As a small, me every year sent for the summer to the cottage. Proslavil three months between the trees, cows and thump of the neighbors, I returned to Moscow and the first days everything seemed somehow new, and at the same time familiar. “Blade runner 2049” should cause Ridley Scott, who of course acted as producer here, similar feelings, the only difference is that instead of three months “vacation” lasted 35 years.
In the 82nd year Scott managed to not just shoot a cool sci-Fi cyberpunk inside locations, and to tell the story of the imperfections of people. Then the Replicants were “teachers” for the human race, refusing to understand that they are really special. In 2017, Denis Villeneuve also took the opportunity to raise a serious question of the family. These twists and turns, which are impossible to say without spoilers, give the story more weight. The gradual transformation of the detective story in the family drama makes the film more personal and indicates that Villeneuve knew where it is, what relieves and what a burden lies on his shoulders.
Of course, it turned out much easier than Scott’s, but it’s not a bad thing. After all, this is the second film of the universe, and it was something to dance to, unlike the original paintings. The viewer already had an idea about the world “Running”, the so-called Foundation. And thus all further events in the film are perceived easier. Villeneuve feels very original. It is possible that the effect of that on the script worked HAMPTON Panera, had a hand in the original 82-year, but rather it’s all in the approach. Here is the chase not for the spectacular scenes, and the viewer’s attention. Almost every 10 minutes as though taking us by the shoulders and carefully begins to shake, reviving interest in what is happening.
Of course, the setting of futuristic Los Angeles has incredible buildings, beautiful digital boards and dancing in the street the figures, the size of a nine-house. Roger Dikins was able to capture this moment, and for the glory to savor almost every location of the film, with fierce panoramic frames. It’s like he’s touching the camera each element of the decor, starting from boiling kontroli, and ending in a leather armchair, standing on an island surrounded by water. Due to driving around all sides of the camera, often chasing the hero of Gosling, presence is enhanced. Memorable work for which the operator just have to get your Oscar next year, but the picture itself is created for the IMAX format, despite the fact that the film converted to 3D.
Mention of the camera following the Gosling heels, here not just. In fact, this is all that is remembered is his hero. In terms of the characters, Villeneuve, why it went in a paradoxical way, giving the best image of Ford, which is like a glove. The screen time of the villain of the Messiah Jared Leto there is also negligible, as in the “suicide Squad”. Because of this, his character is perceived as furniture, and if not for a short film, dedicated to him, things would be much worse. De Armas is crazy beautiful, Batista only the catalyst for what is happening, and a trio of ladies in the background Wright/hooks/Davis delight with their presence in the blockbuster, especially Davis that it’s time to write the first big Studio project. Gosling here is unremarkable, just walking around, trading the loftiness and showing off her coat. But Ford, kamberovica this Replicants environment where you lost your stylish cloak, which sported in the original film, but suddenly acquired a wide range of emotions, where there is a place and emotions, and heartache, fear, and sincere joy.
It is possible that in the next year “Fleeing” will dominate the “technical area” of the Oscar: the sound that makes the chair in the room to vibrate, the special effects, the climax of which is almost perfect CGI version of someone (in other words not to write, sorry), smooth installation, thanks to which there is no feeling of confusion, even during the darkest movie scenes. In all of this is visible pedantic approach to the process, when every detail counts, even the most trivial scenes do not mind doubles.
So tender, I would even say affectionate, handling the legacy of Blade Runner and makes it exemplary sequel, which at the time was the fourth Mad Max. This it’s alright to learn from contemporary leaders seeking to launch their projects. But “blade Runner” is another plus, indirectly related to the quality of the film itself. Let me explain.
Most viewers have long lost hope to find something cinematic in a big Studio blockbuster. But in addition to the fault of the creators, led by ringing gold coins, there are wine spectator. You know, we’re looking for the cinematic in the wrong place. Every movie is not one person working on it. Sotovik holding the lamp at the desired inclination, the operator wearing the camera like a baby, the assistant, always ready to file a Cup of coffee or a glass of whiskey, the actors, who are headache back the joy and fun. But most of us have to face a hack made in haste. That is why the sequel to the film 35 years ago, made so qualitatively, without any arrogance, striking more than usual. And I guess this one is hidden a piece of art the attention and understanding that’s what distinguishes the film Villeneuve, from other major releases this year, and that will turn into pleasant memories, which will definitely be ours, not someone else’s.
10 out of 10