Blade Runner 2049...

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plaamook
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09 Oct 2017

Just curious what people's opinions are on this.

Personally I think it had some amazing audio visual moments. Real thunderous stuff. The sound design was superb, following on from Dunkirk in that the score, sd, and image were woven together. Powerful stuff. Very well produced.

I thought the story line was absolute rubbish. More garbage from ol' Ridley the Money Shaker, lining it all up for part 3 as he carries on shitting all over is master peices.
Oh well.
Def worth seeing for all the reasons I mentioned, just don't spend too much on the ticket.

When the DVD (torrent) comes out I'll whack together a 30min super trailer and post a link. It's def worth that!
Last edited by plaamook on 10 Oct 2017, edited 2 times in total.
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raymondh
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09 Oct 2017

I really enjoyed the movie and the soundtrack.
It was a tad long, but arguably that was part of building up the atmospherics (like the original)

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EnochLight
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09 Oct 2017

I thought it was awesome. Poetic, startlingly beautiful, cerebral.. just magnificent. A great follow up to the original, and a great culmination of Deckard's story.
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decibel
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10 Oct 2017

yeah being a die hard fan of the origional i wasnt too pleased when i heard they were cooking up a sequel, but i decided to give it a chance, as the release got closer i could tell it was going to be visually decent at least so was keen to check it out at first opportunity etc. and let me say, i was pleasantly surprised, the open ending was a bit annoying but the cinematic experience was extremely good, it had the audience hooked in from start to finish, captivated by both the visual and auditory aspects.. i usually like to let a film breath after seeing it but i might be tempted to see this again while its still on the big screen, it definitely is the only way to appreciate such a masterfully crafted piece of art and the theatre systems bass is what you want to feel to gain the full submersive quality etc.. you might feel its blasphemy to make a sequal to such a classic but honestly big cinematic experiences like this arent exactly falling from the trees these days, so dont deny yourself the pleasure of being carried away to another world for a few hours yeah ;) no regrets for me

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normen
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10 Oct 2017

Gotta agree its up there with the original, an almost impossible feat.

To me the original was a typical „cult movie“ - not much actual story but each image, sound and person tells you about this crazy world. All the „long scenes“ gave more time and room for these topics that were never explicitly mentioned to creep into the whole picture.

Things like:
- Its a world where apparently few humans still do things (to underline this one of the few humans gets his spine punched out the moment he steps "out of line")
- The blackout seemed to have wiped away the moral stance humans had towards Replicants as well (they were illegal!)
- The above two points also show that its a world where the humans get wiped away by the system they created, much like us today :)
- The climate situation (also a nice progression from the original movie - it got worse :))
- Even more things I can‘t think about right now.

So yeah, to me it seems it hit the mark exactly. Like the original its boring to some and a revelation to others, exactly what a cult movie should be :)

Edit: And yeah, imagery, sonics etc. were just sublime - damn those guns were so loud and still didn't hurt your ears - real pro stuff.

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JiggeryPokery
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11 Oct 2017

EnochLight wrote:
09 Oct 2017
I thought it was awesome. Poetic, startlingly beautiful, cerebral.. just magnificent. A great follow up to the original, and a great culmination of Deckard's story.
Heavy spoilers ;)


Saw it yesterday. It looked beautiful, as one expects from Deakins. Music was rubbish as one expects from Zimmer (his usual one-note brass "paaarrrrrrp" with sub-heavy drums; the passionless attempts a riffing on the Vangelis score, given those had more than two notes and no drums, I'd guess were work of the co-scorer). It was excrutiatingly loud at times, but it was still hard to hear, so I missed quite a few lines of dialog. Modern cinemas seem to think loudness = sound quality.

That said, Villeneuve cements his position as one of the most interesting visual artists in the medium atm (didn't like Sicario much, but thought Arrival was superb). BR2049 has left itself wide open to some complaints about women that are hard to refute.

While I appreciate it's not another lame, dull CGI city-demolishment (trailers: Thor, Geostorm and Justic <sigh> League..., although Thor might at least be quite funny if the trailer doesn't already have all the best lines, which I suspect it probably does), and there was lots to like, and overall I did like the film, it's way overlong. For example, the sex scene takes five minutes, but exists only to get a tracker in K's pocket. Later, K meets Deckard, who asks K what he wants, but rather than K telling him, we then spend five minutes in an unnecessary fight so we can have long shots of an Elvis impersonator. It looks good, but as plot and character development go, it was entirely unnecessary.

And then ending makes both K and Deckard complete idiots: I don't agree with you here, I think it's a really poor conclusion to Deckard's story, and I'll explain why I came to that conclusion.

Now, I'm really not one of those who watches a movie and nitpicks it. Things like plot holes tend to pass waaaay over my head, and I read that shit from clever (and/or anal) people afterwards in reviews. But I was watching it yesterday, and when K said to Deckard, that [as far as everyone else was concerned] "You are dead", I immediately thought, "Why would anyone else think that? His body isn't in the transport." Is Wallace, with all his resources and desperate desire for Rachel's offspring, not going to bother to check that very basic assessment of the situation? Of course he'll check. And remember that Deckard was shackled to the transport, so it would be obvious he was released and his body didn't simply drift away. And the other three occupents were variously or in combination, shot, stabbed, or drowned. And the two accompanying vehicles were also shot down. So I think it's pretty safe to say that in-world, no-one assumes Deckard is dead.

And then, just while I'm trying to parse that odd statement from K, here's the kicker: the movie's macguffin was the child of Deckard/Rachel, and Deckard is trying to hide it from Wallace, and has done so for 30 years by staying the fuck away and leaving it to iPatchReplicantWoman (Freysa, had to look that up ;) ). So, K, who let's remember has been tracked to within meters by three separate antagonists (LAPD, Wallace/Luv, and Freysa's group) at various points throughout the movie, immediately (cos it's a jump cut) takes Deckard straight to the child.

Now, thinking about it this morning, it's possible there's an assumption that Freysa's group are watching and protecting the offspring (given how they just happen to be around to save K's life in Las Vegas), and that if Wallace did make a move they'd step in. But with Wallace's resources that still feels like a stretching of credibility: within 30 minutes of Deckard entering that building, Wallace or the LAPD show up, so even if Freysa's are present off-screen, there's gonna be a bit of a barney.

And the film suggests the LAPD suddenly don't care about the offspring just because Robin Wright's character has been killed. Killing a police chief?! The LAPD would be more interested at that point: the film does not imply Wallace has the LAPD in his pocket, in fact by highlighting the prejudice against replicants within the police, it pretty much states he has no influence on the LAPD.

So in those final two scenes, K's led them all right to the child.

So perhaps his actions at the end are actually the whole point of the film and some people in reviews I read last night are misreading his character. Maybe the point is that K actually has, despite his best efforts, not grown at all, and actually followed his Nexus 9 programming to letter, and led either antagonists (Wallace/LAPD) to the offspring. But if that's intentional, why save Deckard? There are ways of reading the ending to make some sense of it, but characterisations at the ending are too confused to suggest it's entirely intentional.

If the idea of the film was K to break free of his programming to save the offspring, as you seem to suggest, then Deckard and K absolutely can't go anywhere near her again, but they explicitly do.

But conversely, if it was to imply that K was following his programming and taking either/both antagonists to the girl, why save Deckard and kill Luv? (One can argue he kills Luv because she killed Joi, which would be a reasonable case to make; that doesn't explain why he needs to save Deckard long enough to take him to see the girl, or why Luv left K alive for K to get the required exposition that he wasn't the offspring by, conveniently, the only people who knew who the offspring was, which makes them idiots too for revealing the secret to him, given he hadn't made the link to the girl. :lol: ).

It seems to me as if the creators decided they had to have Ford in the final shot, meeting his daughter, so he had to survive to that point. In terms of character, though, sorry, it makes no sense to me.

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EnochLight
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11 Oct 2017

JiggeryPokery wrote:
11 Oct 2017
Heavy spoilers ;)
Your experience doesn't surprise me. Like the original, this follow-up seems to have people split down the middle: they either love it, or they hate it. Sounds like you're on the latter side of the fence! :)

I don't disagree with some of your criticisms, but ultimately, I still enjoyed the hell out of it. After watching the original a month ago for the first time in 20 years, I'm reminded that it is equally layered with as many criticisms as you brought up, yet I enjoyed the hell out of it when I first saw it in 1982.

That said, I look at the original in a similar vein as Fritz Lang's Metropolis or F. W. Murnau's Nosferatu: cinematic masterpieces that influenced a generation, but by standards not even 20-30 years later... they did NOT hold up - at all LOL! :lol: :lol: :lol:

I don't expect Blade Runner 2049 to have the same resonance as the original for obvious reasons, but there was some brilliant moments in the film. On an unrelated note, I'll mention I enjoyed the hell out of Denis Villeneuve's Arrival (the ending destroyed me). It was a slow burn, but a masterpiece in sci-fi.
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plaamook
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11 Oct 2017

EnochLight wrote:
11 Oct 2017
but by standards not even 20-30 years later... they did NOT hold up - at all LOL! :lol: :lol: :lol: ...
I'm gonna ignore that one cause I consider you to be one of the good ones around here... ;)

Totally agree with you about arrival though. Real cracker.
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plaamook
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11 Oct 2017

JiggeryPokery wrote:
11 Oct 2017
And then ending makes both K and Deckard complete idiots: I don't agree with you here, I think it's a really poor conclusion to Deckard's story, and I'll explain why I came to that conclusion...
Thanks dude. I thought I saw the wrong film for a momnet there. Like I said, rubbish plot.
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EnochLight
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11 Oct 2017

plaamook wrote:
11 Oct 2017
EnochLight wrote:
11 Oct 2017
but by standards not even 20-30 years later... they did NOT hold up - at all LOL! :lol: :lol: :lol: ...
I'm gonna ignore that one cause I consider you to be one of the good ones around here... ;)

Totally agree with you about arrival though. Real cracker.
:)

Well, let me put it this way: in 1951, audiences who were watching Robert Wise's masterpiece The Day the Earth Stood Still had moved on from what Metropolis and Nosferatu brought to cinema a long time before, and yet there's only 24-29 years separating them. A viewer in '51 looked back on Metropolis and Nosferatu and thought they were "old fashioned"! :lol: :lol: :lol: So, maybe "not holding up" was an inaccurate analogy. My whole point was, the original Blade Runner - in a modern viewing - seems just as dated compared to current sci-fi offerings.
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plaamook
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11 Oct 2017

EnochLight wrote:
11 Oct 2017
plaamook wrote:
11 Oct 2017


I'm gonna ignore that one cause I consider you to be one of the good ones around here... ;)

Totally agree with you about arrival though. Real cracker.
:)

Well, let me put it this way: in 1951, audiences who were watching Robert Wise's masterpiece The Day the Earth Stood Still had moved on from what Metropolis and Nosferatu brought to cinema a long time before, and yet there's only 24-29 years separating them. A viewer in '51 looked back on Metropolis and Nosferatu and thought they were "old fashioned"! :lol: :lol: :lol: So, maybe "not holding up" was an inaccurate analogy. My whole point was, the original Blade Runner - in a modern viewing - seems just as dated compared to current sci-fi offerings.
I'm not worried about things being dated so much as I am about them just not being very good. Blade Runner was cutting edge, way ahead of it's time. Beautiful and subtle and disturbing and immersive. This was just another loud movie. No one will care about it in a year. But people will still care about a dated film from the 80's that got shot down at the time because no one got it on it's release. And yet there is such a following they tried (and failed) to hack into it to try to squeeze more money out of it. Though to be fair that is mostly talking about the director's cut. (Which, if you havent't seen on a big screen is highly reccomended. I was completely blown away by the detail in it. )
Anyway, like I said, I liked the beginning and the production of the new one. For a moment I thought they might have actually done something that at least could sit beside the original but 20 min in and I could see where it was going and lost interest. Turned into a ride rather than something I wanted to sit through or be in.
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EnochLight
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11 Oct 2017

plaamook wrote:
11 Oct 2017
But people will still care about a dated film from the 80's that got shot down at the time because no one got it on it's release. And yet there is such a following they tried (and failed) to hack into it to try to squeeze more money out of it. Though to be fair that is mostly talking about the director's cut. (Which, if you havent't seen on a big screen is highly reccomended. I was completely blown away by the detail in it. )
I'm one of the few people out there that actually prefer the original theatrical cut that had Harrison Ford's monotone deadpan narration. :D Every cut after that just bored me, though the unicorn scene that tied in Admiral Adama's origami unicorn at the end was a nice touch.
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plaamook
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11 Oct 2017

EnochLight wrote:
11 Oct 2017
plaamook wrote:
11 Oct 2017
But people will still care about a dated film from the 80's that got shot down at the time because no one got it on it's release. And yet there is such a following they tried (and failed) to hack into it to try to squeeze more money out of it. Though to be fair that is mostly talking about the director's cut. (Which, if you havent't seen on a big screen is highly reccomended. I was completely blown away by the detail in it. )
I'm one of the few people out there that actually prefer the original theatrical cut that had Harrison Ford's monotone deadpan narration. :D Every cut after that just bored me, though the unicorn scene that tied in Admiral Adama's origami unicorn at the end was a nice touch.
Well, I make lots of long boring ambient music so I guess that says something too.
Funny thing is that I saw the theatrical cut on it's release in the cinemas and it burned itself so deeply in my mind (I was 9 I think) that I hear the narration at parts even when it isn't there!
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dana
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12 Oct 2017

Amazing how single-handedly this movie has put me off from going back to the cinema again.

Must have been the added realism of the coldness of the movie when the central heating stopped working (no joke, actually happened!)

Everyone had hats and gloves on. It was too surreal.

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plaamook
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13 Feb 2018

I'm digging this thread out to ask if anyone has bothered listening to Hans's score for the thing.
The film was basically shit (as we've mostly all agreed on above) but the score, although it doesn't string together properly, is actually a slammer. I'm playing it and imagining a version of BR2049 that was amazing. I was never blown away by the vangelis score but Han's stab is a worthy offering for sure. Some how gather's all the relvant aspects of the first score and updates them. Totally worth it.
I would rather have paid the £5 fee at Peckhamplex just to hear it on a 5.1 in total darkness.
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Faastwalker
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14 Feb 2018

I loved it. I thought it was amazing. The visuals, the sound. I would have liked to have heard (recently deceased) Johann Johannson's score, that was not used in favor of the, I expect, 'safer' option from Hanz Zimmer. I suspect Johann's score would have been far more interesting than Zimmer's, although the sound in the film was generally amazing. Story wise I think they did a good job. It was a suitable evolution of the original without trying to be too clever. I'm glad Denis Villeneuve directed and not Ridley Scott. Scott's advancement of the Alien series has been a disaster as far as I'm concerned. Prometheus was very poor, though visually stunning. Covenant was just silly. Denis Villeneuve for the next installment of the Alien franchise, if they must continue down this tired & worn out path.

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