A rare sequel that betters its predecessor, Blade Runner 2049 is a visually stunning and emotionally rich exploration into the eternal questions that plague creation and creator.
Since inception, mankind has struggled with the question of its existence and the worth of such a state. One would imagine an artificial intelligence need not grapple with such questions. It would know its existence is at the hands of a creator. Its purpose, programmed into its being. Its worth, whether the price on the marketplace.
But what if an artificial intelligence could feel, could dream, could aspire beyond its mechanisms? If it has a “soul”? That was the concept of Blade Runner, the 1982 sci-fi classic directed by Ridley Scott, an adaptation of Philp K. Dick’s novel “Do Androids Dream of Electric Sheep?”. Although three different cuts of the film exist, a constant in them all is the villain character Roy Blatty (Rutger Hauer), an artificial intelligence known as a “replicant” who, despite his violent leanings, learns what it is to have a soul. What it is to be truly “alive.”
These questions, both introspective and existential, once again play a large role in Blade Runner 2049, directed by French-Canadian Denis Villeneuve (Arrival), who takes Ridley Scott’s visually rich template and enhances it for a new era. Its story follows a “blade runner” (a cop who hunts down replicants) named K (Ryan Gosling), who is ordered to investigate a monumental discovery that can change the very fabric of society.
To say anymore would spoil a beautifully written script, filled with twists, turns, an intelligent mind and a haunting soul. Written by Hampton Fancher and Michael Green, the film features plenty of notorious sci-fi drama to feast on while dazzled by the character driven nourish mystery that is meticulously paced by editor Joe Walker (Sicario). For all of the kudos that Blade Runner received over the years, the film still remains a cold fish in tits emotional stakes (something which its concurrent director cuts tried to fix). Villeneuve does not have that struggle. Since his foray into American features that began with 2013’s Prisoners, Villeneuve has proven to be a filmmaker able to provide depth to genre, delivering “thinking man” movies no matter the setting, be it a crime thriller in midland America, or a film-noir in a dystopian future.
Ryan Gosling delivers a terrific internal performance in his portrayal as a detective falling further down a rabbit-hole with every new revelation. Great to is Ana de Amas as a love interest of unique persuasion, providing a fragility and sensuality that is heartbreaking and mesmerising at the same time. Then there is Harrison Ford, reprising his iconic role of original blade runner Rick Deckard, with a world weariness and soul-crushing weight that embodies his frame. Although his role is much smaller than expected, there is no denying that Ford’s Deckard is the soul of the Blade Runner universe, the link between two worlds synched together between the frailest of connections.
The advancement of many filmmaking technologies has resulted in varying degrees of “world building” in genre films. Blade Runner 2049 has situated itself as one of the best examples to do so. The production design by Dennis Gassner, the visual effects from the wizards at Double Negative, and the incredible photography from the legendary Roger Deakins, all combine to create a breath taking, awe inspiring spectacle.
Yet for all the visual splendour, in the end it is the humanity, the depth, and the characters of this engrossing sci-fi spectacle that makes the biggest impression, proving that there is definitely a soul in this new machine.
