Three hours after we went into the theater, we emerged dazed and questioning.
Movie Review: “Blade Runner 2049,” Directed by Denis Villeneuve, 163 minutes
The last hour, or so it seemed, was the credits. The more the graphics arts in a movie, the longer the movie credits. My movie buddy always sits through to the final frame, because she wants to know if it was union-made or not. This one had three union logos at the end: Sag-Aftra, Teamsters, and IATSE.
Frankly, I loved every minute of it and would still be sitting there if it had gone on, but I suspect that this movie, like the 1982 Blade Runner, will undergo some cutting and re-cutting before they’re done. The original was one of the greatest accomplishments in movie sci-fi of all time. That’s not because of the incredible graphics. I suppose the incredible graphics award will go to one of those Transformer movies. It’s the way that all the elements of the movie, including music, backgrounds, special effects, acting, stunts — all of it — come together to produce a moody symphony.
Like the first movie, this one is basically a hard-boiled detective story set in a horrible future world dominated by corporations whose greed has left the planet barely inhabitable. Near-human android slaves (replicants) have all the jobs. There is no happiness in either group. There’s no sunshine anywhere at all. It’s as grim as if the Trump Administration had lasted until 2049.
I may have to see the film again, because I caught a number of tributes to other movies and other art forms, and there were probably a lot that I didn’t catch. And like all good sci-fi, there were some really great philosophical and moral questions raised by the replicant-killing Blade Runner, the not-so-bad replicants that he didn’t kill, the evil replicants that he did, and the even-more-evil corporation at the root of it all.