Blade Runner 2049 Movie Review

1982’s Blade Runner has been reworked and remastered more in the past three decades plus than most classic albums. Along with Alien, director Ridley Scott created a one two punch of science fiction classics in a span of just three years. While the former spawned a series of sequels and offshoots, it’s not until 35 years later that a proper Blade Runner sequel has arrived.

Mr. Scott serves as executive producer because he was busy making the mediocre Alien: Covenant. So it’s Denis Villeneuve handling behind the camera duties one year after his highly rewarding alien pic Arrival. He proves himself as a natural choice to revisit this dystopian future that’s been an incredible influence on many sci-fi experiences that followed.

That influence has mostly been in its bleak look and astonishing production design. 2049, as the title tells us, takes place 30 years after what we saw in the early 1980s. Our central character is K (Ryan Gosling), a replicant who serves the LAPD like Deckard (Harrison Ford) in the original. These days, K’s kind are programmed to be more obedient and their primary function is in slave labor. K’s day job involves hunting down old school replicants. In the ultra stylish night, he invents a relationship with the gorgeous holograph Joi (Ana de Armas).

One of K’s assignments leads to a startling discovery that suggests replicants have the ability to procreate. The existence of a being of that ilk is troubling to K’s boss (Robin Wright), fearing a war will break out between humans and replicants. The revelation also intrigues Wallace (Jared Leto), the blind owner of the corporation that manufactures the product. He envisions this as a considerable financial opportunity and tasks his chief enforcer (Sylvia Hoeks) to find the now grown child.

This all eventually leads back to Deckard, with Ford completing a trifecta of revisiting signature late seventies and early eighties roles. It also involves his romantic interest Sean Young from the original. She returns in the archival footage manner. 2049 expands the Blade Runner universe and also expands the running time, clocking in nearly 45 minutes longer than part 1. In that respect, the sequel takes a bit longer to get its motor running.

Luckily for us, the visuals that were so special 35 years ago are remarkable here as well. There are sequences that are bleakly beautiful. Those expecting a full update on Deckard’s dealings may be surprised to find he doesn’t appear until about two-thirds through the proceedings. This is Gosling’s picture to carry most of the way and he does so with a quiet intensity.

Like Villeneuve’s Arrival, this is a sci-fi venture more steeped in its themes than action sequences. Violence comes in short and sudden bursts and that’s in line with two of the filmmaker’s other efforts Prisoners and Sicario. It’s no accident that I’m comparing 2049 just as much to those three movies as I am with the Scott original. Villeneuve succeeds in making this long gestating follow-up his own while clearly valuing an adoration of the first. That doesn’t happen too often as even Scott has fallen short with his return to Alien world. The legions of admirers of what came 35 years ago should be pleased.

***1/2 (out of four)

Oscar Watch: Blade Runner 2049

24 hours can change the dynamic considerably at this time in the Oscar season. When I made my weekly Oscar predictions yesterday, Richard Linklater’s Last Flag Flying was ranked 8th in my Best Picture possibilities with Blade Runner 2049 outside at #13.

Yesterday, support for Flag wavered a bit with a mixed critical reaction stemming from the New York Film Festival. On the other hand, Blade has sharpened its chances with reviews coming out this morning. Denis Villeneuve’s continuation of Ridley Scott’s classic sci-fi pic from 35 years ago is drawing raves (it’s at 97% currently on Rotten Tomatoes). The word “masterpiece” has been thrown around by some critics.

Bottom line: its chances for a Best Picture nomination have risen dramatically. Just last year, Villeneuve’s Arrival scored eight nominations, including Picture and Director. That could happen here again. While I doubt any of the actors (including Ryan Gosling and the return of Harrison Ford in the role of Deckard) will hear their names called, there are other races in play. This includes Adapted Screenplay, Production Design, Editing, both Sound categories, and Visual Effects (where it will almost certainly be named).

And then there’s Cinematography. Again, a nomination for its cinematographer Roger Deakins seems virtually assured. If so, it will mark his 14th nomination. The list of films he was nominated for? The Shawshank Redemption, Fargo, Kundun, O Brother, Where Art Thou?, The Man Who Wasn’t There, The Assassination of Jesse James by the Coward Robert Ford, No Country for Old Men, The Reader, True Grit, Skyfall, Prisoners, Unbroken and Sicario. Number of wins? 0. There’s definitely a feeling that Mr. Deakins is long overdue for his gold statue and the 14th time could be the charm.

When I made my box office prediction for 2049 earlier this week, I compared my $44.1 opening weekend estimate to Mad Max: Fury Road from two years ago. As of this morning, I’m thinking the opportunity is there for it to come close to Fury‘s 10 Oscar nominations too.

My Oscar Watch posts will continue…

Arrival Box Office Prediction

Denis Villeneueve’s science fiction drama and potential Oscar contender Arrival lands in theaters next weekend, looking for a healthy run throughout the awards season. Amy Adams headlines a cast that includes Jeremy Renner, Forest Whitaker, and Michael Stuhlbarg. Villeneueve has been on a roll (especially critically) in recent years with well-regarded titles such as Prisoners and last year’s Sicario.

With a relatively modest $50 million reported budget, Arrival debuted at the Venice Film Festival to many raves and it currently stands at 100% on Rotten Tomatoes. It could find itself in the mix at the Academy Awards for Best Picture, Director, and Actress with Ms. Adams.

What could hinder Arrival from a huge debut is a relative lack of star power. While Adams and Renner are certainly recognizable names, they don’t carry the box office potency of Sandra Bullock and George Clooney in Gravity ($55 million opening  in 2013), Matthew McConaughey and director Christopher Nolan in Interstellar ($47 million in 2014), and Matt Damon and director Ridley Scott in The Martian ($54 million last autumn). Those similar genre pics premiered in a realm that looks to be unrealistic for this.

Arrival could manage to top $30 million out of the gate, but a relatively low screen count of 2200 screens should prevent that. I’ll say a low to mid 20s debut is more probable as it looks to play well in subsequent weekends based on buzz.

Arrival opening weekend prediction: $22.4 million

For my Almost Christmas prediction, click here:

https://toddmthatcher.com/2016/11/02/almost-christmas-box-office-prediction/

For my Shut In prediction, click here:

https://toddmthatcher.com/2016/11/02/shut-in-box-office-prediction/