From the first frames of his “blade Runner 2049” impresses with his portrayal of a misty and dark world, carefully moved straight from 1982, enveloping its thick and powerful ambient soundtrack, inspires awe and reverence for the celebration of classical futurism, and then shamelessly hurting, making the disappointment worse than those that suffers the film’s protagonist is a bounty hunter of runaway Replicants Kay. The sequel to the cult science fiction under the directorial hand of canadian Villeneuve demonstrates a sophisticated creativity to build Parallels with the story of the first part, but otherwise prefers to do marking time, afraid to make the full step towards a new and interesting enough cyberpunk territories. The nature of real and artificial memories, self-actualization and socialization are capable of (self -) development and (self -) adaptation of the synthetic likeness of its Creator, the doubts of the individual in the “natural” not “artificial” origin of the “I” it’s only a niche set of ordinary clichés, variables not changing in this equation since the writing of his novel Wild. Hence, when positioned as Replicant character suddenly starts to experience doubts about their own laboratory origin, really begins to show interest in what is happening, because it seems that someone finally decided to flip a standard plot, to shift the source of internal conflict in the coordinate system of (almost) mythical humanoid of the future, but. This idea remains only as notes in the margins, but otherwise prefers action to develop in a dead-end direction, shifting global emphasis on more personal experiences and this really is a lot of losing the seemingly interesting characters suddenly become niochemnye and slipping moments of ideas about changing local world of a group of revolutionary-minded renegades, and did come to naught.
“Blade runner 2049” undeniably good in the image quality of their alternative reality appeared in the first part of the idea of colonizators distant planets continues its development on the lips of the characters in the dark canyons of the streets of Los Angeles twist is the tour of the Bolshoi theatre, and the world is increasingly slipping into hell. Action now is selected outside of the city, but the variety of locations and the work of those who drew local adverse environment serves only as illustration for numerous (about) sense-pauses that are filled with awkward silence and sad eyes Ryan Gosling. Actually, this just expresses one of the problems of the film, Villeneuve everything in it is focused around a single permanent reflective character, and other actors serve only artificial additions (including returning Deckard), which are needed in order for the protagonist to finally fell into a depression from the gloomy hopelessness of the local post-apocalyptic Khmara. Villeneuve a big fan of contemplation in the staging, and here he as usual tries to hypnotize the viewer somnambulistic movement in the scenes, but the sequel to “blade Runner” and the already massive to stretch it even more pained consisting of vacuum gaps, in which hangs the hero after his next universal disappointment.
The script is focused on the fact that Kay was in constant pain and mental anguish from the awareness of his loneliness, his passivity in decision-making, the lack of the ability to be something more than sentimental doll with pocket hologram as his girlfriend and a set of memories, putting the trap on the path to obtaining the necessary answers. Sometimes the sophistication of local irony is impressive (question: “and you thought, is that you?” and does hit backhand), but the main thread of the narrative here to isolate hard enough all too rostkoviana, some interesting thoughts are exclusively used optional (artificially created, engineered perverted architects, the person finds spiritual solace in more a surrogate than she is upgrading projection) and does not contribute to the development of actions in the global plan. Began as snogsshibatel visually futuristic detective, the film slowly spinning on the spot, not knowing what to strive for, cutting the prospective directions of development and future of the same characters (e.g. the hero Jared Leto) and in the end suddenly gaining something in common (for the most part in terms of the development of the Central image) with “the Child human” Alfonso Cuaron. It is true, in contrast to the film of Villeneuve, at least uses laid the idea, and offers to play a long staring contest with its titular hero, who, drifting in a cyber-Gothic sea of futility, like Kai from a joke can not collect the letters “A”, “O”,”P” and “F” the word “HAPPINESS”. And even sex with a disembodied beloved, synchronized with the appearance of shot at night, prostitutes are not able to bring consolation, demonstrating the lack of hope is the happiness in the world, where the angels just kill the innocent in order to earn the love of his cynical Creator.