Blade Runner 2049 is incredibly ambitious. Not just in terms of its epic 163-minute running time, but also with regard to the existential issues it addresses. For every amazing set-piece and action scene, there is an interaction or monologue revolving around the film’s weighty themes—namely, the nature of humans and replicants, their bio-engineered counterparts primarily used as off-world slave labour.
Fans of Ridley Scott’s 1982 original have been hesitant about a sequel since it was first announced, reasonably conscious of its status as a sci-fi classic. However, director Denis Villeneuve’s attention to detail and strong storytelling instincts quickly erase any lingering doubts.
The length is daunting–46 minutes over the “Final Cut” of Blade Runner, to be exact. By the end of the film, however, every piece seems significant enough to warrant its inclusion. The central story revolves around LAPD officer K (Ryan Gosling) and his investigations into a replicant freedom movement, as well as the disappearance of former blade runner Rick Deckard (Harrison Ford). While this appears to be a straightforward, goal-oriented story that could be presented uninventively, Villeneuve’s exploration of human emotions—greed, love, cruelty—especially relative to their android counterparts provides enough mysteries and answers to both engage and satisfy the viewer.
Stylistically speaking, every bit of the roughly $185 million price tag shows. John Nelson’s special effects and Dennis Gassner’s production design are first-rate, clearly handled by masters in their trade. The visual environments are all astonishing; from the bleak dystopia of 2049 Los Angeles to the undersea pyramid look of Wallace Corporation, this film evokes the iconic landscapes of the original while establishing its own identity. Specifically, 2049 uses the ever-present and interactive advertisements of the original, from towering holograms of naked AIs to branded drinks like Coke.
Roger Deakins’ photography is also crucial in defining the look of the film. A legend in his own right and a favourite collaborator of numerous directors, Deakins blends the harsh shadows and urban grunge of film noir with the otherworldly landscapes of dystopian sci-fi. He makes the familiar strange, turning former cities into empty, orange wastelands and Los Angeles into a cyberpunk mega-tropolis. Every futuristic set and environment, brilliantly conceived in their own right, is brought to life by his unforgettable compositions. To paraphrase filmmaker Tony Zhou’s YouTube series, every frame is a painting, and exemplary of Deakins’ singular aesthetic vision.
In a similar–and more pronounced–fashion to the original, Blade Runner 2049 is focused on the intellectual exploration of what it means to be a human, a replicant, or any kind of artificial intelligence. While this does affect the pacing at times, there is always something for the audience to think about, even if they’re not necessarily as invested in one scene as much as another. The acting is uniformly amazing; Gosling’s layered performance and Jared Leto’s unearthly work as replicant manufacturer Niander Wallace are notable standouts. 2049 is also an undeniable technical achievement and a huge testament to its talented crew, who pay tribute to the original while creating their own remarkable vision of the future. Ultimately, it deepens the mythology while telling its own fascinating story, serving as the perfect sequel and an exceptional film in its own right.
