Directed by Denis Villeneuve
Written by Hampton Fancher (story and screenplay) and Michael Green (screenplay), based on characters from the novel Do Androids Dream of Electric Sheep? by Philip K. Dick
Cast: Ryan Gosling, Harrison Ford, Jared Leto, Robin Wright, Ana de Armas, Mackenzie Davis, Dave Bautista, Mark Arnold, Wood Harris, David Dastmalchian, Tómas Lemarquis, Lennie James, Carla Juri, Barkhad Abdi, Edward James Olmos
Soundtrack: Benjamin Wallfisch & Hans Zimmer
1982’s Blade Runner still stands as one of the great technical achievements in the history of film as a whole, let alone the science-fiction genre, though its original theatrical release was unfortunately sandbagged by poor creative decisions imposed by the studio, namely Harrison Ford’s intentionally awful narration.
If you’ve never seen Blade Runner before, and wish to get caught up in anticipation of the sequel (which is not absolutely necessary but definitely helpful), I recommend The Final Cut. Not only is it widely regarded as the superior version, it will also be the most useful in preparing yourself to see the new film (setting the tone, if you will).
Personally, I wouldn’t say I love either film, but both Blade Runner 2049 and its predecessor are more-than-deserving of theatrical experiences, and if you can find the new film in IMAX, I’d say it’s worth it.
In terms of the sequel relative to the original, some may call me a blasphemer, but I have no problem saying I enjoy 2049 more. Both feature relatively simple stories, but 2049 has a bit more going on (sometimes too much, which I’ll get to), and as such I was much more on the hook. Regardless of my own feelings, however, I have little doubt that Blade Runner fans will consider this a worthy successor, because it is, and it’s highly refreshing to see this kind of quality amid the vast sea of pointless remakes, sequels, and prequels we all swim in nowadays.
Much of this, of course, rests on the shoulders of director Denis Villeneuve, who has proven to be both versatile and efficient since his Engligh-language debut of Prisoners in 2013; which was followed in rather rapid succession by Enemy in 2014, Sicario in 2015, and Arrival in 2016. Spoiler alert: none of these have been bad, and they’re all different, though he does have a particular style (and, much like Blade Runner 2049, I don’t know that I love any of them, but they’re all definitely worth seeing).
The strength of Blade Runner 2049 lies largely in the atmosphere it creates though stark visuals, consistent tone, and the electronic score from Benjamin Wallfisch and Hans Zimmer. This is not to say that the story doesn’t matter, the story is quite a journey unto itself, but in this case, much like the original film, the style makes the substance, rather than the other way around.
If I have one criticism, however, it’s that the movie takes one or two turns too many, consequently increasing the already inflated runtime with elements that don’t feel all that consequential in relation to everything we’ve already seen.
Beyond that though, I don’t really have too much to complain about. As I said before, Blade Runner 2049 is more-than-worthy of a theatrical viewing on the biggest screen you can find. It looks great, it sounds great, and it’s anchored by many quality performances (I particularly enjoyed Dave Bautista, for what little he has).
Not much else I can say without getting into spoilers.
If you’re not a fan of the original, maybe this one isn’t for you, but if you are, or if you’re just mildly curious, or just a fan of Denis Villeneuve, I do fully recommend it.
Just make sure you get nice and comfortable.
Rating: ★★★★☆
P.S.
No stingers, which is welcome after a nearly three hour runtime.
P.P.S.
Naturally, and as usual, thanks to Alamo Drafthouse for the incredible glassware.
