Blade Runner 2049 (2017)
In every way, Blade Runner 2049 is an astonishing film. You could watch it with the sound off and visually take it one of the most beautifully shot films of the past twenty years. Or, turn the sound on and you will experience one of the best science-fiction films of all time. No, I am not going to get into debating whether this is better than the original or not. However, 2049 is one of the rare examples of a sequel (35 years after the original no less) that does not exist solely to return to a beloved story to make money, but one that very much has its own story to tell - one that is complete and moving and profound, while also expanding upon (and elevating) the lore and themes of the original.
I think credit must firstly be given to the combination of director, Denis Villeneuve, writers, Hampton Fancher (who also wrote the original) and Michael Green, and cinematographer, Roger Deakins. Without any of these individuals the film would very likely not be as exemplary as it is. It really is remarkable how successfully the story of this film builds directly off of the original's (which was a complete package unto itself and bearing no grand loose ends). 2049's thematic core directly follows from the centre of the original, as well as Philip K Dick's foundational novel. Both films are built upon the question of what it means to be human - while the original asked whether a human could be a replicant (aka an android), 2049 inverts this question and asks whether a replicant could be considered a human. It is Agent K (Ryan Gosling), a replicant cop, who is tasked with trying to answer this question, which is of particular personal value to him. Like the original, the mystery is structured and presented in the noir style - the stoic detective (here,very much complimenting Gosling's acting style), the love interest(s), the often-stunted dialogue and exposition, the heavily shadowed compositions, and the unraveling and circular mysteries.
Blade 2049 is quite the melancholic film - it is about searching for long-standing answers in order to understand questions about one's own identity and existence. Like so much great sci-fi, these questions are of the existential nature. The film does not rush to answer the questions either - it is rather slow-paced and the run-time is close to three hours. However, the film, to its credit, is not a slog to get through. And this is because of its expert craft. Every individual in 2049's production is working to the finest of their ability. Every scene really has something to revel in - the neon colours of the dystopian future, the ominous and pulsating synth-heavy score, the nuanced acting of the great cast (Gosling, Jared Leto, Robin Wright, Ana de Armas, Sylvia Hoeks, Dave Bautista, and, of course, Harrison Ford). There is really is nothing to criticize about this film. It is simply grand through-and-through - a moving epic that transcends the genre's usual output while also elevating a steadfast classic to new and imperceptible levels of cinema.
Note: some of the award-winning cinematography will soon be highlighted in upcoming entries in my Colours in Cinema series... stay tuned :)
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