This is perhaps the best example of cinema continue in my memory.
Because I have actually never seen the second film so lovingly and carefully adapted the concept and language of the original for a modern audience and modern realities.
Throughout the duration of the tape in considerable 163 minutes you will be dipping in a completely authentic style of “blade Runner” in 1982, only deeper, stronger, bigger and better than ever. Endless nods to the first film, subtle references through the costumes, the technical component, the overall ambiance and atmosphere.
For almost 2 hours 43 minutes you will be dipping in the visual perfection that offhand is not even something to compare on the highest level of quality, complemented by musical composition, virtuoso Hans Zimmer, which, incidentally, also respectful and cleverly reacted to the original Vangelis, fantasizing on the subject of audio of the same movie in 1982 so skillfully that to the final credits, I was sure that this again Vangelis.
Visually and musically this film is so good that overshadows almost everything I could think of in this genre. Indescribably beautiful and skillfully worked and cinematographer, and production designer, and composer.
Unfortunately, the plot so to say. The plot of this film is secondary, despite a couple of more or less unexpected twists (especially the finale), the essence of the main idea takes a hold surprisingly quickly, almost immediately and after some time, you know, that does not follow what exactly happens on the screen, and just enjoy HOW it looks. A bit strained, the elements of soap Opera in the vein of “I’m-your-mother-you-my-daughter-hug?”, and that, roughly speaking, the whole plot and almost all throwing the protagonists fixated on a single child, which depends on well, literally everything.
Acting is good, but, for example, Harrison, and Jared and Robin was unforgivable enough, Ryan Gosling is good, especially in situations of awareness and self-acceptance in this world (first one, then another, and then in the third, the hard way), but was he acting and stronger.
Due to the fact that many characters are written broadly, one-dimensional, they do not achieve or empathy or even dislike. For example, the main aggressive Virago or the already mentioned Jared Leto, whose role is either cut (in the three-hour duration? Seriously?), or really made it… only this? Without halftones? Sorry. Against this background, a bit of cardboard drama of the most emotional and haunting scene was, oddly enough, where poor Joey called Joe hooker, because she could not give him such closeness. Goosebumps, seriously. This is despite the fact that the script had plenty of pathetic moments, is aimed to touch the viewer.
Bitter topical theme of loneliness and emotional isolation of each is perhaps the strongest part of the semantic message of the film. The greatest achievement a Director can be considered the fact that Joey empathize along with all the other characters, but she’s… Well… not quite like it.
In General, it appears that we are amazing in its beauty visual and musical perfection with an emptiness inside, like a Christmas ball. But it is so incomparable that its beauty outshines all the flaws.
Danny Villeneuve took the unique movie is not for everyone (Yes, I have a mid-session too, people left, like many), which, anyway, is doomed to become a modern classic.
8 out of 10
P. S. do Not, please, a sequel. Leave this universe now at the highest note