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*** No plot spoilers*** Where do you start when talking about Blade Runner 2049 – the most hyped film of the year?
Blade Runner 2049 starts up some 20 years after the original film. It captures the visuals of the original film, moving it onwards. The plot has a series of recursive sweeps that tightly knit both films together which at times feels a little forced, a bit like the devices used to join Jeremy Renner’s Bourne Legacy to the Matt Damon canon.
The 1982 film took the neon, rain and high density living of Hong Kong in the late summer and packaged it up for a western audience. Ever since I first saw it represented a darker, but more colourful future. I felt inspired, ready to embrace the future warts and all after seeing it for the first time.
The new film is a darker greyer vision largely devoid of hope. You still see the Pan Am and Atari buildings of the first film, now joined with brands like Diageo. The police cars are now made by Peugeot. It also captures the visual language of the book, something that Scott hadn’t done in the original to the same extent. In the book, Dick (and the Dekkard character) obsess on how the depopulated world’s crumbling ephemera is rapidly becoming dust.
Visually the film dials down its influences from Hong Kong, Tokyo or Singapore and instead borrows from the crumbling industrial relics of the west and third world scrap driven scavenging from e-waste in China and Ghana to the ship breaking yards of Bangladesh. The filthy smog and snow is like a lurid tabloid exposé of northern China’s choking pollution during the winter. It paints a vision more in tune with today. Automation and technology have disrupted society, but orphans are still exploited for unskilled labour and vice is rampant.
Ryan Gosling and Harrison Ford do very capable performances. And they are supported by a great ensemble of cast members of great character actors at the top of their game. Dave Bautista, Robin Wright, Barkhad Abdi (Eye in The Sky) and David Dastmalchian (MacGyver, Antman, and The Dark Knight). The one let down is Jared Leto – who now seems to play the same character in every film since his career high point of Dallas Buyer’s Club – I suspect that this is as much a problem with casting as performance. I think he needs to be cast against type more.
For a three-hour film it still manages to hold your attention and draw you in to its universe without feeling tired. It’s also a film that forces you to think, so if you are looking for visual wallpaper for the mind a la Marvel’s Avengers series of films it won’t be for you.