Tag Archives: Sylvia Hoeks

Denis Villeneuve’s Blade Runner 2049: Thoughts from Nate Hill


As I settled in to watch Denis Villeneuve’s Blade Runner: 2049 in a thundering imax theatre, I truly did not know what to expect. I’d successfully avoided spoilers up until that point, done a scant bit of reading hither and thither on a surface level, and obviously been privy to the mind boggling, overwhelmingly positive buzz that’s been flowing forth since the first critics were screened. ‘Masterpiece’, ‘Movie even of the century’ and ‘instant classic’ were some of the lofty adulations that were being hurled around right out of the gate, and it’s not often a sequel to such a long worshipped, culturally influential bombshell of a science fiction film has been welcomed so eagerly and almost unanimously praised. There’s been a gulf of time between Ridley Scott’s 1982 neon fever dream, which is indeed a masterpiece and one of my favourite films of all time, and the shoes to fill have never, ever been bigger. So, does it live up to the original? Is it better? Worse? Pandering fan service or bold pioneer trek into new galaxies of thematic and tonal exploration? The answers to those questions are somewhat more complicated than yes, no or similar succinct absolutes. I can say, however, that Villeneuve’s near three hour machine-dream is one of the most beautiful, ambitious, thoughtful, well wrought films I’ve ever seen, a staggering achievement in all arenas and indeed a piece of cinema they’ll be talking about for years to come. It’s a masterpiece on its own terms, blending elements of the original which we all loved, but bravely surging forward into it’s own brand new chapter of this world, a little bleaker and more austere than the poetic lullabies of Scott’s L.A., yet no less wondrous or sumptuous a creation. This is a world where quite a bit of time has passed since the initial story, and the environment these characters dwell in has shifted along with it. Los Angeles is wearier, emptier and less of a gong show than we remember, yet the buzzing life that we recall catching fleeting glimpses of between monolithic, impossibly gigantic skyscrapers is still there, that endless nocturnal hum has thrived through into a new age. So too have replicants, now far more advanced, under the label and stewardship of Niander Wallace (Jared Leto) and his mega corporation. Ryan Gosling plays a young blade Runner, a profession, it seems, that has not run out of supply in demand. Under the very stern watch of LAPD Captain Joshi (Robin Wright, terrific) he navigates a meticulously paced detective story that, yes, eventually leads him to missing former Blade Runner Rick Deckerd, played by Harrison Ford in one staggeringly well pitched performance. That’s all I’ll really be specific about in terms of plot, because it’s a gorgeously wrapped present that should be opened corner by corner, inch by inch until the viewer has actively and emotionally seen the big picture, a thoughtful process that challenges the audience and should be the standard not just for science fiction, but for big budget films in general. While Blade Runner 1982 was a visual and musical feast for the senses and still maintains that edge over it’s sequel, 2049 has a cerebral and multifaceted patchwork quilt of themes, questions and notions that play across the screen like a ballet of auroral, magnificent wonders, layered, ponderous cinema with an emotional weight and resonance that took me right off guard, a quality that although present in 1982, wasn’t quite as developed as what we get here. Hans Zimmer’s score is every bit the thundering piece you’d expect and is brilliant, a slightly industrialized departure from the lyrical, ethereal tones of Vangelis, but equally as captivating. I could go on, but I’ll let you see the thing for yourself and paint your own picture. I’ll say this: Blade Runner 1982 is the rainbow coloured light shone through a prism, abstract, illusory and trancelike. 2049 is the prism itself, the source of the light and the place where it’s understood from a more conscious, waking-life perspective, and that’s the closest I can get to explaining just how different these films are from each other. One is a dream poem, the other is a deep methodical meditation, but both are vital halves of the mythology. However you look at it, Villeneuve’s 2049 is astounding, achingly beautiful work on every level, not to mention the work of everyone’s favourite unsung maestro, cinematographer Roger Deakins. This is an important film, as it may just hasten the exodus of brainless big budget fluff and help Hollywood enter a golden age of well crafted, intelligent blockbuster films once again. One can dream.

-Nate Hill

“You’ve never seen a miracle.” A spoiler free review of Blade Runner 2049 – by Josh Hains 

I can understand why there are some people out there who don’t like this movie. In 1982 Blade Runner wasn’t made for the masses. It was an expensive arthouse sci-fi neo-noir detective story that critics loathed and most couldn’t make heads or tails of. Only over time and through multiple cuts did the movie gain the legendary cult status it carries today. Blade Runner 2049 feels cut from the same cloth. It’s not for everyone, there are those who have seen it and don’t like it, and there will be others who join them over time. Like its predecessor, it’s not an easily accessible movie that everyone can sink their teeth into and enjoy. It’s less easily categorized by younger overtly politically correct audiences that brand everything in sight with unnecessary dehumanizing labels, and given the reputation of its predecessor, it doesn’t much matter who loves or hates it. This movie is for Blade Runner fans, made by a man who calls Blade Runner his favourite movie, likely to grow into a legendary cult status just like Blade Runner before it. It’s better this way.

Blade Runner 2049 follows K (Ryan Gosling), a Blade Runner for the LAPD. It’s his job to track down Nexus 8 replicants and retire them, and he’s quite good at it. He uncovers information that could spark a war between replicants and humans, and sets out to find the long missing, rumored dead Rick Deckard (Harrison Ford), the legendary Blade Runner from the original film. That’s as far as I’ll get into plot details, it’s obviously better to know little about the actual plot of this movie, despite the plot being pretty easy to piece together. Anyone familiar with film noir ought to know by now that the plot of a noir is never the focus. In noir, plot is a McGuffin, something we the audience chase, much like Sam Spade trying to find the Maltese Falcon, and while the pieces usually fit together rather nicely by films end (unless we’re talking about Night Moves, the 1975 Gene Hackman starring noir detective yarn), the plot is never why you watch a noir, such is the case here.

For the last few years it has said a lot to me when I can count the number of problems I have with a movie on just one hand. In the case of Blade Runner 2049, there were two performances that felt culled from a totally different, and weird, movie. But I chose to overlook those while I was watching the movie, because one performance occupied just one scene, while the other only took up three long scenes (it might have been four, but I could be wrong). Nothing else sticks out in my mind.

Roger Deakins has outdone nearly his entire filmography of gorgeous, spellbinding cinematography, save for The Assassination of Jesse James By The Coward Robert Ford, which still might be his finest work to date. With the exception of the two performers who will go unnamed, the rest of the cast provided their best performances to date, especially Gosling, Ford, Ana de Armas, and Dave Bautista. And Denis Villeneuve, working from a great script by original Blade Runner screenwriter Hampton Fancher, and Michael Green (watch American Gods, the Starz series he collaborated on with Bryan Fuller and author Neil Gaiman), and with original director Ridley Scott producing, has crafted a worthy sequel to Blade Runner that captures everything I love about the original yet also feels new, fresh, and exciting.

I don’t know if there’s a such thing as a perfect movie. Maybe there is, and if that’s the case then I’ve seen quite a few. Lawrence Of Arabia, The Godfather Part II, Jaws, and L.A. Confidential, to name a few. And if there’s no such thing as a perfect movie, and if that should be the case then I’ve seen ample imperfect movies that somehow seem perfect amidst whatever flaws others have found in them. I could complain about the first roughly two hours of 2049 feeling like one drawn out (but so damn good) tease leading up to everything I really wanted to see (which takes place in the third act of the film), but I enjoyed all of it so much, so why bother?

When the year started and I had the first teaser trailer for Blade Runner 2049 to watch on a loop, I hoped it would live up to my own expectations. I wasn’t hoping for a movie that would blow my mind six ways to Sunday and change my life somehow. I wasn’t hoping for some easily categorizable, digestible, flawless masterpiece. All I wanted and hoped for was a sequel that would feel like the natural progression of the story I love so much in Blade Runner, that would look born from the same universe yet unique to itself, and would make me feel the way I do when I watch Blade Runner: The Final Cut: awestruck, mesmerized, subtly moved. What I watched Sunday night did exactly that for nearly three hours, and won’t soon be lost in time, like tears in rain.