In Blade Runner 2049, what could be the runtime of a whole other movie passes before original lead Rick Deckard (Harrison Ford) comes into the story. Replicant blade runner K (Ryan Gosling) explores a petrified Las Vegas, and there Ford is, hanging out with his loyal dog just as in another 30+-years-on sequel. This isn’t a delaying tactic; 2049 doesn’t actually require knowledge of the original film to stand. There are callbacks and reprised characters, but the world created here is independently arresting. Denis Villeneuve’s direction, Roger Deakins’ cinematography, and Dennis Gassner’s production design make for a visually mesmeric movie. The leisurely but loaded pace gives time to appreciate the sheer craftsmanship on display. This is art installation as dystopian mystery film.
After a widespread technological “Blackout” is mitigated by the innovations of industrialist Niander Wallace (Jared Leto), newer replicant (read: android) models made by Wallace are designed to have less free will than older models. Obedient newer replicant K (Gosling) is a blade runner, ordered by his superiors to retire (read: kill) older models. But after evidence is found of a paradigm-shifting miracle in the form of biological replicant reproduction, what it means to be human is challenged.
For such a designed movie, 2049 gets a lot of mileage from the careful application of character. There are likable or at least engaging personalities even in this miserable and hazy future. Leading “man” K is ironically one of the least interesting, a bit of a cipher. His holographic girlfriend Joi, on the other hand, benefits from terrific pathos and a warm movie star performance from Ana de Armas. A standout scene finds Joi initiating “surrogate sex” with K, which takes a similar sequence from Spike Jonze’s her to a new level. As a hologram, Joi represents a science fiction construct and a vehicle to question consciousness, sentience, and the like, but it’s never done schematically. It’s all filtered through sympathy for this being. Similarly, K and Ana Stelline (Carla Juri) share a scene that’s essentially worldbuilding exposition, but it’s performed and written as tenderly human.
My favorite character has got to be Luv (Sylvia Hoeks), Wallace’s replicant enforcer/secretary. A weird, terrifying, sympathetic terminator, she’s exquisitely and precisely performed by Hoeks. Luv is a magnetic villain, murdering another character in an amazing moment of emotional brutality. The only strike against her is her association with boss Niander Wallace. A part written for David Bowie, Wallace is instead brought to life in an airless performance by Jared Leto. Leto has exactly one great line reading (“You do not know what pain is yet. You will learn.”). The rest of the character is space-case bullshit.
Apart from creepy CEOs, there are a lot of great supporting bits. Lennie James is bleakly funny, Robin Wright is a good hard-boiled presence (if quite mannered), Dave Bautista is nicely world-weary, the aforementioned Juri quietly impresses, and Edward James Olmos gets a cool cameo connecting to the first movie. Also returning, of course, is Harrison Ford as Deckard. (It’s quite the parlor trick, keeping Deckard’s status as either human or replicant ambiguous even at movie’s end.) Ford brings the emotion and intensity, but in no way does it feel like he’s playing the same character he did in the original Blade Runner. This is no reflection on Ford; there’s just nothing there in the original characterization.
The visuals are constantly gobsmacking, beautiful in their own smoggy way. Over and over, new flourishes get a reaction, whether it’s the vertiginous cityscape, the crazy shadows in Wallace’s pyramid, or the endless protein farms enveloping California’s fields. Benjamin Wallfisch and Hans Zimmer’s score is striking, taking its synth-heavy cues from Vangelis’ original soundscape. The action cue “Sea Wall” is particularly pointed, as well as the poignant re-use of Vangelis’ “Tears in the Rain”, for another replicant’s soft expiration. However, the music is too high in the sometimes-smothering mix. What’s with the Oscar nomination for Sound Mixing?
Something the film isn’t getting any awards for is gender optics. The urban landscapes are strewn with projections and statues of naked women (slight shades of The NeverEnding Story), so clearly, this type of exploitation continues and evolves in 2049. You can see the thought process here; this is a dystopia, depiction ≠ endorsement, etc. But when replicants are your world’s second-class citizens, you don’t need another layer of that, and in fact, it only muddles the thematic point you’re making. If you still want the attack of the 50-foot women, fine – just have some artfully nude male holograms too. (And not to mention, one of Wallace’s scenes features a loaded moment that goes pretty darn far.)
My second viewing of Blade Runner 2049 has raised the film in my estimation. Like Avengers: Infinity War, there’s something to the idea of rewatching two-and-a-half hour movies on home video. 2049 is visually stunning with an (almost entirely) excellent cast. It also compares favorably to its legendary predecessor, with this late-coming follow-up more Children of Men than 2001: A Space Odyssey. 2049 is deliberately paced, which superficially might suggest iciness, but the film has a warm humanistic core fighting for heartbeats. Replicants do not have hearts, per se, but Blade Runner 2049 makes you wonder. A weak 9/10.