The plot of the film flows smoothly from one scene to another and rarely switches to active actions. All this creates a dense and viscous atmosphere in which the viewer is immersed slowly, as if in quicksand. A certain romanticism in this, of course, is present, but the finale of a three hour film, this approach begins to tire. For very even pleasant to watch, because we have here a strict adherence to the precepts of cyberpunk future, a huge Corporation, like flying cars, dirty streets of the poverty-stricken population and ubiquitous robots and artificial intelligence. Traditional questions like who is more humane the people themselves or the androids, what it’s like to play God emerge regularly and a clear answer to these questions is no, which is good news. By the middle of the film, the script clearly draws the line of conduct and lead the viewer to an interesting conclusion associated with the identity of the main character. Watch the transformation of agent Kay in the performance of Ryan Gosling is one of the main advantages of the film. The story ends in an unexpected way thanks to the clever manipulation of the viewer. The writers purposely put things in focus on the main character to distract from the true implications of what is happening, so the emotional power of the finale will be the stronger, the more the audience will give in to this distraction.
Denis Villeneuve (“Prisoners”, “Arrival”) remains true to himself and repeatedly removes tough film with long camera angles and close-UPS of the characters. But this time, the story served a monolithic layer smooth do not jump in time or space. We follow the hero on his heels and literally see how it changes his attitude. More noteworthy is the presentation of the material in which it simple way prepares the viewer to an “unexpected” revelation. The trouble is just that he does it very clumsy and too obvious. That’s why, when the finale the writers roll out the trump card, the viewer just shrugs. Ridley Scott 35 years ago, gave food for thought, which needed to chew and to form their own theory of the events. Denis Villeneuve this possibility doesn’t he chew the facts, puts them in his mouth and forces the viewer to swallow. Moreover he managed to screw up the main intrigue of the original and plain text reveals the identity of Deckard.
Ryan Gosling (“La La land”, “the place beyond the pines”) played the main character agent Kay, and we can safely say that this is one of his best works. The image of a languid maloemotsionalny character, wrapped in a cloak with a high collar and experiencing a strange sense of attachment to the hologram turned out to be extremely expressive. Fortunately, during the events of the film, we see what is happening with him changes and can fully relate to the hero.
Unexpectedly wonderful happened the way joy performed by Ana de Armas (“Black Lagoon, “Guys with guns”). If at first it looks like a bad joke in the simulation of the hero, by the end of the story it can even be considered a full-fledged character. It is equally dependent on Kay and supports it in every way.
But the hero Jared Leto (“Mr. Nobody”, “suicide Squad”) Neander Wallace, turned out to be extremely a passing character. A few of the scenes paint him as powerful, but full of the pathos of the inventor, who simultaneously loves and hates his creation. He calls Replicants not only as angels, than stresses its godlike.
Harrison Ford (“blade Runner”, “Star wars: a New hope”) back to the role of Rick Deckard, and he did it very well. A tired look is still readable brutal blade, which has survived much, including the death of his girlfriend.
Like any other Villeneuve’s film “blade Runner 2049” many glorious panoramic long shots of landscapes. The camera slowly flies over a futuristic Los Angeles of the future and vytseplyat significant objects. It looks impressive and beautiful, and used the techniques of camera work, repeat the angles of the original “blade Runner”. But with the atmosphere happen to any disorder. Yes this is the future, Yes, there are robots that are outwardly indistinguishable from humans, Yes, there are flying cars and people are interacting with artificial intelligence more often than with their own kind. But the thin atmosphere of cyberpunk in dark colors with a purple tint disappeared somewhere. From Villeneuve to go grey and this is so frustrating. Los Angeles Denis Villeneuve is a bunch of monotonous grey boxes that occasionally lurks on the horizon, some majestic building. He does not feel alive, despite the fact that then scurry across the sky with flying cars, giant holographic screens offer to purchase the new version of virtual girl “Joey”. In street scenes strongly enough crowd and without it, the city looks lifeless, and it is frustrating. In nekotoryh scenes, like one where a giant hologram leaning towards the hero, the authors write about the existence of the color palette and paint the picture in the right tone, but they remain isolated strokes on a gray canvas.
Villeneuve rarely comes up with something of their own almost all of his movies are prefabricated soups already used ideas which he shamelessly pushes in his paintings in the hope that at least something to shoot. All his movies are stretchy and tight film, with its many borrowings, and has always been a little screenwriting school, who demolished the whole atmosphere of “smart movie”. Villeneuve parasitized on the old content and presented it in a format covered jelly. In “blade Runner 2049” he, again, deftly prey on the original movie in 1982, but this time he does not hide, and this is both good and bad. Bad, because without having seen the original many of the events will be incoherent, as well in the sense that use of the material is fed very carefully. Villeneuve seems to have found his path all he needs is to shoot the sequels he can shamelessly use old material to fill the narrative with numerous references, and all borrowings will fall in the right places.
“Blade runner 2049” is the first film Denis Villeneuve, who, finally, does not cause the question “what is this nonsense” after viewing. The film looks beautiful and full of interesting directorial discoveries, but the finale looks lengthy, though excellent acting redeems a lot, including poorly disclosed secondary characters. It’s not a masterpiece, but not a pass movie in Villeneuve always makes films with pretensions, but they are still designed for the masses and therefore he will not have the status of “cult”, which was the original. The film teetering on the brink of good-excellent, and could not decide which way to crash completely, leaving the final decision to the viewer.
8 out of 10