Let’s start with the straightforward recommendation part of the discussion here: if you like the original Blade Runner, you will most likely love Blade Runner 2049. The last few years have seen many years-separated sequels come out to huge reception, and the successful ones have taken a variety of routes. Star Wars and Creed, for example, essentially played as tweaked remakes of the originals with the elder characters acting as guides for the new recruits. Trainspotting 2 was directly about the distance in time from the original, a sort of meditation on nostalgia. Mad Max Fury Road took its low-budget roots to high-budget fever pitch, amplifying all its existing elements to eleven.
Blade Runner 2049 is very much made in the same spirit as the original, but the plot links are secondary at best and distracting at worst. They are both movies much more about tone and ponderousness than actual plot, although 2049 is an even more visual movie than the original (which gave us Roy Batty as a fantastic monologue-delivery device). They both stop short of outright explaining what they’re about, but provide a nice amount to chew on and sort out. But, perhaps most remarkably, 2049 manages to stake out new thematic territory. While the original was about what it means to be human, what it means to face a definite mortality, and ramen, 2049 views most of those questions as closed by the original and expands its philosophical space even further. Instead of bothering to question whether the replicants have human feelings, 2049 makes no secret of the fact that Ryan Gosling’s K is both a replicant and a being with desires and wants. Instead, 2049 focuses on, among other things, the importance of personal history, questions of duty and self-autonomy, and most strikingly what makes relationships real. A side plot involving K’s relationship with the holographic software Joi starts off feeling like a minor distraction from the central mystery, but slowly becomes the beating heart of the film, even if its only a couple degrees removed from Her.
That central mystery is where some complaints might arise, as the second half’s need to involve Harrison Ford’s Rick Deckard actually ends up significantly distracting from K’s arc, and so many balls are being juggled at a point that the ending can’t help but feel a little anticlimactic. But, like the original, plot details matter very little, because the tone is sold so well. Hands down, Blade Runner 2049 is the most beautiful film of the year, and should absolutely lock down the overdue Oscar for cinematographer Roger Deakins. The mystery angle involves a fair amount of trekking across dystopian California, and Deakins and Villeneuve give each location a distinct feel. A deserted sand-covered Las Vegas suddenly takes on the feeling of an Egyptian ruin, only all the monolithic statues are wearing heels, and set the stage for an absolute wonder of a fight scene with intermittent appearances from an Elvis hologram. The protein farms on the outskirts evoke the manufactured landscapes of Burtynsky. A junkyard brawl recalls Children of Men, contrasting strewn metal and dirt with bright red blood. A late scene nearly directly calls back to Drive in its brutality, frigidness, and beach setting. Jared Leto’s villainous millionaire lectures his subjects in a shimmering golden pool, which may be the best Bond villain lair that never was. The sound design and score match perfectly the lackadaisical, exploratory mood, merging the synthy Vangelis score with the unmistakable Hans Zimmer bwahm, along with a more ambient, contemplative core. Given the thematic meat, audio trance, and visual splendor on display, its easy to forgive some wonky plotting.
Blade Runner 2049 (2017)
Directed by Denis Villeneuve
Starring Ryan Gosling, Ana de Armas, Robin Wright, and Harrison Ford
Rotten Tomatoes (89%)