[REVUE CINEMA BLU-RAY] BLADE RUNNER 2049: What Critics and Fans Are Saying

Blade Runner 2049 gets closer than most films to being a true 4K experience. It was shot at 3.4K, created in a digital 4K master for its cinematic release and even, so it seems, delivered with native 4K or 3.4K effects. This latter achievement is practically unheard of elsewhere in the film world to date.

[REVUE CINEMA BLU-RAY] BLADE RUNNER 2049

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Starring Ryan Gosling as Officer K, a new blade runner detective, he unearths a secret that could shake the very nature of existence itself, and must track down a major character from the original movie (spoiler removed!) to solve a mystery that will put both their lives in danger.

In 2019 Los Angeles, former police officer Rick Deckard is detained by Officer Gaff, who likes to make origami figures, and is brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered humanoids known as replicants and terminally "retire" them, is informed that four replicants are on Earth illegally. Deckard begins to leave, but Bryant ambiguously threatens him and Deckard stays. The two watch a video of a blade runner named Holden administering the Voight-Kampff test, which is designed to distinguish replicants from humans based on their emotional responses to questions. The test subject, Leon, shoots Holden on the second question. Bryant wants Deckard to retire Leon and three other Nexus-6 replicants: Roy Batty, Zhora, and Pris.

The screenplay by Hampton Fancher was optioned in 1977.[12] Producer Michael Deeley became interested in Fancher's draft and convinced director Ridley Scott to film it. Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother's recent death.[13] He joined the project on February 21, 1980, and managed to push up the promised Filmways financing from US$13 million to $15 million. Fancher's script focused more on environmental issues and less on issues of humanity and religion, which are prominent in the novel, and Scott wanted changes. Fancher found a cinema treatment by William S. Burroughs for Alan E. Nourse's novel The Bladerunner (1974), titled Blade Runner (a movie).[nb 2] Scott liked the name, so Deeley obtained the rights to the titles.[14] Eventually, he hired David Peoples to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites.[15]

The Voight-Kampff machine is a fictional interrogation tool, originating from the novel (where it is spelled "Voigt-Kampff"). The Voight-Kampff is a polygraph-like machine used by blade runners to determine whether an individual is a replicant. It measures bodily functions such as respiration, blush response, heart rate and eye movement in response to questions dealing with empathy.[63]

The boom in home video formats helped establish a growing cult around the film,[72] which scholars have dissected for its dystopic aspects, questions regarding "authentic" humanity, ecofeminist aspects[98] and use of conventions from multiple genres.[99] Popular culture began to reassess its impact as a classic several years after it was released.[100][101][102] Roger Ebert praised the visuals of both the original and the Director's Cut and recommended it for that reason; however, he found the human story clichéd and a little thin.[38] He later added The Final Cut to his "Great Movies" list.[103] Critic Chris Rodley and Janet Maslin theorized that Blade Runner changed cinematic and cultural discourse through its image repertoire and subsequent influence on films.[104] In 2012, Time film critic Richard Corliss surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.[105] Denis Villeneuve, who directed the sequel, Blade Runner 2049, cites the film as a huge influence for him and many others.[102]

A direct sequel was released in 2017, titled Blade Runner 2049, with Ryan Gosling alongside Ford in the starring roles.[222][223] It entered production in mid-2016 and is set decades after the first film.[224] Harrison Ford reprised his role as Rick Deckard. The film won two Academy Awards, for cinematography and visual effects.[225]

For fans, the biggest question it gets at is whether the 1982 film's Deckard (Harrison Ford) is a replicant (i.e., a synthetic replica of a human so uncanny that it has traversed the proverbial valley, even to itself), and its lack of interest in the answer speaks to the first problem of Blade Runner 2049. Where Blade Runner, and better films than this, ask questions without asking them, much less offering direct answers to them, Blade Runner 2049 asks, answers, discusses the answer, and provides the best philosophical means through which to process the conversation. It doesn't leave much to comb through. It is 2010 to 2001, its Dave Bowman, Deckard, returning from the obelisk with the answer so no one needs to leave the cinema feeling like there are rabbit holes to chase. It's a film about proximate reality that will only frustrate the most obtuse. I think that's a rather significant problem. It's a Blade Runner for people who didn't like Blade Runner. The enduring fascination of Blade Runner is that its conversation about reality and identity is an endless, Ouroborosian thing. When chasing the brutal replicant Leon (Brion James), Deckard uncovers a drawer full of photographs of other peoples' lives. When interrogating replicant Rachael (Sean Young), with whom Deckard eventually falls in love, he learns that she's been implanted with memories of a spider hatching a legion of her murderers--her maker's niece's memories, it turns out, and the atrocity of that ripples through and around the film. It's an abomination, a violation executed in the pursuit of creating a more docile, and imminently disposable, worker class. Blade Runner is speculative fiction at its pinnacle, whereas Blade Runner 2049 is German Surrealism in all its violent contradiction, true surrealism, surprising moments of humour, and mordant introspection. It's about the disease of the post-millennium.

If you haven't watched Bladerunner 2049 yet (Blu-ray, Dolby TrueHD), take care not to have the volume set too high at the very start of this film. The deep bass rumble that explodes out of nothing will certainly get your attention, and the first few minutes move back and forth between these deep, pulsing booms and the wide-open, atmospheric music.

Tags: art book review, Bladerunner, Bladerunner 2049, Cinematography, concept art, Denis Villeneuve, Film, filmmaking, Illustration, Ridley Scott, roger deakins, sci-fi, sci-fi art, The Art And Soul Of Bladerunner 2049

In Los Angeles, 2019, ex-police officer Rick Deckard is detained by officer Gaff and brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered beings known as replicants and "retire" (i.e. kill) them, is informed that four have come to Earth illegally. As Tyrell Corporation Nexus-6 models, they have a four-year lifespan, and may have come to Earth to try to extend their lives.

Deckard watches a video of a blade runner named Holden administering the "Voight-Kampff" test designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon, shoots Holden after Holden asks about Leon's mother. Bryant wants Deckard to retire Leon and the other three replicants: Roy Batty, Zhora, and Pris. Deckard initially refuses, but after Bryant ambiguously threatens him, he reluctantly agrees.

The screenplay by Hampton Fancher was optioned in 1977. Producer Michael Deeley became interested in Fancher's draft and convinced director Ridley Scott to film it. Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother's recent death. He joined the project on February 21, 1980, and managed to push up the promised Filmways financing from US$13 million to $15 million. Fancher's script focused more on environmental issues and less on issues of humanity and religion, which are prominent in the novel and Scott wanted changes. Fancher found a cinema treatment by William S. Burroughs for Alan E. Nourse's novel The Bladerunner (1974), titled Blade Runner (a movie). Scott liked the name, so Deeley obtained the rights to the titles. Eventually, he hired David Peoples to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites. 2ff7e9595c