Blade Runner 2049

The underlying theme of 1982’s Blade Runner questioned the definition of humanity.  Man is created in God’s image.  A replicant is created in man’s image.  Does the creature have the right to make demands of its creator?  While Blade Runner definitely contains an intriguing science fiction premise, what ultimately made it a masterpiece is the atmosphere, wall-to-wall dystopian noir atmosphere.  While the effects are dated, those who saw Ridley Scott’s vision of the future back in the 20^th century have mixed emotions as we quickly approach 2019.  We’re definitely happy that urban sprawl has been kept in check, and it’s nice to see the sun on a regular basis.  On the other hand, it kind of sucks that our cars are still restricted to boring roads, and there’s not enough Vangelis in our daily lives.

Enter Blade Runner 2049; I’m happy to report that all the elements that made the original great have returned for the sequel.  As I have thought more about the film over the past 24 hours, I have concluded that director Denis Villeneuve has accomplished something truly amazing; he crafted a film 35 years after the original that is a stand-alone great sci-fi story, a genuine sequel in every sense, and is an homage without feeling mushily sentimental.  There are some stand-out scenes, including the opening, that will place this film in the same category as its predecessor.  There’s also quite a bit that doesn’t necessarily contribute to the narrative, but then the same can be said about the original.  It’s not so much the story that is so captivating, rather it is the world in which that story takes place.  There were times that the score by Hans Zimmer and Benjamin Wallfisch seemed overbearing and heavy – that was awesome!  If I hadn’t Googled the composer prior to seeing the film, I would have been sure that Vangelis was back…  Now does anyone have a hypothesis for the origami sheep?