Starring: Harrison Ford, Ryan Gosling, Ana de Armas
Director: Denis Villeneuve
Screenplay: Hampton Fancher, Michael Green
Mystery/Sci-Fi/Thriller, Rated: R
Running Time: 164 minutes
Release Date: October 6, 2017
Scott, it’s time to run, don’t walk to the theater and see Blade Runner: 2049.
This blade is sharp indeed. Let’s recap.
It’s the year 2049 and we’re introduced to ‘K’ (Ryan Gosling). He’s an android developed specifically for the purpose of hunting down and killing renegade androids. His boss Lt. Joshi (Robin Wright) is very concerned because K has just killed an android that left behind a strange box. When K opens it he finds the bony remains of a female android that appears to have had a caesarian section implying that the unthinkable has happened – an android has reproduced.
K is ordered by Joshi to find the replicant offspring and “retire” it. The deceased female replicant is identified as ‘Rachel’, and K discovers that she had a relationship with a former blade runner. Meanwhile, the head of the company that manufactures replicants, Wallace (Jared Leto) sends his henchwoman Luv (Sylvia Hoeks) to steal Rachel’s remains and to find the child.
Scott, Blade Runner 2049 is a great sequel to the original 1982 film. LIke its predecessor, 2049 is a bit ponderous – director Denis Villeneuve really takes his time setting up and executing each scene. And the scenes are constructed with great care and deliberation – which is to say that they are very detailed. The story is also told with great care and deliberation. It’s basically a mystery with clues left along the way as well as red herrings.
The movie clocks in at 2 hours and 45 minutes – which is long by almost any standard. I thought there were several places where scenes could have been more economical. We see a lot of shots of K deep in thought (which Gosling is known for). This feels more like a director’s cut than a theatrical release. The special effects were very good and at times it felt like the director was offering pornagraphic material – not so much because of nude bodies, but because he lingered so long on the effect.
I was also disappointed in the lack of scenes with Harrison Ford (Deckard, from the original) as he is featured prominently in the trailers (and listed as a costar).
Greg, we’re in agreement about this film’s excellence. Blade Runner 2049 is a masterfully constructed sci-fi flick that sets a very high bar for future work in this genre. Director Villeneuve makes exquisite use of space – I’m referring to the space between people, between objects, between buildings, etc. There’s also deft use of lighting and shadowing, along with creative camera angles that accentuate tension and emotional impact within a character. The craftsmanship here should earn Villeneuve an Oscar nomination, at the very least.
Yes, the movie strained my bladder, and I’d like to start a petition requiring movies to run no longer than two hours. If you can’t tell a story in 120 minutes, then you aren’t a good storyteller. Movie directors seem to fall in love with their work and can’t bear to leave a frame of their precious film on the cutting room floor. It would have been nice indeed to see more of Harrison Ford, but he appears to have reached the stage of his career when he plays more supporting roles than lead roles. Personally I believe he can still carry a movie on his geezerly shoulders, but Villeneuve doesn’t give him the chance here.
K as the hero of the film is worth following. Unlike his predecessor, Deckard, K is outed in the opening scroll as a replicant (android). It’s interesting to see this character treated as a slave and at the same time contemplate his own existence. We’re witness to K’s gradual realization that he is “the one” (a replicant born of a female replicant). Then the sudden revelation that he is not the one. It’s jarring both for the character and the audience.
You’ve identified perhaps the most fascinating element of the hero’s journey here, Greg. While all hero’s journeys are a search for identity, this film is daring in depicting an identity dead-end for our hero K. Believing for a while that he was “the chosen one”, he is instead left absorbing the reality of his ordinariness. This film is strong enough to get away with an identity realization that defies heroic convention. I could be cynical here by pointing out that this anti-revelation merely paves the way to yet another sequel, but I’d say there’s more going on here. The “treasure we seek,” in the words of Joseph Campbell, is rarely the treasure that we think we’re seeking. This film was so long that the treasure I sought was the nearest urinal.
There is no transformation for the world in which K lives. However, we do see K transform from a lost slave performing the duties he told to execute, into a self-aware and self-actualized individual. He makes decisions for himself and makes his own destiny. It’s not clear if he survives the film, although it doesn’t look good for him. And Deckard appears to have gone from just existing in his wasteland to caring about what happens to his offspring. It’s true that these transformations appear to be setting us up for a sequel, but it’s a sequel I’m looking forward to.
Blade Runner 2049 ranks among the best science fiction films of the past several years. This is true movie-making, a film crafted with careful attention to every frame, every camera angle, and every line of dialogue. The story also makes the bold move of defying an iconic convention of hero storytelling, namely, the illumination of the hero’s special identity. We thus see how skillful storytellers know how to break the rules. I award Blade Runner: 2049 a glowing rating of 4 Reels out of 5.
Ryan Gosling is cast perfectly in the role of K. a dutiful replicant who goes rogue in response to surprising revelations about his possible new identity. His hero’s journey contains the classic elements from Joseph Campbell’s monomyth of the hero — a departure to a startling new world followed by an initiation of trials, villains, detours, and discovery. This film gifts us with a terrific hero tale worthy of 4 Hero points out of 5.
Greg, you’re right about K’s transformation from a brutal slave enlisted simply to “retire” outdated replicants to an enlightened and empowered near-human being. In our Reel Heroes & Villains book, we describe five types of transformations: moral, mental, emotional, spiritual, and physical. In this film, K undergoes a mental transformation, as his entire worldview is turned upside-down. K’s growth is this film is fascinating to watch and it earns him 4 transformative Deltas out of 5.
Scott, I couldn’t agree more. Despite the long running time and rather slow delivery, this is a film worth both waiting for and wading through. It’s artful, entertaining, and is every bit as good as the original. I can’t see how to improve it — 5 out of 5 Reels.
K’s journey from obedient slave to rising acolyte, to fallen hero is a great hero’s journey. It’s a heroic transformation that we don’t get to see often. And it was so skillfully delivered that I have to give a full 5 Heroes and 5 Deltas. Excellent.