Mr. Movie review: 'Blade Runner 2049' fascinating but long and slow

Friday, 06 Oct, 2017

"It was a hybrid of film noir with sci-fi", he says. 35 years later, thanks to subsequent releases like the 1992 Director's Cut and the definitive 2007 Final Cut, Scott's film is now heralded as a groundbreaking visionary masterpiece and one of the most important motion pictures ever made. With the great Roger Deakins as cinematographer - who's received thirteen Oscar nominations without a single win - Blade Runner 2049 crafts a visual palette that's bolder than any of its counterparts today, evoking a sense of melancholy, isolation and dread by doubling-down on a Los Angeles the colour of ash, and a post-apocalyptic deserted Las Vegas suspended in a perma-cloud of tangerine; all of which is interspersed with bright neon colour offering a form of escape, both visually and in their goal. I've not yet seen the new one but I can all but guarantee, without watching the original '82 film you'll be lost.

While I gained the increased layers of technological projection, I missed the finer details onscreen and was left in an oversaturated darkness at points. Bautista has a good cup of coffee Sapper Morton, a small role that plays a big role in the movie.

I've always suspected that I would love to be friends with Ryan Gosling and Harrison Ford.

Even "Blade Runner" itself has difficulty living up to the "Blade Runner" myth; go back and watch it, it's pretty plodding for large stretches. He's clearing the way for the newer bioengineered androids that their blind maker claims are safer.

Is there anything better than a giggling Ryan Gosling? San Diego is nothing but a vast landfill where L.A. dumps garbage. Which ore do you have in mind?

The answer is simple - hire director Denis Villeneuve and team him up with Roger Deakins. K's very name suggests a link to Kafka. Though he may not have had a hand in it, this one was closer to the vision he had for the film. Grad students are going to have a field day interpreting the literary references. This is a movie where the most important businessman in the world appears to live and do business mostly alone in what looks like the world's most austere and expensive hotel lobby, and chooses to see the world not for himself, but with little flying cameras as his intermediaries.

"K's discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years".

Harrison Ford doesn't show up until about the two-hour mark.

MONDELLO:.But definitely not beaten in any other sense. And now I know it for sure.

Because the public revelation of this secret - to which I can offer no clues without Sony cursing my family for generations to come - could possibly cause worldwide upheaval, "K" is tasked by his superior Lieutenant Joshi (Robin Wright) with erasing all evidence of it from existence. Even if the new film doesn't send viewers away with an impossible list of engagingly ponderous questions, it stirs the existing pot as well as anyone could hope, and leaves audiences fat and happy on its own particular aesthetic world building and a dour presupposition of tomorrow's U.S. West Coast. As the soft-spoken Niander Wallace, Leto delivers an understated performance that exudes arrogance and ambition without chewing the scenery.

MONDELLO: They are ideas expanded from the first film about what it means to be human, about who gets to have a soul, about the costs of slavery, the price of feeling, the allure of surfaces - also about where society is headed.

If you want to see the dark and seedy side of the neon-soaked streets that hardcore capitalism is driving us all inexorably towards, then this is the film for you.

Many sci-fi films can be too much for certain viewers, but this film overall feels like one with a bit more substance and balance than usual.