10/5/17 - Blade Runner 2049 (2017) 7+/8-/10

The "is Deckard a Replicant?” question of this film is obvious: Is it as good as or better than the original 1982 classic? I don’t think it hits the Spinner heights of its predecessor, perhaps lacking the magical cache and cultural criterion that comes with a unique benchmark of science fiction/film making. But, it's certainly of a piece with the original. Tonally matching and astutely building on what worked before. And as a visual showcase, it was able to match and even outpace the original, cultivating and aggrandizing the amazing sights formerly thought unrivalable. This is a film that, despite possible some flaws, is a sumptuous re-aclimitization to a once-loved world, taking us further and whispering the same fascinating breathy fathoming.

Its truth to the core of Blade Runner is rooted and steadfast. It has interminable pacing, emotional inertness, and complex philosophical underpinnings that are grazed upon rather than bathed in. Existentially cognizant and an even further preponderance for its regard. It is languidly dejected, possibly more than before. More run down and the extremes are furthered in everything. I personally find these to be strengths of this new film, able to wrap me in the same warm blanket of nostalgia without choking me or jabbing my ribs. It IS a Blade Runner feature, not a produced facsimile. It does its own things, thankfully, but does not abandon the reputation of Scott’s film/ideals.

Reynolds is well cast as the semi-robotic non-feeler that he innately does so well. With that as our baseline, strays from the path feel and the showers of affect that he shuffles through were all the more resonant. Oddly, he is working through both Deckard AND Roy Batty's previous trajectories with an “eye of the hurricane” perseverance. Not my favorite actor, but his brand clicked. Much of the rest of the cast shined. Ford worked well, establishing a deeper responsive report than his young Deckard. Ana de Armas is sweet, lovely, and beguiling. Sylvia Hoeks and Robin Wright were also adept and fulfilling. Leto, not so much, but he was essentially given metaphysics and crunchy plot to spew. Sometimes that does not endear. 

I dug the next layer of human/replicant interaction and metaphor by way of the Her-ish AI “Joi”. Layer upon layer of servitude and slavery, intermingling with the core essence of what is human. There was a great juxtaposition of anticipations and symbolism, especially with the abundance of extreme feelings of the AI versus the less-feeling “souls”. Humans were cold, uncaring, matter of fact, and without the marvelous wonder that energized, affected, and invigorated the "lesser life forms". Humans have so much life lived, while the time-limited others are bursting with vitality that is squeezing through all the cracks in their imposed shell of inhumanity. It all pushes forward the fun flip on the “Is Deckard a Replicant” conundrum.

There is elegance to the design and cinematography on display. It is a deepening and enriching of the same world we saw before, expanded out and starkly manifested. Picturesque and impressive, but with a lived in allurement and a marked metamorphosis into the next iteration of this creation proper. The lighting is exquisite, especially with the rain and the darkness. The color palette is a washed out crisp, if such a thing exists, and pops so devilishly well, be it emblazoned neon or suffocating orange wasteland. Just so many lingering visual dazzlers, for purpose and not pomp. The CGI was quite spectacular and functioned marvelously. 

The score is booming and a mix of Zimmer horns, techno wave, and a soft Vangelis caress. 

Not everything was mastered and impassioned divinity. It is overly long, obnoxiously loud at times, and a tad light on character connections. The plotting could be considered a bit of a frayed clunker, being stiff & repetitive in theme. Overindulgence and inability to unlock the originality shackles might rub some the wrong way, though the ending was more sentimentally saccharine than my taste. 

That said, it should still be enjoyable for most audiences. Certainly more explosive than its predecessor, it still creates a canvas to paint your slow emotional depth or quizzical detection upon. Whatever its flaws or lacking, the enterprise is immersive, evocative and one of the most plainly beautiful films to come out in a long while. The machinations my not be illimitable but they are rich in ambiance and experience. Much to meditate upon and scads to scan. Not as jovial or culturally hooking, but there can always only be one of a film. The drama was filled with a pained grace and the effecting amazement that captured generations was matched visually, so that is a definite win.