'Blade Runner 2049' Review

It's difficult to discuss Blade Runner 2049 without diving into spoilers. However, I have the luxury of publishing this review well after the theatrical release date, so I will indeed be including a spoiler discussion in this review. In order to preserve the plot for those who have yet to watch Blade Runner 2049, I'll indicate the beginning of the discussion with a clear spoiler warning. I'll be detailing specifics of the performances inside the spoiler section, because it's tricky to dance around that aspect of the film without simply saying "Ryan Gosling was really good" or something like that.

[This review was originally written in October 2017 and is now being published to coincide with the digital home media release. For an explanation of this, visit my Fall 2017 Important Update post.] 

Nominated For: Best Cinematography, Best Production Design, Best Visual Effects, Best Sound Editing, and Best Sound Mixing.

When Blade Runner 2049 begins, it has been thirty years since the events of the 1982 sci-fi masterpiece Blade Runner. The older replicant models are still being hunted down and retired by the Blade Runner task force. While on assignment, the youthful Officer K stumbles across a long-buried secret that sets him on a path of self-discovery as he's forced to locate a long-retired runaway Blade Runner, Rick Deckard, for answers. 

Legacy sequels are a hot commodity in Hollywood right now. For those that don't know what a "legacy sequel" is, they're basically sequels that pick up several years after the last film in the context of the franchise with a new core cast of characters taking the torch from the previous protagonists (think Jurassic World, Creed, Star Wars: The Force Awakens, and Independence Day: Resurgence). Blade Runner 2049 easily falls into this category, although it stands apart from the aforementioned examples because it doesn't attempt to lay groundwork for future franchise entries.

Anytime it's announced a beloved film will be receiving a sequel, it's understandable that fans will have their fair share of skepticism. It's a tall order to release a sequel thirty five years after the original that's strong enough to stand toe-to-toe with the first, especially when that first film is Blade Runner. However, Denis Villeneuve, whom you may be familiar with for directing the fantastic films Sicario and Arrival, takes the reigns from Ridley Scott to solidify himself as one of the greatest working directors today. It's simply remarkable how Villeneuve was able to recapture the futuristic science-fiction noir's tone, style, and sensibilities without retracing any steps.

For those readers who have kept up with my blog for some time, you may recall me making a comment in my Arrival review that Denis Villeneuve had the potential to be the next Christopher Nolan... Well he's gone out and proven my point... Blade Runner 2049 cements Villeneuve as a master filmmaker. It'd be an understatement for me to say I anticipate buying a ticket for every film spanning his directorial career.

On a technical level, Blade Runner 2049 astounds from beginning-to-end with an exquisite aesthetic. Roger Deakins' sensational cinematography seamlessly integrates with the exuberant neon-flourecent lighting, peak production design, and extraordinary visual effects to bring audiences one of the most visually-arresting productions ever made. Deakins has been nominated for thirteen Oscars, but still doesn't have a single golden statuette on his mantle. However, I suspect Deakins will get his due next February because it seems absurd not to award someone at the top of his craft.

Speaking of sneaking suspicions, I'm guessing general audiences will say Blade Runner 2049 is "slow," "boring," and "too long," but I think that'll only be the case if you a) aren't a fan of the original Blade Runner or b) refuse to put your thinking cap on. Blade Runner 2049 isn't a popcorn movie. Don't expect to see copious scenes of mind-boggling action, or you'll probably be enormously underwhelmed. While I can agree that the two hour forty-three minute runtime seems lengthy, it didn't feel three hours long because I was absolutely engrossed in all the events unfolding onscreen.

Everything about Blade Runner 2049 is quite mesmerizing for that matter. The film escalates at a slow burn, but the developing story (which I'll touch on in a second) is totally transfixing. This is only enhanced by the spellbinding score accompanying said events. On that note, there's an interesting story behind this soundtrack. Villeneuve's frequent collaborator Jóhann Jóhannsson was first attached to compose the score, but wound up being entirely replaced by Hans Zimmer and Benjamin Wallfisch about a month before the film's release. Zimmer and Wallfisch were already on-board throughout the post-production process, but it alarmed me to see a composer depart the project considering how much I loved his Arrival compositions. It's needless to say I absolutely adored the end result though, because it was reminiscent of Vangelis' electric ambiance yet sounded entirely unique.

Like Star Wars: The Force Awakens, Blade Runner 2049's marketing campaign was shrouded in mystery and offered no clues as to what the actual plot was. At press screenings, Warner Bros. and Villeneuve even issued a statement requesting critics to refrain from including revealing specific plot details in their reviews. I absolutely adore this approach, because oftentimes we as an audience know way too much about movies before we've even seen it because of some spoiler-inclusive marketing material and indifferent journalists. Anyways, if you want to get the most out of Blade Runner 2049, I would actually advise to watch Blade Runner beforehand to have a better understanding of everything that's going on. Although it's certainly possible for to glean from the surface level without watching it, you'll get a better grasp of the true significance if you've seen it.

**Spoiler Warning**

The screenplay whipped up by Hampton Fancher and Micheal Green offers an incredible expansion on the ideas Blade Runner often came across, taking things a step further in regards to the blurred lines that separate man and machine. This is mostly achieved through Officer K, who's almost immediately revealed to be a replicant. K clearly has a beating heart, soul, and conscience beneath his synthetic skin, mechanical motors, and proven programming as evidenced by his reluctance to hunt down the miraculous replicant child. The concept is further fleshed out by K's wishful thinking and inner desire to be special as K projects the idea that he is the child in-question due to his implanted memories.

I'll say that K's conviction totally tricked me into thinking I had predicted the "huge twist" at the center of Blade Runner 2049, but Fancher and Green threw a huge curve ball instead that took me completely off-guard by revealing that the child was actually Dr. Ana Stelline. I especially appreciate how the turn-of-events deepened K as the aspirant replicant who was disappointed to learn he's just a replicant. Instead of going to kill Deckard as commanded, K realizes his potential to help reunite the father and daughter, and his commitment to doing the right thing causes him to sacrifice his own life so he can make a difference for others. The selfless nature of K's actions in the face of crushing adversity and Ryan Gosling's subdued performance only made his arc more impactful. 

Another fascinating exploration of these ideas is rooted in the romance between K and his holographic Artificial Intelligence Joi. Since Joi is an intangible visual projection, the romance is strictly relegated to an intellectual level similar to the storyline spread throughout Spike Jonze's Her. However, Blade Runner 2049 examines the material with enough of a unique spin to differentiate itself because it asks viewers the existential question of how agonizing it would be to fall in love with consciousness you could see, but never truly touch. To me, that idea is an entire level above the Her dynamic and even the romance central to the original Blade Runner.

What truly sells the relationship though is how Ana De Armas and Ryan Gosling authenticate the complex connection between an artificial consciousness and an android lover who are just longing for a physical connection. De Armas projects so much depth to a seemingly shallow character and establish the pivotal love scene to be a beautiful moment. In regards to that scene, I'm sure someone will come out and say it's sexist and demeaning, but it's really not... I felt the moment meant so much more. Joi is restricted from being able to foster a physical intimacy with K, so she hires a surrogate pleasure replicant model to step in as a vessel so she can merge herself and achieve just that.

Then I couldn't possibly complete this review without bringing up Harrison Ford's return as Rick Deckard. He doesn't show up till about two hours into the film, but Ford leaves a lasting impression with every second onscreen. Much like his reprisal of Han Solo in The Force Awakens, he steps right back into the shoes of the character he left behind thirty-five years ago. He especially astounded me in one particular scene where he's forced to encounter a replicant resembling Rachel. The mere reaction from Ford in this moment positioned him as one of the film's stand-outs. 

In the antagonistic camp, Jared Leto's suitably strange as technical tycoon Niander Wallace and had substantially less screen time than I was expecting, but honestly gave a great performance. It's his underling android assistant Luv that truly terrifies though. Sylvia Hoeks latches onto the menacing demeanor with complete conviction, and I hope this role perks the eyes and ears of many casting directors so I can see her play another villain once more.

It was also nice to see familiar faces Robin Wright, Dave Bautista, David Dastmalchian, Barkad Abdi, Edward James Olmos, and Sean Young show up and provide strong supporting turns, regardless of screen time.

**End of spoilers**

Blade Runner 2049 is the scarce spectacular sequel that brilliantly builds upon the wonderful world and profound philosophical pondering of the original, while maintaining the first film's integral atmosphere and standing strong on its own merit. I know it's been said-to-death at this point, but there's no other way to articulate it, Blade Runner 2049 is a master work of science-fiction that won't be soon forgotten and will inspire entire generations of filmmakers to come.

Film Assessment: A+

'Wonder Woman' Review

Wonder Woman recounts the origin story of trained warrior and courageous princess Diana who has grown up among the fierce female race of Amazons on the sheltered tropical island Themyscira. All is well on the secluded paradise till American intelligence officer Steve Trevor crashes off the island's shore, the first instance of man entering the mythic realm. Trevor is retrieved by the Amazons and in turn tells them of the ongoing power struggle outside their island, World War I. Diana then decides to disobey her mother's commands and accompanies Trevor on a quest into man's world with intentions to end the conflict at hand, discovering her exceptional abilities and fated destiny along the way.

I'll be honest in saying I was cautiously optimistic for Wonder Woman since I was burned thrice before by DC with Man Of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad. While Wonder Woman's marketing material has been stellar from the outset of its promotion, much like Suicide Squad, the DC Extended Universe's spotty track record was enough for me to temper my expectations. I did however maintain hope that Wonder Woman would be the film to turn everything around for DC considering Patty Jenkins was directing and it seemed more standalone in nature, and it is with great pleasure that I'm able to reassure any skeptics that Wonder Woman is truly wonderful! 

Director Patty Jenkins shepherds the Amazon into her own corner of the DC universe so the two can brief moviegoers on the influential heroine's humble beginnings. Jenkins had a difficult task at hand in meeting a broad appeal that didn't favor men or women and she struck the right chord. The supporting male characters are never downplayed in favor of some feminist agenda and there are moments exemplifying Wonder Woman's heroic qualities that offers an ideal representation of female empowerment without overdoing the girl power. Jenkins makes it clear from the start that this will be a tale for everyone to enjoy by infusing Wonder Woman with a sense of hope and optimism, something that's lately been lacking from DC films. 

Jenkins and her cinematographer Matthew Jensen quickly break the mold of DC's gritty/grungy aesthetic with the lush locale of Themyscira. The vivacious color palette of Themyscira is easily the most vivid venue to be seen in the DCEU thus far, managing to look like a plausible place while maintaining a guise of mysticism. This is even further accentuated when contrasted to the nasty No-Man's land and murky London skyline. The visual effects and production design showcased also are a step above DC's usual display, making a breathtaking backdrop to the insane action.

If you thought that Wonder Woman would skimp out in the action department because it was directed by a woman, then you were way off because the action sequences constructed by Jenkins and her stunt team are absolutely incredible! Scenes of the Amazons sparring, a beachside invasion, a trek through No-Man's Land, and an all-out melee in the third act will all astound viewers based on looks alone. It's worth noting that Jenkins and editor Martin Walsh utilize quite a bit of slo/fast-mo in these sequences that can grow a bit repetitive for those not in favor of that technique, but it adds a visceral energy that only intensifies the excitement. This vitality is then dialed up another notch by Rupert Gregson-Williams' potent compositions and Hans Zimmer's pre-existing exuberant Wonder Woman theme. 

Despite Wonder Woman's ability to leaps bounds above the other DCEU installments, I'm fairly certain that Wonder Woman will draw criticism from its startling similarities to the period piece war backdrop featured in Captain America: The First Avenger and the fish-out-of water story told in Thor. There will be numerous comparisons between them (especially with The First Avenger), but I assure you Wonder Woman is very unique when it's all said and done.

Wonder Woman features a screenplay penned by Allan Heinberg, who received some assistance from Zack Snyder and Jason Fuchs in writing the story treatment. Heinberg's script works well and it's not because it revolutionizes the superhero origin story, but rather because it understands the lead character. Diana's easily the most heroic DC character to galavant onscreen in quite some time and pairing Diana opposite the horrific scrim of World War I really brought out her valiant nature. It's also incredibly refreshing to see a female character in a superhero movie that's not a damsel or obvious eye candy, but a fully realized character. While Marvel has Black Widow and Scarlet Witch, DC had yet to truly deliver one of those till now.

Allowing Diana to enter man's world not only accentuates her character but it provides a suitable opportunity for humor thanks to the fish-out-of-water element and I laughed at nearly every joke the writers threw at me. The romantic relationship between Steve Trevor and Diana felt fully fleshed out and strayed away from feeling unbalanced, which was something I feared. Steve probably saves Diana as many times as she rescues him so while Diana's clearly more capable than Steve thanks to her power-set, she learns a thing or two from him on her expedition.

Wonder Woman does admittedly run into a little trouble in its third act with a chaotic, needlessly elaborate final fight. The film's villains also feel slightly underdeveloped with vague motivations, which weren't exactly convincing to begin with. The third act CG isn't the greatest when compared to the remainder of the flick, but it worked for everything Jenkins was striving to achieve. Outside of those minuscule nitpicks, Wonder Woman doesn't encounter too many other issues and easily outweighs those cons.

The cast assembled for the Amazonian's first feature film is one to behold and they step up to the legacy the comics set before them. When Gal Gadot was first cast as Wonder Woman, fans were quite contentious about whether she was the right choice for the role considering she was almost entirely known for modeling at the time. Even after a scene-stealing appearance in Batman v Superman, no one really quite had a grasp of the character since her powers and characterization were left a mystery. Thankfully, Gadot walks a fine line as Wonder Woman and proved up to the task of meeting the physical demands of the role as well. Gal Gadot imbues Diana with compassion, strength, and virtue making her the ideal female role-model and exemplary incarnation of the female icon.

Chris Pine brings charisma aplenty to Steve Trevor as an endearing action hero and likable love interest opposite Gadot. Pine and Gadot exhibit an interesting and sincere dynamic, unlike most comic book couples as the two share an undeniably unique chemistry. Lucy Davis also tags along as sociable supporting player Etta Candy, showcasing some solid comedic chops along the way.

Connie Nielsen and Robin Wright play the predominant Amazonians as the lionhearted General Antiope and confident Queen Hippolyta. Both actresses serve as influential up-bringers and memorable maternal figures for Diana, demonstrating courage and kindness in the best ways imaginable.

Ewen Bremner's anxious sniper Charlie, Saïd Taghmaoui's ladies man Sameer, and Eugene Brave Rock's soft-spoken Chief each added delightful personas to Trevor's squad and stood out as captivating supporting players among the larger ensemble. Elsewhere Danny Huston, Elena Anaya, and David Thewlis adequately act the archetypes of the hardened General Erich Ludendorff, tortured Doctor Poison, and inscrutable Sir Patrick. In regards to references, there aren't too many easter eggs that I noticed aside from the obvious origin story beats and there's no post credits scene, but do look forward to a new DC logo opening up the proceedings. There's absolutely no question about it, you should definitely check out Wonder Woman this weekend! I know I'll be seeing it a few more times!

Turns out Wonder Woman had more in her arsenal than I suspected with dedicated direction, vibrant visuals, astonishing action, powerful performances, and charming characters. She didn't even need to use her Lasso of Truth to coerce me into acclaiming Wonder Woman as the greatest DCEU entry to date, the foremost female lead comic-book movie, and the best DC film I've seen since The Dark Knight! 

Film Assessment: A-