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A young Blade Runner’s discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who’s been missing for thirty years.
While fans of the original “Blade Runner” may have been worried that any sequel would not live up to expectations, “Blade Runner 2049,” confidently sets those fears aside. As I watched the screening, I wondered if perhaps “2049” might suffer the same ignominious fate of “2010: The Year We Make Contact” (the sequel to Stanley Kubrick’s classic “2001: A Space Odyssey”) – in equal parts, both serviceable and forgettable.
Given the reputation of “Blade Runner,” the decision by Denis Villeneuve to direct the sequel was no small risk either. Needless to say, “Blade Runner 2049” picks up confidently where the original film left off and takes us someplace new and different.
As was the case with the 1982 film, “Blade Runner 2049” is not a conventional science fiction story. It is not, for example, an alternative version of “Star Wars.” This is by far a darker and frankly more thoughtful movie. Similar to Villeneuve’s previous outings such as “Sicario” and “Arrival,” there is action, but that’s not what you will remember most about the film. Instead, “2049” wants to delve deeper into the psyche of humans and replicants, and then into the implications for the social order at-large.
Glimpses of Fritz Lang’s “Metropolis” are present, both in terms of the highly stylized futuristic city as well as the bifurcated, two-tiered society. The sets and special effects comprising a futuristic Los Angeles in “2049” are a captivating work of imagination. For science fiction readers, there is even a hint of Isaac Asimov’s classic Foundation Trilogy series (which, for its part, has defied several attempts at adaptation to the screen to-date).
The cinematography by Roger Deakins is equally superb and – analogous to Woody Allen’s “Manhattan” – the cityscape has become one of the main characters. Visually arresting, “2049” makes it almost impossible to take your eyes off the screen.
Despite the runtime of 163 minutes, I found the experience of literally getting lost in the atmosphere of “2049” for the two-and-a-half hours decidedly pleasurable. The striking visuals combined with spot-on scoring by Hans Zimmer (also responsible for “Interstellar”) and Benjamin Wallfisch call for nothing less than full immersion.
Some of the actors in “2049” will be familiar to audiences, such as Ryan Gosling, Harrison Ford, and Robin Wright. Others – particularly the women such as Ana de Armas, Sylvia Hoeks, and Mackenzie Davis – will be less so, but equally compelling.
One of the criticisms that could be made about the original “Blade Runner” has to do with the accuracy of its depiction of Los Angeles in the year 2019. While we are still a couple of years away from that, clearly L.A. won’t look like it did in “Blade Runner.” Probably no flying cars in two years either. But then trying to precisely visualize the future 35 years out would not be an easy task for anyone.
Despite the lasting reputation of the iconic original, “Blade Runner 2049” earns its place as a worthy companion that will be remembered for a long time. Indeed, in many ways, it is a superior achievement. “2049” is a visual triumph that is at once both daring and compelling.
In theaters Friday, October 6th
