‘Blade Runner 2049’ Review: An instant sci-fi classic that will punch you in the feels
Denis Villeneuve follows last year’s stellar auteur sci-fi film Arrival by tackling the sequel to one of the most beloved science fiction films of all time with Blade Runner 2049. And anyone who had the slightest doubt that this film would disappoint should find comfort in the fact that this is one piece of magnificent filmmaking from top to bottom, from Villeneuve’s trademark quiet, methodical focus on his characters, to Roger Deakins’ visually arresting photography, to Hampton Fancher and Michael Green’s philosophical script rooted in themes of identity, and of course, Ryan Gosling’s understated yet heartbreaking lead performance as Officer K. While the original film wasn’t initially as loved and revered as it is today, this film should immediately stand on its own as a sci-fi classic from the start for its stunning creative vision, its commentary about humanity and the soul, and how we all use technology to fill the gaps of human ability, as well as human loneliness.
And I enjoyed the movie this much despite the fact that there were these two totally intolerable, chatty human beings sitting next to me that needed to be aggressively shut down by yours truly at around the halfway mark. The film is so good that even these two asshats couldn’t ruin it for me. And that’s saying something.
In advance of watching Blade Runner 2049, I revisited the theatrical release of Ridley Scott’s original Blade Runner to have a little refresher since it had been a couple of years since I’d watched it. While I love the original film for its mash-up of film noir and science fiction, it’s not one of those sci-fi movies like Aliens which I will literally watch at any time, day or night. It’s a slow, thoughtful film that needs to be viewed then dissected and mentally chewed upon afterwards to glean its entire meaning, and there have been many, many discussions about what it’s trying to say about what it means to be human, what it means to be alive, the issue ownership, and how technology can be abused. And given that, Villeneuve is the perfect director to take the helm for the sequel, since he brings the same deliberate pacing and energy to the subject matter, but to much more emotional effect.
Blade Runner 2049 takes place 30 years after the original, and we still have a world inhabited by humans and replicants, while off-world colonies have sprung up to accommodate people who are no longer down with the dystopian LA climate. In the years since the ending of the original Blade Runner, which saw Rick Deckard (Harrison Ford) run off with replicant Rachael (Sean Young), they have ceased manufacturing the replicants originally created by Dr. Eldon Tyrell given their propensity for uprising against their enslavement (the nerve). Instead, they have been re-manufactured to be completely obedient by a new creator, Niander Wallace (Jared Leto), who – shall we say – has a bit of a God complex. However, there are still rogue older-model replicants with no set expiration that remain, and in order to ensure that another uprising doesn’t take place, enter the blade runners who are tasked with finding them and “retiring” them, which is where Officer K (Ryan Gosling) comes in. During the course of his hunt, he comes upon some inspiring or dangerous knowledge about replicants (depending on how you look at it)that his superior, Joshi (Robin Wright), believes could bring down the “wall” between replicants and humans that protects their civilization. So, Officer K embarks on a mission to keep the order of their world, and it becomes a journey of immense self-discovery for our protagonist, as well.
To reveal any more would ruin the enjoyment, I’m afraid, but let’s just say that despite the fact that this sounds like it could just be a rehash of the original, I assure you it is not. In fact, it takes a few of the cues from the original and either flips it on its head, or delves into it way deeper than I think that even the original film does.
I can’t help but watch this movie and feel that it reflects something incredibly true about the reality we live in right now, especially as it pertains to the idea of “the other” and how technology is used to supplement human existence. In the film, the newer, more obedient replicants are second-class citizens to both humans, as well as other replicants. It’s almost like being a house slave in that you enjoy the protection of your enslavers and dutifully do their bidding, yet you suffer intolerance from both sides (even from your own kind). In a sense, these newer models don’t really belong anywhere, but they carry out an essential function under which everything would collapse should they be removed from the picture. It’s an incredibly lonely existence, and while technology has been used to create them in man’s image, it’s these same human characteristics which cause them to seek something outside of themselves, whether it’s simple companionship, the greater goal of freedom and purpose, or a Creator. It’s here where Blade Runner 2049 breaks away from the original in its patient exploration of what would make these particular replicants yearn for something more, whether it’s real or imagined.
Wallace, played by an eery Jared Leto, appears to represent human greed and an almost addictive desire to consume whole worlds with the continuous production of his replicant line. He doesn’t seem to care about their feelings either, just in the fact that he’s able to create something so efficient and human-like that’s been instrumental in the development of the off-world colonies. He’s kind of like the embodiment of capitalism, only his products are essentially humanoid slaves. Ironically, he has named his assistant/number one soldier Luv (played by a menacing (Sylvia Hoeks) who happens to be subservient yet lethal replicant that shows no love for anyone (pun totally intended) but her maker. She is also not without some empathy as well, as her humanity (for lack of a better term) will intermittently pop out when she’s not otherwise killing someone or beating them silly. It’s these complex relationships between owner and owned, between humans and replicants, and between creators and the created that give the film so much of its emotional weight.
Ryan Gosling, has always been an subtle actor for the most part, and that quality is used to terrific effect here as the lonely yet effective Officer K. When you have heavyweights like Harrison Ford in a film you wonder if someone like Gosling has the chops to stand toe-to-toe with the legend, but he carries the Ford-less portion of the film effortlessly, and there is note ever a sense that something is missing. Even though it’s a very quiet, subdued performance for the most part, you absolutely feel his isolation and his loneliness, and while that could put some audiences off, Gosling does a fabulous job of drawing you in to K’s character, his feelings, and his motivations.
Harrison Ford plays a smaller role in the film, and while Gosling definitely gets the lion’s share of screen time, Ford still delivers a gut-wrenching performance full of longing and regret. He does a fine job of reprising his original role as Deckert, as well as perfectly playing who Deckert would be given the circumstances that the film lays out for us.
And while I may gush about the genius of Villeneuve here, this film would only be half as effective if it weren’t for a wonderfully dynamic and thought-provoking script, jaw-dropping cinematography, and richly textured production design which all create a world I reveled in exploring for nearly 3 hours. Roger Deakins, who has inexplicably gone his entire career without getting an Oscar, has really outdone himself here, whether he is illuminating radioactive locations with bright orange hues, or cloaking the city of Los Angeles in dark shadows, blues, and endless rain. His cinematography is essential in creating the tone of every scene, and it’s truly a feast for the eyes. On that note, the production design by Dennis Gassner skillfully takes notes from the original film (ex: flying cars, giant holographic advertisements), but expands this broken world to include a destroyed Las Vegas strip, a decrepit junkyard, and Wallace’s cold, geometric, completely impractical and gorgeous lair without any of it ever seeming gratuitous. It’s a world of riches juxtaposed with one that’s seen poverty and despair, which once again illustrates one of the larger themes of human consumption and destruction.
Even the score takes cues from the original, with splashes of Vangelis’ synth sounds making an appearance every once in a while amongst ambient, discordant blasts of sound. Johann Johannsen was originally tapped to do the score, but was replaced by Benjamin Wallfisch and Hans Zimmer (and the Hans Zimmer-iness of the final product is completely apparent).
My first reaction is that this film surpasses the original in emotional heft, and thoughtful exploration of he themes it puts in front of us. Every single element in the film is exquisitely realized from a technical perspective, but it never detracts away from its heart, and it’s got a lot of that. I’d go so far as to say this sci-fi may give you the sci-cries, and highly recommend you go and see for yourself. I myself intend to go and wipe away totally real non-replicant real human tears while viewing it in IMAX.
And if you have anyone next to you casually chatting during the movie, they totally need to be punched in the throat. This film deserves way better than that.
