Blade Runner 2049

Even the variety of posters for this movie have been drop dead gorgeous. I mean...look at that beauty!!

Blade Runner 2049 continues a recent trend of previous generation classics receiving additional, or in this case, first sequels. Results in this exercise have ranged from abysmal to well-thought new classics that are better than the original *cough Fury Road cough cough*

I've only been excited for this newest Blade Runner because of who's involved, as opposed to the continuation of the original. I wasn't the biggest fan of the sci-fi "classic" (or at least not part of the crowd that heralds it as a classic) as I found the story needlessly confusing, and it doesn't really age all that well. Granted, when it released back in it's day I'm sure it was somewhat groundbreaking but...yeah...I think it's merely good. 

See, I was FAR more excited for Denis Villeneuve. He's on a hot streak and his most recent, Arrival, is still seared into my memory for it's mind-bending outcomes and presentation, not to mention how near-perfect Sicario was. He's probably tied, especially after 2049, with Christopher Nolan as a director that will put my butt in a theater seat by name alone. Then throw in some Roger Deakins and a bit of Hans Zimmer for good measure and you've got a great trilogy of talent no matter what movie you're watching. 

Since I was merely "impressed" with the original -- there are better sci-fi films for sure -- I can pretty easily declare that Blade Runner 2049 is, much like Fury Road, a sequel that surpasses the original film. It may be a long trip to the cinema, but it's consistently gorgeous, cool, and futuristic while offering up a detective story that will hold your attention throughout.

So suave. La La Land 2 looks bleak...

Often I start with things I didn't like, but instead here I'll start with the obvious: Roger Deakins is the f**king man. He's so insanely good at capturing visuals and movement that scene after scene ends up looking like actual art. This isn't new for the cinematographer (who, by the way, has NOT won an Oscar), but it's incredibly gorgeous in a future full of rain, neon, and flying cars. Particularly in IMAX, the shots are wide and the editing of them allows each some time to breath. Watching Ryan Gosling's, K, walk through a deserted, orange Las Vegas is appropriately creepy, eerie, and captivating. I couldn't have turned my eyes away if I tried. If I had to pee? I would have had to do it right there in my seat. It's just too pretty. It's Oscar worthy stuff, just like everything he does and I'll be hard pressed to find a more gorgeous-looking and well captured film this year. The original score is also an accompanying treat, though I'll have to give it a second listen to see if it gets added to my mostly-Hans-Zimmer collection of movie OS tracks. I know there was a decent amount of last minute changes to this aspect, but it turns out wonderfully and fitting -- the synthesized score matching the intensity and mood of the film at every scene. How much of it was Zimmer, I'm not sure, but his flares show and are appreciated here.

OMGEEE. So freaking pretty. And futuristic!

He comes back to get revenge on Kylo Ren!

Villeneuve's direction is admirable once again too. I'll get more into the story itself in a bit, but the organization, pacing, presentation, and overall approach to this sequel was to world build and avoid retread of common ground. Villeneuve doesn't care that his film approaches 3 hours because he wants to take his time and do it right, which is something that very few directors get to do these days. At this point, after all the success he's seen in recent years, I think he's more than earned the right to be given the reins to whatever film he wants. His talent is among the highest present in Hollywood right now and if he wants to direct a Dune movie (often-rumored) a studio needs to get on that train ASAP and give him a sweet budget. 

2049 also boasts a cast that all seem to be at the top of their game. Gosling is the film's anchor and continues to be leading man material. His K is stoic, intense, and quiet. A lot like the Driver in Drive. Ana de Armas, Dave Bautista, Jared Leto, Robin Wright, and Sylvia Hoeks all earn their characters and give them distinct personalities and reasons to exist in the film. None of them feel like afterthoughts and a huge reason for that is the dedicated performances from each. These are memorable human characters (even if they're not) that feel like they belong in this world. Then you have Harrison Ford returning as Deckard, in a fairly natural way, who gives one of his best recent performances -- also very human and emotional given all that's happened to his character in recent decades. 

Trippy...

Where Blade Runner 2049 let me down was the story, but more specifically: the lack of anything that would really keep me thinking for weeks/months. The plot itself is great; a strong detective narrative that builds on the past and the divide/blurred lines between replicants and humans. But there isn't much at the end that will "blow your mind" or really make you keep thinking about the implications of what you just saw like an Ex Machina or an Arrival would. Maybe that was too much to expect, but when I see a film by Villeneuve and a presentation of a heady, human sci-fi story I thought it would have more consequences than what it did. Especially for a story that continues this world so well -- I think there are places it could have gone, very similar to where it did, that would have kept me mind-blown after the movie. Instead, it slowly reveals itself in rather unmiraculous ways and then just...ends. It's not necessarily frustrating, but just feels like it could have been more. 

It's become a total treat anymore to see a Denis Villeneuve film and Blade Runner 2049 is no different. It's so damn pretty, sounds amazing, and has a lot of talent (in front and behind the camera) at the top of their game. It's almost more disappointing then that I didn't walk away with some grandiose, heavy topic of the future to ponder on but instead just saw a really, really good movie only barely removed from being a "classic". 

CONS

• A few character tangents/speeches don't quite make a lot of sense in the grand scheme of the larger movie. Jared Leto's for example
• Didn't leave me with an "ah-ha!" or "holy-cow" moment to take away and think about for weeks to come
• Great finale, but somewhat empty ending

PROS

• Roger Deakins' cinematography is about as perfect as cinematography gets
• An awesome and very fitting original score that drives the movie forward 
• Takes its time to unravel the mystery and never feels like it's dragging
• Strong direction and pacing by Villeneuve. Absolutely another notch on his belt
• Awesome, but bleak, future world with some really imaginative technology
• Memorable characters and performances from all. Gosling leads well and Ford is important and poignant when it counts
• Entertaining, technically marvelous, and a worth-while sequel that earns the right to exist and, quite frankly, outdoes the original

Rath's Review Score | 8.5/10