This truly is a remarkable artistic achievement. If there's any justice at all, he should win on his 14th attempt with this. This visual genius has been nominated for an Oscar 13 times and he's lost every time. There's not a single frame wasted as Deakins delivers one of the most beautiful pieces of work ever committed to the screen. His deliberate pace will ostracise many viewers but it's entirely in keeping with the films meditative themes and allows cinematographer Roger Deakins the luxury of immersing us in this dystopian, retro-future with an abundance of gorgeous imagery. There are many subtle references to the original throughout the entirety of the film but Villenueve is clever enough to make this film his own without succumbing to a pastiche. From here on, it's clear that we're back on Blade Runner territory and I'd be lying if I didn't say it felt good. Within seconds he goes on to depict an expansive, genetic farming land that's as desolate as it foreboding and already the opening "Hades Landscape" of the original springs to mind as Hans Zimmer creatively riffs on the iconic Vangelis score and manages that fine balance of reminiscence and originality. Villenueve's decision to open on a close-up shot of an iris is an obvious choice - with perhaps the only thing missing being a referential wink to the audience. His vision of Blade Runner both expands upon its predecessor while also complimenting it's narrative depth and ethereal beauty. As is always the case, however, the proof is in the end result and I couldn't be more happy that Villenueve has been vindicated. Villenueve took the task on simply because he thought he could do a serviceable job while fans of the original (myself included) had strong reservations about a sequel even happening in the first place. To take on the unenviable task of delivering a sequel to the 1982 Ridley Scott classic, Blade Runner, shows real, self-assured confidence. When K unearths a secret that has the catastrophic potential to plunge whats left of society into chaos, he has to find Deckard to get answers to what actually happened after he disappeared.Ī lot of credit must be given to director Denis Villenueve for taking on one of the biggest gambles in filmmaking history. Plot: Former blade runner, Rick Deckard (Harrison Ford) has been missing for thirty years and now LAPD Officer K (Ryan Gosling), has taken over the role of "retiring" replicants that don't conform to society. Going even further back than that, Denis Villenueve revisits Blade Runner after a 35 year hiatus and relieves my nervous disposition with the impressive completion of a 2017 hat-trick. They weren't just money-spinning exercises but revisits to much loved cult classics that were intent on exploring their characters in a whole new depth: 20 years after the drug-addled exploits of Trainspotting, Danny Boyle brought a satisfying maturity to T2 while, 25 years later, David Lynch revisited the quaint logging town of Twin Peaks with The Return - a deeply surreal 18 episodes that has reinvented the way that television can be viewed. But 2017 took the sequel to a whole new level. Like Ridley Scott's film before it, it has proven to be a box-office failure and despite the desire to provide sequels, the masses simply weren't interested in this one.
The rise of the superhero blockbuster has played a huge part in this and, as result, the creative and artistic nature of Blade Runner 2049 has become a casualty. We now find ourselves in an age where the filmmaking craft is so preoccupied with making money that it hinders the art form itself and saturates the market with crowd-pleasing dross.
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