Stars: Ryan Gosling, Harrison Ford, Ana de Armas, Robin Wright, Jared Leto, Sylvia Hoeks, Mackenzie Davis, Carla Juri, & Dave Bautista.
Director: Denis Villeneuve
Screenplay: Hampton Fancher & Michael Green.
Contrast; Blade Runner 2049 acts in contrast to its predecessor. The shots are wide, the colour is light, the strokes broader, the message clearer. And even though it functions within the contrast it reflects the inner struggle harmoniously. 2049 is not so much an update but a continuation of a world that has evolved over the past 30 years, yet it is still simply struggling along to survive; the environment and society within it.
Within the new modern world Replicants are everywhere on earth, they are no longer illegal but rather the slave labour work force that Wallace Corporation has produced. K (Ryan Gosling) is an LAPD Blade Runner; A Replicant retiring illegal Replicants.
However this film follows the path of its original. K is led on a mission that makes him second guess his reason of being and rationale behind his task. As he slowly unravels the mystery of his own kind the world he resides in somehow gets smaller while it visuals become grander.
But while the ideologies align to the original, the way this film presents them is far cruder. Emotion is what drives Blade Runner, where exposition drives 2049. Joi (Ana de Armas) is used as a sounding board for K, as I just do not buy the emotional connection that I am supposed to in this relationship. She is here for him to have his internal rumination described to the audience. There is a lot of spoon feeding going on that really did not need to be there, it kind of felt a little dumb while watching it as that is how the writers were treating me.
Blade Runner has been criticised in recent years due to its representation of consent. Being that this film is made in 2017 I thought it would try to rectify these representations, instead they simply pile the misogyny on thicker; introducing Joi as a 1950's housewife, using another woman's body as a sex doll, slitting open a womb within a male characters diatribe, and using the nude female form in sexually explicit statuettes and advertising. Not once was a male sexualised and there was no attempt in trying to use these themes to analyse the general representation of women within our current media.
The visuals are stunning, but it left me a little disappointed, not intrigued like the far mightier original.