That rarest of beasts - a superior sequel

Rating: 9/10 (23 October 2017)

Ridley Scott's 'Blade Runner' is a much beloved cult classic that I've never particularly warmed to. I have embarked upon many rewatches over the years in the hopes of finally 'getting it', but its plodding pace and dreary characters always defy my desire to positively reassess it. Yes, it is a beautiful looking film with rich themes and ideas, and an intensely rendered climax, but it all rings rather hollow as a viewing experience. 'Blade Runner' clearly suffered from a string of production problems and on-set tensions, so much so the director never quite felt he got it right and continued to tinker with it years after its release. As a non-Blade Runner enthusiast, I approached its sequel with zero expectations and found that it far surpasses the muddled ambitions and achievements of the original.
Director Denis Villeneuve architects some of the most visually stunning images I have seen from a director currently working today and absolutely equals the beauty of Scott's original. From his rich compositions of the dystopian vistas to his blocking and framing of individual scenes between his actors, every shot is like a living and breathing painting. The fully realised imagery is hypnotic in its gaze and tactile in its design, while any traces of the surely Oscar- worthy VFX get lost in the haze of Roger Deakins' exquisite cinematography. This is pure cinematic spectacle that needs to be seen on the biggest screen possible with the best sound system available to do justice to the incredible sound design and Vangelis- inspired score.
Of course, '2049' is not only about the kind of high brow artistry that makes film buffs blush. The material wants to be more accessible to a broader audience and, without pandering or dumbing down, allows room for some bone-cracking confrontations that make you feel every impact. The violence here hurts, much in the way Rutger Hauer's Roy Batty made it hurt for Harrison Ford's Rick Deckard last time around. With that noted, it's important to recognise that this is not a blockbuster of set-pieces. All the action is an organic extension of the story and never feels contrived, with the slight exception of the climax where the grandiose plot basically apexes with a slugfest between diametrically opposed replicants. It is well done and viscerally thrilling but feels frustratingly routine for a film that has been, until that point, anything but.
In terms of story, '2049' makes the right call in not trying to replicate the narrative beats of its former, and instead presents a new story with its own central mysteries and original characters that work on their own terms, while retaining the thematic essence of both Philip K Dick's source and its subsequent 1982 adaptation. We also get a genuine detective story this time, which requires its protagonist to engage in some actual detective work - following leads, gathering clues, figuring out what the hell is going on - and it takes its sweet time to do so without ever dragging its heels. One of the other improvements '2049' makes upon its source material is the generation of a more compelling emotional story, both in terms of Ryan Gosling's romantic sub-plot with Ana de Armas' holographic girlfriend (which provides one of the most striking and remarkable love scenes in recent memory) and the haunting echoes of Ford's bygone relationship with Sean Young's replicant Rachel.
Another element that just clicks is the casting. Gosling uses the quiet steely charisma he demonstrated in 'Drive' and imbues his protagonist with an intensity and laser focus that has just the right hints of humanity and existential angst so that we buy him as both a compliant replicant who hunts his own kind and as an android on the verge of emotional and metaphysical revelation. As for the original Blade Runner himself, craggy old Ford, it is a pleasure to see him acting like he actually cares about his material again. He delivers one of his most nuanced and layered performances in years and shows a range and depth that his 1982 performance lacked almost entirely. Maybe it's because he actually wanted to be there this time. Although I would seriously question Ford getting second billing after Gosling, considering 75% of the film takes place in his absence. When he does finally pop up it is (thankfully) not just in some glorified cameo appearance but as a key player in the story's denouement and ending.
There is so much to admire about 'Blade Runner 2049' and on so many levels - epic in its scope; underscored by a thoughtful, intelligent script, which is told in a steady and methodical way; and brought to life with breathtaking beauty. Perhaps the most impressive thing about '2049' is that it exists at all. I have no qualms about saying that it is one of the best sequels ever made.