{"id":3086,"date":"2017-09-29T17:01:13","date_gmt":"2017-09-29T17:01:13","guid":{"rendered":"https:\/\/thunderbird.tv\/2017\/09\/29\/blade-runner-2049-review-a-gigantic-spectacle-of-pure-hallucinatory-craziness\/"},"modified":"2017-09-29T17:01:13","modified_gmt":"2017-09-29T17:01:13","slug":"blade-runner-2049-review-a-gigantic-spectacle-of-pure-hallucinatory-craziness","status":"publish","type":"post","link":"https:\/\/thunderbird.tv\/2017\/09\/29\/blade-runner-2049-review-a-gigantic-spectacle-of-pure-hallucinatory-craziness\/","title":{"rendered":"Blade Runner 2049 review \u2013 a gigantic spectacle of pure hallucinatory craziness"},"content":{"rendered":"<p><span class=\"drop-cap\"><span class=\"drop-cap__inner\">Peter Bradshaw \/ The Guardian<\/span><\/span><\/p>\n<p><span class=\"drop-cap\"><span class=\"drop-cap__inner\">W<\/span><\/span>ith this visually staggering film, director Denis Villeneuve brings us to a kind of\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/books\/2010\/jan\/28\/percy-bysshe-shelley-ozymandias\" data-link-name=\"in body link\">Ozymandias<\/a>\u00a0moment. It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic.<\/p>\n<p>This is the sequel to the\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/blade-runner\" data-link-name=\"in body link\">1982 sci-fi classic<\/a>, directed by\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/ridley-scott\" data-link-name=\"in body link\">Ridley Scott<\/a>\u00a0and based on Philip K Dick\u2019s novel\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/books\/2012\/apr\/29\/do-androids-dream-electric-dick-review\" data-link-name=\"in body link\">Do Androids Dream Of Electric Sheep?<\/a>, starring Harrison Ford as a \u201cblade runner\u201d, a futureworld cop whose job is to track down and kill disobedient almost-human androids known as replicants. The 2017 follow-up simply couldn\u2019t be any more of a triumph: a stunning enlargement and improvement.<\/p>\n<p>Its mind-boggling, cortex-wobbling, craniofacial-splintering images are there to trigger awe or even a kind of ecstatic despair at the idea of a post-human future, and what it means to imagine the wreck of our current form of homo sapiens. Evolution has not finished yet, any more than it was finished 100,000 years ago. As so often in literature and cinema, we are reminded that science fiction is there to tackle big ideas, and makes realist genres look flimsy and parochial. This film delivers pure hallucinatory craziness that leaves you hyperventilating.<\/p>\n<figure class=\"element element-video fig--has-shares fig--narrow-caption fig--no-caption\" data-canonical-url=\"http:\/\/www.youtube.com\/watch?v=tH8kAO8GkCk\" data-component=\"video-inbody-embed\">\n<div class=\"embed-video-wrapper u-responsive-ratio u-responsive-ratio--hd\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/tH8kAO8GkCk?wmode=opaque&amp;feature=oembed\" width=\"460\" height=\"259\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/div>\n<\/figure>\n<p>Blade Runner 2049 is co-scripted by the original screenwriter,\u00a0<a class=\"u-underline\" href=\"https:\/\/www.forbes.com\/sites\/davidalm\/2016\/05\/13\/a-conversation-with-hampton-fancher-creative-genius-behind-blade-runner-and-the-minus-man\/#45b6e2721905\" data-link-name=\"in body link\">Hampton Fancher<\/a>, and riffs on the first film. There are poignant theme-variations on memory and crying in the rain and a cityscape full of signs in different languages (Russian, Japanese, Hindi, Korean), ghostly VR advertising avatars and flashing corporate logos, playfully including the obsolete PanAm.<\/p>\n<p>There is something so sinuous and manoeuvrable about the drama, and its CGI rendering is like nothing I\u2019ve ever seen<\/p>\n<p>It alludes to films the first Blade Runner helped inspire, such as Cameron\u2019s\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/filmblog\/2017\/sep\/26\/terminator-6-franchise-hollywood-linda-hamilton-james-cameron\" data-link-name=\"in body link\">The Terminator<\/a>, Spielberg\u2019s\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/2001\/sep\/21\/1\" data-link-name=\"in body link\">AI Artificial Intelligence<\/a>, Nolan\u2019s\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/2008\/jul\/25\/actionandadventure1\" data-link-name=\"in body link\">The Dark Knight<\/a>, Andrew Stanton\u2019s\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/2008\/jul\/18\/animation\" data-link-name=\"in body link\">WALL-E<\/a>\u00a0and Spike Jonze\u2019s\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/2014\/feb\/13\/her-review\" data-link-name=\"in body link\">Her<\/a>. The references reach further back also, to the Kubrickian hotel-bar and spaceship, and to the desolate final moments of Planet of the Apes. You could call that ancestor-worship, were it not that the franchise already deserves its own ancestor status. In fact, the sequel slightly de-emphasises the first film\u2019s intimate, downbeat noir qualities in favour of something more gigantic and monolithic, preserving Ridley Scott\u2019s massively controlled andante tempo. Yet there is something so sinuous and manoeuvrable about the drama, and its CGI rendering is like nothing I\u2019ve ever seen.<\/p>\n<p>The setting is Los Angeles, 30 years on from the first film\u2019s 2019 setting. The corporation that once manufactured the replicants, whose spartacist uprising was the original theme, has been bought out by an agribusiness empire owned by one Niander Wallace (Jared Leto), a grotesque figure brooding on how to create replicant-workers on a scale sufficient for his imperial plans.\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/ryan-gosling\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Ryan Gosling<\/a>\u00a0plays LAPD officer K, a limited-lifespan replicant whose task is to track down and destroy those first-gen models who can live as long as humans, and are still illegally hiding out. K has a gorgeous virtual-reality live-in girlfriend, quibblingly named Joi (Ana De Armas), with whom he believes himself to be in love, though he understands that both she and he are constructed artefacts.<\/p>\n<p>After making a sensational discovery, K embarks on a dangerous mission, and both his LAPD boss Lieutenant Joshi (Robin Wright) and Wallace himself are very interested in what he might discover. Wallace despatches his deadpan assistant, named Luv and superbly played by Sylvia Hoeks, with an utterly unnerving habit of crying when her face appears to show no human emotion at all. It is all leading to a mysterious, Freudian encounter with Rick Deckard himself, the outsider cop from the first film, played with haggard misanthropy by\u00a0<a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/film\/harrisonford\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Harrison Ford<\/a>.<\/p>\n<figure class=\"element element-image img--landscape \" data-component=\"image\" data-media-id=\"62e0c9e0ca23243e3a00a666b0439e0aacf13a55\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=620&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=c18f4f359e7b31a640099b5a3af7ce0b 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=620&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=1165eb779654e0bcfe0f07991f0ec877 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=605&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=00de09dd3268e1951a18702dcfc0ad20 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=605&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=fcbb918409e76c370556d111bad3b806 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=445&amp;q=20&amp;auto=format&amp;usm=12&amp;fit=max&amp;dpr=2&amp;s=98c2da3046ae7a45369c18e94ddc8045 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/62e0c9e0ca23243e3a00a666b0439e0aacf13a55\/127_0_582_349\/master\/582.png?w=445&amp;q=55&amp;auto=format&amp;usm=12&amp;fit=max&amp;s=38f5f27669b82d7aa366f4a347a2c0b5 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/thunderbird.tv\/wp-content\/uploads\/2020\/10\/582.png\" alt=\"Haggard misanthropy \u2026 Harrison Ford returns as Deckard.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\">\u00a0Haggard misanthropy \u2026 Harrison Ford returns as Deckard. Photograph: YouTube<\/figcaption><\/figure>\n<aside class=\"element element-rich-link element--thumbnail element-rich-link--upgraded\" data-component=\"rich-link\" data-link-name=\"rich-link-1 | 1\">\n<div class=\"rich-link tone-feature--item \">\n<div class=\"rich-link__container\">\n<div class=\"rich-link__image-container u-responsive-ratio\"><\/div>\n<div class=\"rich-link__header\">\n<h1 class=\"rich-link__title\"><a class=\"rich-link__link\">From Blade Runner to Rollerball: did cinema&#8217;s sci-fi dystopias predict the future?<\/a><\/h1>\n<\/div>\n<div class=\"rich-link__read-more\">\n<div class=\"rich-link__arrow\"><\/div>\n<div class=\"rich-link__read-more-text\">Read more<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/aside>\n<p>The sheer electric strangeness of everything that happens is what registers. Every time K finishes a mission, he is taken to an interrogation module to be \u2026 what? Debriefed? Decompressed? Deconstructed? He is subjected to a fierce kind of call-and-response dialogue in which he has to respond to key words such as \u201ccells\u201d to see if his humanoid\/android identity balance is out of whack. It is utterly bizarre, and yet entirely compelling, and persuasively normal in this alienated universe. K\u2019s aerial journeys in his battered, government-issue squadcar-miniplane are similarly enthralling, and a scene in which he is brought down over a gigantic rubbish dump in San Diego by a low-tech harpoon gun is one of the most exciting action-movie scenes imaginable.<\/p>\n<p>The production design by Dennis Gasner and cinematography by Roger Deakins are both delectable, and the largely electronic musical score by Benjamin Wallfisch and Hans Zimmer provides a kind of aural neon: gaunt, harsh, angular, like the noise of machinery. It\u2019s an incredible lucid dream. Weirdly, I had forgotten about one of the little-discussed pleasures of the big screen: the simple effect of dialogue, echoing in a movie theatre. This film\u2019s scale is extraordinary. It places the acid tab of cinema-pleasure on your tongue.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Peter Bradshaw \/ The Guardian With this visually staggering film, director Denis Villeneuve brings us to a kind of\u00a0Ozymandias\u00a0moment. It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic. This is the sequel to the\u00a01982 sci-fi &hellip; <a href=\"https:\/\/thunderbird.tv\/2017\/09\/29\/blade-runner-2049-review-a-gigantic-spectacle-of-pure-hallucinatory-craziness\/\">Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":3087,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[1],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Blade Runner 2049 review \u2013 a gigantic spectacle of pure hallucinatory craziness - Thunderbird Entertainment<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thunderbird.tv\/2017\/09\/29\/blade-runner-2049-review-a-gigantic-spectacle-of-pure-hallucinatory-craziness\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blade Runner 2049 review \u2013 a gigantic spectacle of pure hallucinatory craziness - Thunderbird Entertainment\" \/>\n<meta property=\"og:description\" content=\"Peter Bradshaw \/ The Guardian With this visually staggering film, director Denis Villeneuve brings us to a kind of\u00a0Ozymandias\u00a0moment. 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