Astray From The Fray: A Contemporary Classic That Conforms To Visual Splendour
In viewing the recent saga-hits of The Hunger Games and the Planet of the Apes series of films to the more renowned stand-alone features such as Akira and even the more subtle and profound Never Let Me Go, it’s clear to fathom that the genre of dystopia is a premise that we want to see more and more of. As much as they permit in telling us what we’re most afraid of and how we’re meant to live miserably ever-after in a doomed and corrupt civilisation, it’s the imprint of spectacle and romance which charms our perspective of the dystopia that we’re gazing at and how these uncommonly functions interweave and mirror our own understanding of present day society discrepancies. Now universally accepted as a sci-fi classic, no film has dealt with our fear of an encroaching and de-materialising society quite so effectively as Ridley Scott’s Blade Runner; a neo-noir fantasy spectacle which initially and metaphorically outlined the economic degradation of America and emerging corporate dominance as well as bestowing visual optimism that illuminated troubling ideas of technology and humanity. Indeed, with age, the 1982 sci-fi classic has improved in age, with many re-mastered products being released since its theatrical inception, and has managed to sway our own perceptions dystopia; inspiring many sci-fi features that have come later to provide an even deeper understanding surrounding artificial intelligence. However, in being released into cinemas recently and receiving acclaim from critics and audience members alike, Arrival director Denis Villeneuve has constructed a sequel in the form of Blade Runner 2049 that thoroughly and everlastingly deepens and expands upon its predecessor; spectacular enough to win and inspire a new generation of viewers whilst being faithful and meaningful to those who have been affiliated to this very worlds premise and mechanical yet vivid grandeur…
Thirty years after the events of the first, which was initially based on Phillip K Dick’s novel Do Androids Dream Of Electric Sheep?, a new Blade Runner, LAPD Officer K (Ryan Gosling), follows the basic routine; tracking down wayward Replicants who can live as long as humans and “retiring” them. However, after unearthing a long-buried secret that has the potential to plunge what’s left of society into dissary, K’s discovery leads him on a path of both introspection and to a former LAPD Blade Runner who has been missing for some time…Rick Deckard (Harrison Ford). With both LAPD Lieutenant Joshi (Robin Wright) and Niander Wallace (Jared Leto), head of the Wallace Corporation which has reinvigorated the Replicant industry and has acquired Tyrell’s corporate assets, both interested in what K will discover, only time will tell if this concealed mystery will anguish or rapture all those who are involved…
Amongst all the blockbuster hitters that have each tried to claim the cinematic spotlight for their own, that’s including the underwhelming swashbuckling fantasy flick of King Arthur and the ever formulaic yet mechanically unbearable fifth Transformers film, it’s the languid yet beguiling presence of Denis Villeneuve’s Blade Runner 2049 that conspicuously catches the viewing eye; not only through its mesmerising audacity to instil awe, but how it stands as a spectacular sequel that doesn’t need to solely-rely on the thematical implications of its acclaimed predecessor. As much as 2049 broadens motifs from its original ancestor that have come to grace other notable dystopian pics of Mamoru Oshii’s Ghost in the Shell and Steven Spielberg’s A.I Artificial Intelligence, in particular this idea of humanity and what it means to be human as seen when the character of K tells Lieutenant Joshi that “to be born is to have a soul” and probes further into a dream involving a wooden horse (mirroring contextual aspects from Scott’s original film), this is a Villeneuve feature that beguiles our viewing senses and bewitches our mind-set with lucid imagery that, in many ways, abolishes the crude yet vivid and sharp visual tendencies of noir for luminous lighting and colours that seem to go on forever. From the vast mechanical urban landscapes of minimalist rooftops, through the viper greens and lustrous icy blues and lights of the corporation logos for Sony and Atari, to the burned bronze glow of a deserted radioactive wasteland, cinematographer Roger Deakins has conjured-up a beautiful piece of cinema that seamlessly differentiates from the norm and demonstrates the capacity of what cinema is truly capable of. Combined with the ever-changing production design which evokes the German Expressionist era with the angular lighting and eerie silhouettes, 2049 can surely boast in having a spellbinding spectacle that warrants you to be immersed in the world in which the characters traverse. Even when the film ends, you want to know more of this worlds premise thanks to the visual creation that Villeneuve and Deakins have constructed, which is saying something considering 2049’s lengthy running time. The sights are indeed staggering, but the films true achievement lies in its meandering narrative and how it amalgamates thematic constructs of old with relevant tendencies that have come to grace the dystopian pics of today. As much as the narrative structure see’s Goslings character of K go back-and-forth between different locations in trying to uncover what this mystery means that’s presented to him within the first act of the film, much of the cryptic yet meaningful notions that were initially explored in Scott’s preceding film come exposed; fully sustaining this ideal of what it means to be human and honouring other more intricate motifs explored in Blade Runner’s focal inspiration. One particular theme that particularly stands out and was something that was eluded to within the introduction, is the inclusion of romanticism and how it pervades with the other contextual complexities that are explored. This is explored through the intriguing Replicant and three-dimensional relationship that K has with Joi, a holographic girlfriend who beams into K’s cell-like apartment who can switch from a compliant housewife to a temptress in a flicker. In echoing the allegorical tendencies seen within Spike Jonze’s Her, a feature which delves into an other-worldly togetherness between a man and an A.I. who’s sole purpose is to serve the occupier, much of the ‘warmth’ that 2049 inhabits is seen through the connection between K and Joi have; whether it’s through a discussion of what it feels like being in the damp rain or when they sexually interact with one another that echoes our own uses of virtual reality technology and leaves us confused rather than aroused. However, he tells her he loves her, and it’s believable and sincere. While they maybe configurations of society to serve for the masses, they’re representation as humans doesn’t restrict them from letting them feel and, again, relates back to this on-going theme of humanity that has spanned across many popular sci-fi films over the years.
At the centre of Blade Runner 2049’s visual hypnotic spell is Ryan Goslings methodical yet stoic enactment as Blade Runner K, often shown traversing through the habitual yet retro space appealingly heightened by the purposefully used chiaroscuro cinematography. As Roger Deakins’ camera-work shadows him navigating through the teeming, tech-strangled LA of 2049 and its neighbouring irradiated wastelands, Goslings stoic performance as K imbues familiarity, with his high-collard trench coat and melancholy poker-face attributing to gruff characters of old, yet enough poignancy to warrant sympathy for not only what he uncovers, but what he explores about his very well-being. By no means is K ever depicted as a social-justice warrior of the future, but his entanglement with other characters and Replicants later down the running-time line exudes themes of enslavement which come to bare many dystopian pics of recent memory; most notably within The Hunger Games franchise. Much of the same can be said of Harrison Fords inclusion as Rick Deckard, who sweetens the experience for those acquainted with the preceding venture. In seeing many performances of him as of late, Fords return to playing Deckard is his best work in recent memory and it’s as if he’s never left the role from all those years ago. Other than the evident performances that both Gosling and Ford exhibit, it would be an injustice to not mention the presence of the secondary characters/actors and how they’re involvement is just as impactful as the aforementioned protagonists. Whereas Ana de Armas fulfils her purpose in providing a sympathetic subjectivity to a film that often meanders from the embroiled ‘romance’ to the more oblivious and intricate ideas of humanity and what it truly means to embody a soul, the performances of both Robin Wright as the slick-haired Joshi and Sylvia Hoeks as the tenacious Luv fully demonstrate how valued the woman performers are in contrast to the males. Credit as well has to go to Jared Leto’s portrayal as Niander Wallace who pretty much is the manifestation of what themes are explored, but is an enactment non-the-less that is bold through the way in which the lines are delivered. In fact, if you can picture the Architect from The Matrix: Reloaded, you pretty much know what you’re getting yourself into when watching Leto on screen; not to say that this comparison is a distracting matter; it simply meshes well with what the film is fully conveying.
As understandable as the longevity of Blade Runner 2049 can put the average cinema-goer off, since it’s a film that deliberately takes its time getting from one point to the other and takes the times it does have to fully flesh out subtle nuances, it’s indeed a refreshing sight to see a film that full takes its time exhibiting and emanating ideas that are engaging and unique. For a film such as this, which is competing with other more notable and straight-forward blockbusters, to have the confidence to display a labyrinthine tale at a calmly edited pace is invigorating to behold. Unlike most films at this length which tend to follow a rather bland and formulaic layout of plotting all the action set-pieces near towards a compact last third, Villeneuve interjects and blends subtly and explosiveness in perfect unison. Even when the few action sequences unfold before our very eyes, these scenes are often exciting and alarming as the concussive impact that blitzes our sense from a single punch to a blaring gun shot is never at the expense of visual comprehension. While characters may crash through walls or either be swept away by an explosion, it is never unclear as to where the individuals on-screen end up in relation to all the mayhem depicted. These occasional jolts of intensity never once manages to snap us out of the films mesmerising spell which, in turn, makes the total 163 minutes feel like something you can indulge in, rather than tolerate with. This, combined with the largely electronic musical score composed by Benjamin Wallfisch and Hans Zimmer, gives us something in return that is delectable to say simply.
To elaborate more on the specifics of the narrative would be an injustice on my own behalf on to your own viewing. However, what is paramount to get across is that Denis Villeneuve has crafted a sci-fi behemoth that is wholly enticing to watch. It’s a watchable sequel that both honours its predecessors thematical intricacies whilst demonstrating to newcomers how a plus two hour feature with appetising lighting and cinematography is just as impactful as watching a plus two film neglects its story and characters for something more routine. It’s something that I’m guilty in always saying when a feature, as good as this, is recently released, but Blade Runner 2049 is fresh and stimulating to the eyes and couldn’t be more of triumph if it tried.
On that note, it’s time for me to end this weeks film review. As always everyone, thank you my latest film review of Blade Runner 2049 and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either my review or on the film itself, you’re more than welcome to comment down below. For next week, since Halloween is just around the corner, I thought it would be the perfect time to start showing you all the scary stuff I have planned! Starting off with a film list of my most scary moments from Disney films! 😱👻 I can’t wait to publish that Blog! Anywho, thank you once again for reading this weeks Blog Post and, as always, I’ll be back next week! Have a nice start to the week everyone! Adieu! 😁✌⚔🏃
★ ★ ★ ★ ★ – Alex Rabbitte