Richard Deckard (Harrison
Ford). He went into hiding with a female
experimental replicant model named Rachel (Sean Young). As the convening years went by, a terrorist
attack caused by replicants and human sympathizers caused an EMP explosion over
Los Angeles, plunging the city into total chaos. This lead to the prohibition of all Replicant
productions until a certain scientist/bio engineer with a god complex, Wallace
(Jared Leto) provided new models that can be controlled through a hive mind
program/bio mechanics that prevents the replicants from being nothing more than
slaves. However, these replicants would
slip through his control as evident from Sapper’s violent actions (Dave
Bautisa) which forces the initiation of the Blade Runner unit once more, with
Agent K (Ryan Gosling) as Los Angeles’ best officer/blade runner. It is now 2049 and the world has kept on
spinning and picked up the pieces with Tyrell Corp. completely dissolved and
Wallace Corporation is on the forefront of Replicant production for all of
Earth and its colonies.
This leads to the story’s present, as Agent K is employed by
LAPD Chief (Robin Wright) to track down a fugitive Nexus 8 Replicant name
Sapper, who is wanted for murder and property destruction close to a year
ago. What Agent K discovers from Sapper
is that the former Blade Runner, Deckard is alive and discovers that Deckard
and Rachel were hunted leading up to the Blackout for a certain secret that
could change the very foundation of humanity and machines forever. Agent
K also learns that Deckard’s love for Rachel may have created a secret that
could very well bring the world to the brink of war. He sets off to investigate the case along
with his girl name Joi (Ana De Armas) who haunts his dreams and appears
occasionally in his life throughout his investigation. What he discovers and finds could change not
only the world but change himself and the very nature of humanity.
This story synopsis is based on the trailers, short films,
and the basic beats without spoiling the entire plot or revelations in the
film. So, no worries on that as the only
discussion that will take place now is how the story is executed, written and
directed based on the screening. This is
(to put it safely in words) the “Aliens” of this series as it not only honors
and expands on the first film greatly in this sequel but tells a compelling continuation
of the story before on a grander scale, while carving its own path with the new
lead character as well as a different yet noir story scenario befitting for its
setting and world. Each moment leads to
revelatory changes in each character but also the story as well, which is what
this film does better than the original film.
By tying the character arcs with the major plot beats that shape them
and push them further along to the end, they found a way to modernize the story
but only to enrich what has come before and not belittle it at all. Each character moment is truly wonderfully
written and finds unique ways to develop the themes that made the first film so
iconic and influential for today’s audience and for this new chapter in the
story. It begins on a tense, creepy note
and ends on a high, emotionally satisfying note but the middle is where the
film does falter a bit for viewers depending on expectations and importantly,
the genre it exhibits shamelessly as sci-fi crime noir.
It is a very ambitious, location driven story that goes into
different areas of California that feel distinctive to each other but the
pacing of the middle act is where the issues do appear mainly in its detours
and slow build to the payoff of those subplots.
That is not to say that more is not better but it does feel weighty at
times particularly in the moments when Agent K is investigating the case or
certain character moments happen that take a bit of time to get to the climax
of an arc. It is also very much a
crime/detective noir story through and through, meaning there are moments
throughout the film that are very slow, ponderous, and methodical that may not
be doable for certain viewers to sit through.
Otherwise, it is a worthy follow up to the original film and barring
some pacing issues in the middle act and perhaps a few contentiously odd
moments and approaches to certain themes/ideas, it can tell its own story set
in the same universe and world as the first film along with tying the stories
together organically without feeling forced or fan-servicey to its own
detriment. Which leads to the last point
about the first film being important to watch, as there are story/characters arcs
as well as the ending from that film that are emotionally meaningful and tied
into this film’s narrative overall. That
is all for the story but rest assured, it is directed, written, and structured
with creative spark and enthusiasm to explore a different, self-contained story
in this world more so than most sequels are capable of in the film industry
today.
As for the performances, there are a few noteworthy ones’
worth mentioning especially from the new characters and returning character
from the first film. For starters, Ryan
Gosling as Agent K pretty much exudes the same cool, stoic demeanor of his
previous work like Drive as an
example and it works well for the thick, dark atmosphere of the story at play
here. He may not emote as much here but
it is intentionally written and performed as such to be crucial to the
character’s story arc from the first minutes to the end. As the film progresses though, he does handle
his emotional beats appropriately and to the story’s progression as well. He ultimately works as our new entry point
into this world and as such, fits the sleuthing yet conflicted detective, bounty
hunter that is the tradition for this genre of storytelling in crime
drama.
Another notable performance is Ana De Armas as Joi, the lived-in
girlfriend of Agent K, who provides much of the emotional weight of K with
their scenes together. In many ways, she
becomes the most human character in the sea of cold, emotionless beings that
inhabit this world. In a way, she serves
as a fantastic contrast that further deepens and explores new avenues of
familiar themes regarding humanity and love particularly. Her role in the story is the emotional anchor
for Agent K and allows for him to grow as a character with her contrasting
character traits and personality. She
does play an important role in Agent K’s changes as a character and his overall
arc that drives the story forward.
As it was revealed in the trailers, Harrison Ford does come
back as Deckard, retired and gruff as well as a bit jaded after turning his
back on the world. He comes in at the
right moment for the story and has a fantastic yet heartbreaking story arc that
ties beautifully into the first film as well as a solid conclusion to the
cliffhanger at the end of the first film.
This is also the most animated and sentimental he has been with his
performance yet, allowing for him to have a purpose to be a part of this story
instead of being a forced in cameo/nostalgic addition to the story. So, no worries, Ford delivers a charismatic
and driven performance for his character to return and play a crucial role to
the investigation and the mystery surrounding it. His appearance in this film is a deliberate
and comforting addition to the story that continues his character arc from the
first film by concluding it in a satisfying, emotionally cathartic way.
As for the rest of the cast, they play their respective
roles skillfully and in tune (with one exception) with the sinister, cold world
of California 2049. Robin Wright is
actually one of the few supporting cast members to stand out from rest of the
cast, as well as provide some much needed strength to a familiar character
archetype as well as urgency to the main story.
Sylvia Hoeks plays the cunning and deadly cleaner Luv, right hand woman
of Wallace with confidence and memorable menace that provides conflict to the
main characters in the right moments. While
Sapper is basically a one off character, Dave Bautista actually does rather
well in playing his role in a low key way as well as providing a great action
beat to kick the film off. As for the
omnipresent, ego driven modified human boss Wallace (Jared Leto), he provides
context and importance to the main plot in the scenes he is in but tends to be
one of the stranger performances as he goes between different styles of acting
that makes him a bit inconsistent and the only odd performance out of the whole
that felt off with the rest of the film. Otherwise, a rock solid cast of
talented actors and some truly great leads in the bunch.
It’s time to get to the area where this film truly shines
and is worth the trip into a premium theater especially with high quality sound
systems, the technical aspects of the film from art/costume/set designs to
cinematography, sound design, and finally the music score to this film. There is a great blend of analog and digital
in use with the art direction here with a greater emphasis on the cold, snowy
looks of Russia/Europe in contrast to the wet, humid styles of Asia in Los
Angeles/California this time around.
This maintains the growth of technology within the world’s given rules
and still relevant to today’s world, to a certain degree (VI’s and Androids
created for labor work). It is also
starkly cold and harshly ruined that compliments the passage of time from the
short films to this film’s present especially as the state is more spread out
compared to the claustrophobic and packed in cityscape of Los Angeles in 2019. In a way, this film establishes its own
visual style and is a compellingly great evolution of the world that has changed for better and most certainly, for the worse.
The costume designs are quite distinctive to this world as
it is a blend of everyday and fashion day wear for most of the characters. Agent K sports a look that is reminiscent of
the cyborg Assassins of a top down, isometric assassination shooter game Syndicate
with his dark, encased trench coat with a face cover for it that looks really
cool to see them inject great art designs from elsewhere. Joi has the most varied costume changes to
fit the mood of herself with Agent K that injects the somewhat campy sci-fi
elements but still exude a sense of foreboding sexuality that seems to pervade
throughout California. As for the rest
of the characters, they are interestingly dressed in European designs with the
visual identity towards Russia/Ukraine, particularly with the citizens of LA
and the slums in the outskirts of California.
There is also a certain KGB/Gestapo quality to the uniformed looks of
the LAPD particularly the Blade Runner Division that feels familiar but truly
its own identity and expansion of the world before it. It is a contrast to the pan-Asia style of the
original film but it feels properly different and sets itself apart for the
better. The art designs deserved their
own section for being truly different from most sci-fi films and quite timely
for the time they are made in.
We finally get to the best and most noteworthy aspect of the
film, the cinematography from none other than the legend himself, Roger
Deakins. This is his 3rd
collaboration with Denis Villeneuve from Prisoners
to Sicario and his team created
the most beautiful yet moody and depressing view of dystopian Sci-Fi ever
conceived on the big screen. This is one
of his finest in a long line of great works that deserves praise and accolades
for truly capturing the desolate yet lived-in look of a ruined world. Each shot feels like a work of art and
captures the gritty yet larger than life sci-fi elements of this world that
realize the very future that the author of this world, Phillip K. Dick had
envisioned within his works. The soft yet contrasting lighting and mix of vibrant, subdued colors are extraordinary to watch as it is quite gorgeous yet insidiously creepy to watch as each location is lit appropriately to their place in the world. This is
coupled with the amazing effects and editing at work here as well with some
caveats particularly with the editing.
The editing for the film is on point for the most part with
the pacing issues coming down to certain scenes that do go on for a bit too
long that it may be to the detriment of some viewers in theaters. Each of the scenes seem to go on for as long
as they need to, which is usually fine when you are telling a complex,
sprawling mystery that lays out the trail for viewers to follow. However, there are certain points of the film
mainly with K’s investigation scenes that do go on a little too long as if to
ensure that we pick up on the visual cues that lead to the next development of
the main plot or subplot that pays off dramatically later. With the way this story unfolds, it is quite
effective in that regard as a detective story but not for an audience that may
be going in for something faster paced, filled with cheap and referential
humor, and asks nothing from the audience to see what they need to know but
tell them out right what they should know.
While the editing needed to be tighter in a few scenes, it still moves
along at a great pace for its investigation to take place and the brutal
moments of action to occur in accordance to the moments in the story.
The action beats are only a few sequences but they give the
film the jolt of energy it needs at the right moments to really ratchet up the
urgency and tension of the story. While
Agent K tends to start or pulled into the action, they are fast, brutal, and
quite violent especially with the nature of his character and the dangerous
forces that follow his trail. As seen in
the trailer, he has one of the tensest cat and mouse confrontation with Deckard
that is quite ominous yet creepy and is accomplished by the assured direction
and wonderful cinematography at work in that scene. Lastly from the trailer, you do see a
shootout sequence on a waterway/stormy night that is quite possibly the most
brutal fight scene and befitting location for its noir story genre ironically
enough. As you can see, there are only a
few action beats in the film but when they happen, they are mesmerizing and
engaging to watch as well as providing some much needed energy when the film
needs it.
There is a great blend of both CGI and practical effects on
display here that rivals and surpasses even today’s films especially the ones
coming up in the next 2 months. The
world feels truly lived in and designed with a great amount of care to show how
the world has advanced but also little has changed from it. There are also some great use of on set
locations particularly with the outskirts of California with the ruined
junkyard of the old world and scavengers traversing its lands to steal,
pillage, and kill if necessary. Without
spoiling anything, the CGI effects on certain characters are quite possibly the
most realistic that has ever come close to duplicating human performances yet,
along with blending two performances together without seeming hokey. Those moments are truly going to be the most
memorable parts of the film that will define its own legacy in its behind the
scenes stories as well as filmmaking history.
This is a marriage of two different styles of effects to create this new
world and honor what was created before in the original film.
Lastly, we get to the score itself which has had an interesting and tumultuous history in its creation mainly with the choices of composers. Johann Johannsson was originally going to create the music for this film, making this his 3rd collaboration with the director. However, from possibly conflicted interests or creative differences, he left and Han Zimmer with Benjamin Wallfisch stepped in to create the music for this film. What makes this interesting but also a concern, is that they were brought on board at the last minute, following up to the film’s premiere which could mean either a generic score or something that is interesting but not quite memorable. They had a ton of roadblocks ahead especially in following up Vangelis’ dreamlike, memorable score of the original film.
After hearing the music in context with the film, it works
quite well on its own merits without needing to contrast it with Vangelis
despite only using a few musical motifs from that score to tie the two films
together. The music is more akin to
moments, a popular form of scoring that relies on the music to be in sync with
the story/character beats when it occurs.
This film does it well and works in tune with the action and dramatic
moments for sure but does have some problems standing on its own as it does
featured recycled themes from Zimmer and Wallfisch’s previous work, making it
difficult to really listen to it on its own outside of a few tracks. The music works in tandem with the film overall
in conforming to the new story/character motifs of the film but not quite a
score you can listen to on the go.
This brings us to the question that most people would like
to have an answer to, how does it live up to the original film as well as
justify its reason to exist as a sequel to it?
This is another story in the Blade Runner world and quite frankly, a
great story/mystery that works in creating a new story to follow and concluding
the storylines left unresolved in the first film. The passionate and captivating performances
from the cast are on point and fit well with the dreary, noir atmosphere of the
world. Watching this film cold is really
a good idea as each revelation and secret that unfolded were hard hitting and
emotionally tragic and satisfying to see both new ways to embellish on the
themes of humanity within machines and individuality in a conformed
future. The visual effects and sound
designs are absolutely exquisite, powerful, and resonate with you beyond the
end of the film especially if seen in a premium theater like IMAX. Does it live up to the hype? Yes, it does, despite not clicking with audiences and ultimately, it will take time before
people start to see this as a worthy, admirably made sequel to an influential,
iconic sci-fi detective film that really defined the look of the genre for
decades.
Score: ***** out of *****
Blade Runner 2049
has a spellbinding, memorable quality to its timely story of humanity and
machines coexisting along with the search for freedom of our own identity and
purpose in a world devoid of such beliefs.
It is starkly bleak and embodies the visual sensibilities and creative
motifs of noir storytelling at its finest.
The performances range from cold and alienating to human and lively,
providing a contrast of great conflicts with each character especially with
Agent K’s interaction with the entire cast of characters in this film. Its slow, methodical pacing is evident to
the genre of crime drama, with its emphasis on mystery story writing and hardboiled
detective story. It is also the most
visually captivating view of a dark, dystopian future captured on film since
the original film itself. This will have
its share of fans and haters just like the original film as well as the
demanding 2hrs. and 33 minute run-time (plus 10 minutes of credits) and the expectations of what you want to
get out of this film. This is a rare
film to be made in today’s culture of fast paced TV production blending with
film-making and a reminder of the power that cinema can still project, even in
today’s fast paced and attention deficient world of ours. This is one meditative and engaging sci-fi crime noir film that should be seen on the
best screen and sound setup if possible.
