Masterpiece

Rating: 9/10 (5 October 2017)

Denis Villeneuve's Blade Runner 2049 is a natural progression from the original film in terms of tone, themes and narrative. It deepens and expands on the original's narrative template to dizzying levels and in my book this is a much better film. From the opening establishing shots coupled with Hans Zimmer's intimidating score, I was awash in a bubble of déjà vu and 35 years whizzed by just like that (snap).
There are many ways to tell a Blade Runner story – it could have gone by way of a regurgitation of the same old ideas or simply a re-boot, maxing out all the elements that made the original an enduring classic, but Blade Runner 2049 organically furthers narrative elements in the original to a deeper and philosophical place, making one contemplate over the theme of what makes a human being a human being.
Like the original, there is a Neo noir element tied to the proceedings, and Ryan Gosling takes over where Harrison Ford left off. Gosling's deadpan expression is inscrutable, but behind the facade lies vulnerability. Some of the best scenes involved him and his virtual girlfriend Joi (Ana de Armas oh la la). Watch out for a sex scene involving a surrogate that betters the one in Her (2013). It is at once scintillating and tender, but also profoundly sad.
Harrison Ford returns in his original role and right now at his age he plays it marvellously, grumpy and tired, as it should be. His return doesn't feel like sentimental fan service and is woven neatly into the compelling narrative. Unlike, A Force Awakens, Ford does put in a shift.
Narratively, Villeneuve doesn't pander or pays homage readily, meticulously forging his own mythology. Does Villeneuve even know how to make a bad movie? Characters speak little and mistrust in relationships is the glue that binds. The story feels opaque, filled with enigmas. The world is as bleak as the one 30 years ago, but updated to show a deeper sense of social disconnect. The CGI is outstanding – for nearly 3 hours, I was transported to a world that feels "it could happen". Cityscapes and landscapes, I have never seen before in all the countless sci-fi movies I have seen. The cinematography by Roger Deakins is breathtaking – please tell me this is his finally his year.
The near 3-hour runtime does offer pacing problems, but I find it so easy to luxuriate in this emotionless dystopian world and look for fleeting instances of hope and glimpses of humanity. If there's another weakness, it is in the villainy of Niander Wallace's character, played by Jared Leto. He just isn't bad ass enough, but thankfully there's his bodyguard Luv (Sylvia Hoeks) who kicks ass.
This is easily one of the year's best films. It aims for the sky and lands up in outer space, way beyond my wildest dreams. This needs to be experienced in IMAX and I don't even use the word "seen".