Making a sequel to the classic 1982 Harrison Ford science fiction film Blade Runner is either tremendously gutsy or stupid or both. While it initially bombed at the box office, it has always been a critical success and it didn’t take long at all after its theater run for word of mouth to make Blade Runner a film which is now considered one of the greatest films ever made by many, and one of the greatest science fiction films ever made by so many that even its few detractors have to admit it’s something special. In 2013, Denis Villeneuve caught the attention of smart filmgoers and Hollywood executives alike with Enemy. Two years later he repeated his success in a more acceptably mainstream way with Sicario. Then Arrival in 2016. Denis Villeneuve finally gets his career making or breaking job with Blade Runner 2049, and not only is it certainly a career making job it’s one that cements him as one of the finest working directors and a man with the potential to be spoken about alongside the likes of Kubrick, Scorcese, and Hitchcock as one of the best directors of all time for giving us intelligent but also thrilling cinema.
Blade Runner‘s tone is instantly recognizable, yet also a little hard to grasp and explain. It seems like it should be an action movie, yet it takes its time spacing the action far apart and getting it over with quickly. It seems like mainstream science fiction, but it has camera work that so lovingly frames its painstakingly built world it’s more an art piece. It seems like a simple good humans versus evil robots presence, but it’s really a treatise on what it means to be human. Blade Runner 2049 understands all of this, and not only repeats it but manages to add more to the experience while also raising it to the next level.
The tone and pacing which was the make or break element in the original Blade Runner for most is repeated in Blade Runner 2049. Once again, we have a film which takes its time establishing its settings in silence before moving ahead with the action, a film which isn’t afraid to linger for a moment longer than usual on an empty room or a skyline. While most appreciated this aspect of Blade Runner, there are those who say it makes the film boring. Blade Runner 2049 uses this same style while also adding 45 minutes to the running time, so if you are in the Blade Runner is dull category, you will most likely feel the same about the sequel.
You’ll notice I didn’t do my usual brief plot summary of the film, and that is because to say anything about the plot of Blade Runner 2049 would be to spoil more than I like. But, just like the original it is a story integrally tied to its themes. It’s also a story which piggy backs both its plot and themes directly from the original in a way which both flows naturally and yet is also an entirely original creation. In Blade Runner we were asked to think about what it means to be human and what our creations say about us, in 2049 we are asked again, and more dealing with memory, success, and the idea of our creations themselves becoming creators.
The Vangelis soundtrack of Blade Runner was essential in establishing its unique dreamlike tone, and Blade Runner 2049 mimics that original soundtrack excellently with a gorgeous score from Benjamin Wallfisch and Hans Zimmer. Just like the story, the score mimics in exactly the way it needs to, yet still sets is self apart as its own entity showing us that the music just like everything else in Blade Runner 2049 is an evolution not a copy.
The cast of Blade Runner 2049 does the incredible job you would expect from this group of talented veterans. Ryan Gosling in the lead, point of view role of “K” the replicant Blade Runner, does a fantastic job of portraying the artificial cop torn between doing what he was created and programmed for and his Pinocchio-like journey of self discovery and fulfillment which conflicts with his duties. Harrison Ford reprises his role as Deckard, now confirmed to be a replicant, and gives us his best stuff despite being very vocal in the past about not liking nor truly understanding the first film. Robin Wright is excellent as Ks boss/owner in the police department who brings a new twist to the role of hard ass cop with a soft spot for her subordinate, and relative newcomer Ana de Armas is a true revelation and a wonderful surprise in her part as K’s holographic companion.
The crowning glory of Blade Runner 2049, though, is its visuals. The special effects, art direction, and cinematography combine to make every frame a work of art. The original Blade Runner practically invented the visual aesthetic of what we call cyberpunk, Blade Runner 2049‘s advanced technology and bigger budget takes that world we largely viewed from a distance and puts us right in the middle of it. We get to look out the windshields of the flying cars as we weave between buildings, we interact with the larger than life holographic advertising which fills every available empty space, and we get to walk along streets then into alleys then through doorways filled with the desperate people of an overpopulated resource plundered world. All this taken in and framed with the eye of a true auteur who makes the dystopia somehow beautiful and haunting and you have a masterpiece of visual artistry.
Final recommendation: If you found the original Blade Runner overrated and dull, then you are not the audience for its sequel. If you call yourself one of the millions, if not close to billions, of people who are a fan of the original, though, what you are getting in Blade Runner 2049 is more than just a continuation of the original story, much more than just an homage. Blade Runner 2049 takes everything that made the original one of the greatest science fiction films of all time and somehow brings it to a level even greater. Its themes are explored with even more nuance and depth, its characters more three dimensional and fascinating, its story even more gripping and surprising, and its visuals are of the sort that not just win awards, but which are shown off as examples which revolutionize the art of film making. Blade Runner 2049 is a masterpiece, a more than worthy successor to the original, and of course I recommend it as wholeheartedly as is possible.