{"id":68755,"date":"2017-10-02T02:01:36","date_gmt":"2017-10-01T23:01:36","guid":{"rendered":"https:\/\/ngradio.gr\/?p=68755\/"},"modified":"2017-10-02T02:01:36","modified_gmt":"2017-10-01T23:01:36","slug":"blade-runner-2049-sequel-honors-surpasses-original","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/blade-runner-2049-sequel-honors-surpasses-original\/","title":{"rendered":"\u2018Blade Runner 2049\u2019 is a sequel that honors \u2014 and surpasses \u2014 the original."},"content":{"rendered":"

The sci-fi classic \u201cBlade Runner\u201d is beloved \u2014 and rightly so \u2014 not just for its compelling narrative of the lonely hunter, but for the package that the futuristic fable came wrapped in. Based on a 1968 novel by Philip K. Dick, Ridley Scott\u2019s 1982 film was notable for its screenplay of oblique, muscular poetry (by Hampton Fancher and David Peoples); a cynical and gorgeously gloomy film noir sensibility; and philosophical musings about what it means to be human.<\/p>\n

\u201cBlade Runner 2049,\u201d the superb new sequel by Denis Villeneuve (\u201cArrival\u201d), doesn\u2019t just honor that legacy, but, arguably, surpasses it, with a smart, grimly lyrical script (by Fancher and Michael Green of the top-notch \u201cLogan\u201d); bleakly beautiful cinematography (by Roger Deakins); and an even deeper dive into questions of the soul.<\/p>\n

Set 30 years after the action of the first film, \u201c2049\u201d focuses, like Scott\u2019s tale, on a blade runner: a cop whose mission it is to track down and \u201cretire\u201d bioengineered humanoid \u201creplicants\u201d that were once used as slave labor \u2014 \u201cskinners,\u201d or \u201cskin jobs,\u201d in the parlance of the film \u2014 and who have since gone on the lam after being found to disobey orders. In the world of 2049, there are now two kinds of replicants, in addition to people: the old, rogue versions, and a newer, more subservient variety designed by a godlike industrialist (Jared Leto), who refers to his products, tellingly, as good and bad \u201cangels.\u201d<\/p>\n

One key character isn\u2019t even real, at least not in the traditional sense, but a hologram.<\/p>\n

When we first meet the film\u2019s L.A.P.D. hero, called K (Ryan Gosling), he is on the job, a routine assignment that might be considered an assassination if the target of his lethal mission were human, or his cause unethical. And maybe they are. Who knows? Those open-ended questions loom large in both films, along with some new ones here.<\/p>\n

While dispatching his victim, K discovers something that, in the words of his supervisor (Robin Wright) \u201cbreaks the world.\u201d That might seem a strange way of putting things, in a city that already seems pretty broken. The Los Angeles of \u201cBlade Runner 2049\u201d is one that alternates between smog, lashing rain and an ash-like precipitation that may or may not be snow. The city is surrounded by mountains of trash, and farther out beyond that, a radioactive wasteland.<\/p>\n

But there\u2019s a precarious balance to this world of us-and-multiple-thems, and K\u2019s find \u2014 which opens a new and, for him, more personal mystery \u2014 turns the film from a manhunt, or whatever you might call it that K does, into a character\u2019s search for his own past.<\/p>\n

If this synopsis sounds like it\u2019s dancing around a more explicit summary of who\u2019s who and what\u2019s what, it is. Some critics who were invited to press screenings of \u201c2049\u201d were asked to sign a nondisclosure agreement, singling out several characters and plot points as spoilers to be avoided. Reporters from The Post were not asked to sign this, but because the film contains many genuine pleasures and surprises, large and small, it really is best to know the least about this film.<\/p>\n


\nHarrison Ford, left, who starred in the first \u201cBlade Runner\u201d film, faces off against Ryan Gosling in the sequel \u201cBlade Runner 2049.\u201d (Stephen Vaughan\/Warner Bros. Pictures)<\/span><\/em><\/p>\n

What can be said: There are returning characters, including Harrison Ford\u2019s blade runner Deckard, from the first film. He\u2019s in the trailer, but Deckard\u2019s precise role in this ambitious coda of a gumshoe opera should \u2014 and will, in these pages \u2014 remain unspoken. The special effects are impeccable, and include sequences that blur the line, evocatively, between what\u2019s real and unreal. The score by Hans Zimmer and Benjamin Wallfisch, both of whom worked on the sonically aggressive \u201cDunkirk,\u201d is loud and at times assaultive here, modulating from a quietly anticipatory ear-tinkle to the blast of a fog horn. At close to three hours, \u201cBlade Runner 2049\u201d is a long film, but it\u2019s unlikely that true partisans will notice, or mind.<\/p>\n

What is \u201cBlade Runner 2049\u201d about? It may help to know that two characters are named Joi (Ana de Armas) and Luv (Sylvia Hoeks). More can\u2019t be revealed about how each one fits into this unashamedly allegorical action movie. But the deepest mystery in this tale of robots gone bad isn\u2019t who \u2014 or what \u2014 is synthetic, but why we need to tell ourselves that something we can\u2019t see \u2014 a memory, an emotion, a conviction \u2014 is real. The question, in short, is this: What makes some lives worth living, and some beliefs worth dying for?<\/p>\n

\n

R.<\/b>\u2009Open Friday, Oct. 6, at area theaters. Contains violence, some sexuality, nudity and crude language. 160 minutes.<\/p>\n<\/div>\n

 <\/p>\n

Source:\u00a0washingtonpost.com<\/p>\n","protected":false},"excerpt":{"rendered":"

The sci-fi classic \u201cBlade Runner\u201d is beloved \u2014 and rightly so \u2014 not just for its compelling narrative of the lonely hunter, but for the package that the futuristic fable came wrapped in. Based on a 1968 novel by Philip K. 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