For years, the idea of a sequel had long gestated, but it seems any ideas simply didn't materialize. But now the idea finally becomes reality, tempting Harrison Ford back alongside Ryan Gosling, and now under the control of Denis Villeneuve. Although, pedigree is one thing, but can those ingrediants capture the same lightning in a bottle? The short answer is yes. Very, very well. Blade Runner 2049 not only stands as one of the year's finest films, but looks poised to be another classic in its own right.
The year is 2049, and the overpopulated streets of Los Angeles are home to Blade Runners, specially designated cops enlisted to eliminate rogue Replicants, biorobotic beings virtually identical to humans. One of these agents is K (Ryan Gosling), himself a newer model of Replicant designed to "retire" his rogue predecessors. As tensions between humans and Replicants grow stronger, K soon finds himself on the trail of a mystery surrounding the disappearance of former Blade Runner Rick Deckard (Harrison Ford), uncovering dark secrets and existential crises along the way, unaware that the Wallace corporation, a Replicant creation company spearheaded by Jared Leto's Niander Wallace, are also out to uncover Deckard's secrets as well.
Denis Villeneuve is a self-admitted fan of Sci-Fi, 2049 being his second venture in the genre following Arrival from last year, and his next project presumably being a reimagining of Dune. And just going off of his last two films, you can see exactly why he's so fond of the genre, in that the genre is one that allows for high concept themes mixed with inventive artistic imagery, something that Villeneuve has proven no slouch over with the added likes of Enemy, Prisoners, and Sicario. You can also see why the world of Blade Runner would be the perfect sandbox for him, given that Scott's original film was a slow burning neo-noir dealing in themes of rising immigration, corporate abrasiveness and interference, and the humanization of our evolving technologies.
Villeneuve's emulation of Scott's original style and grungy atmosphere is so perfect that one may even forget that we ever even left this world, or that a second-party took control. So faithful is he to Scott's vision that dated sponsors with product placement in the original film (ie. Pan Am, Atari, etc.) still keep their dominion hovering above the overpopulated LA Streets. 2049 is a film that pushes Villeneuve to the apex of his visual abilities, recreating the grey common areas and mechanic neon jungles with a meticulous level of obsessive detail, also garnering outstanding work from his muse Roger Deakins, the DP crafting numerous instantly iconic compositions with distinct and foreboding moods, and even with the sound muted, the film would still be a phenomenal experience. What stands is perhaps the single finest achievement in Deakins' entire career, and with a man whose portfolio is as prolific as his, that's saying a lot. Frankly, if AMPAS doesn't do the right thing, and reward him his long overdue Oscar for this film, something is seriously wrong.
But as commendable as 2049 and its predecessor's visuals were, it was every bit as ambitious a conceptual feat. Those themes previously explored in the original film continue to earn their time in the follow-up, and as always are approached by Villeneuve with great confidence. He appears particularly drawn to those themes of technological humanization, due to those advancements becoming so ingrained in our culture, they've become inescapable and necessary to our daily interaction. Much of the running time is dominated by Ryan Gosling, proving himself to be one of the best and most effortless leading actors of his generation, in yet another terrific performance. A modified and updated Replicant following the fall of the Tyrell Corp, K is one of the best agents within the Runner branch, earning high marks from his overseeing Lieutenant Joshi (Robin Wright), who feels no shame in casually regarding him as without a soul. It seems almost reasonable to think so, given his icy apathy in an early "retirement" of runaway older model Sapper Morton (Dave Bautista), who chastises him as an empty shell. In fact, that older Replicants seemed to pave the way for newer models also weaves some interesting immigration allegories, in older generations paving the way for the lives of those naive in their security, that those privileges may be stripped and robbed at any given moment.
It all creates such an intense aura surrounding K - and believe me, Gosling's signature death stare gets quite the workout in this movie. But there's so much more to him beyond those chilly physical traits, as K is not immune to cracks both physically and mentally, rattled with crippling identity issues, and in constant need of the company of Joi, a Wallace Corp developed companion AI played by Ana De Armas. Her interactions with K are among the sweetest and most emotionally investing elements of the film, but as endearing as her entire appearance may be, one might get the feeling that her actions are almost too perfect. One may see it as a harsher and more twisting interpretation of Her, tapping again into those humanization issues, bringing to light questions of whether such connections are merely safeguards to give the illusion of gregariousness, rather than deep-rooted detachment from society.
In fact, Joi's appearance could also be seen as Villeneuve taking bold steps to address female objectification and representation. It's an unexpected, but profound detail that he manages to tap into, like the fact that company advertisements make extensive use of nude and dolled up models to sell their wares, the concept of parentage and past being such a heavy allegorical topic within context, even to the fact that Niander Wallace, played by a blinded Jared Leto, surrounds himself with mostly female company - such as his ruthless muscle Luv played by Sylvia Hoeks, and is seen giving specific scrutinizing attention to his female newborn Replicants. That surely can't be coincidence, and it instills some provoking food for thought I hadn't even considered until I was already out of the theater. Surely it gives him meaty and complex roles to offer his female stars, including Sylvia Hoeks, Ana De Armas, and Mackenzie Davis channeling Daryl Hannah as a contact of K's.
This isn't to say that 2049 is always so intensely stimulating. At a staggering 160 minute running time, it certainly isn't an easy sit. This may be even more arduous for unsuspecting viewers expecting a great deal of action, when said action beats are very limited and spread out, which is still quite a turnaround after Arrival's (justified) lack of action altogether. However, slow as its deliberate pacing may be, the level of atmosphere, scale, and the full outline of the world yields so many hidden rewards along the way. This is one of those mega-budget studio films that earns the right to label itself an epic, and flows with an intoxicating aural landscape, including the pitch perfect Hans Zimmer/Benjamin Wallfisch score emulating the extensive synths of Vangelis.
I also wouldn't be surprised if some come away disappointed by Harrison Ford's use. Under normal circumstances, I wouldn't tell you that he was even in the movie, given the fact that it takes him well over an hour and a half to finally enter the picture. Granted, it wouldn't have been a surprise to expect an appearance from him, even without being placed all over the marketing campaign. But I think those disappointed by such things wouldn't be giving the film a fair shake, and certainly not Ford's performance, which is perhaps the most emotionally invested he's been in a role in years, carrying the stance of a broken, embittered, cruelly demonized man at the end of his rope, desperate to keep his emotions under suppression, with the actor giving his signature gruffness a lot of time in the spotlight.
There's so much more I'd like to talk about in regards to Blade Runner 2049, and upon further rewatches and more reflection, I'm certain there will be more hidden treasures for me to uncover and stir on. For the time being, calling 2049 an achievement almost feels as if I'm underselling it. The film certainly isn't for everyone, and as mentioned before the long running time can make it a tough sit, but for those willing to give in to the hypnotic touches of the film, those continually enveloping rewards will prove more than satisfactory. As only his fifth English-language film to date, Denis Villeneuve has shown himself to be one of the modern day's greatest and most gifted working filmmakers, and it is no faint praise that 2049 is his best to date. A genuine masterpiece of imagination and thought.
In fact, he manages to emulate Scott's mastery so well, one wishes that Ridley would hand the keys to his Alien franchise to Villeneuve. You can never have enough great Sci-Fi.
***** / *****
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