The long awaited sequel to Ridley Scott’s 1982 sleeper hit “Blade Runner” is beautiful to look at and offers a ranging plot line but ultimately disappoints by the time the end credits run. Directed this time around by Denis Villeneuve (Prisoners, Sicario, Arrival) Blade Runner 2049 has the same dogmatic and plodding feel that the original film featured but with a lot more scope and, for lack of a better word, space.
While the first film relied much more on the excellent Phillip K. Dick book “Do Androids Dream of Electric Sheep” and a splendid cast that included Rutger Hauer as the lead replicant and a very young Daryl Hannah, this iteration moved forward in the verse to give us a different kind of “runner.”
K (Ryan Gosling) is a Blade Runner who is not human, he is a “new” replicant. As he starts chasing down the remaining old replicants he finds a mysterious box after killing Dave Bautista’s Sapper Morgan. Inside the receptacle rests the bones of Rachel and evidence of childbirth.
The film then follows K (or Joe as Joi – played with an aching poignancy by Ana de Armas – the computerized companion calls him) as he tries to find out who the child is. At one point we believe, as he does, that Decker (Harrison Ford) is his father, but later we learn more about this curious triangle.
The performances in Blade Runner 2049 are top notch, with only Jared Leto letting the side down a bit with his take on Wallace. De Armas manages to practically steal every scene she is in and it is nigh on impossible not to fall in love with this brilliant actress as she brings Joi to life.
Rutger Hauer may be missing from this tale but the Dutch are ably represented by the marvelous Sylvia Hoeks who manages to make her character suitably scary in all the right places. Villeneuve does a good job recreating the verse that Scott initially brought to the screen but the film is over-long. Two hours and 43 minutes is a long time to sit and the slow pacing of the movie made this seem much longer at times.
Like the first film the progress of the plot and story line plods along at a frustratingly pedestrian rate. Too much time is spent questioning something that the audience, if they have been paying attention, will have guessed midway through the film.
Despite the film generating a overall feeling of mild disappointment, there are enough nods and winks to the original to keep fans interested and pleased. The origami sheep (made by Gaff – a clear nod to the Philip K. Dick book), the clear raincoat worn by Joi, the atmosphere of L.A. and the re-emergence of Rachel (Sean Young appearing in a clip and later as a CG creation that just was weird looking as the CG replication of the late Peter Cushing in Rogue One.
Blade Runner 2049 looks beautiful and feels like a logical carry on from the first. However, like Rutger Hauer has stated, the first film was almost sheer perfection. Any sequel, despite the love and care that went into it, was bound to fall short, as this does.
This is a film that needs to be seen. It encompasses so much, while still falling that little bit short, that one must see it in the cinema to appreciate the sheer grandness of the world it presents. The sets, the costumes, the performances and the cinematography combine beautifully to take us into this gloomy downtrodden world.
The film manages to bring us into its tale of a miracle amidst so much decay and loneliness (which, ultimately, this sequel is all about) with a lot of care to detail and stunning visuals. Mild disappointment aside, Blade Runner 2049 is still one to watch on the big screen.
There is violence, not much in the way of nudity and very little foul language. While not as originally pleasing as Scott’s 1982 version, the film earns 4.5 stars in presentation alone. Similar to this year’s version of the Stephen King horror re-imagining “It” Blade Runner 2049 will deliver a potent punch for fans, while still managing to disappoint overall.