More than thirty years later, revered sci-fi classic Blade Runner has been given a sequel. The original boldly opted for mood and soul over excessive plot. Through unique visuals and unpretentious poetry, it was an achievement greater than the sum of its parts. Blade Runner 2049 is the opposite. It is a convoluted fan-fiction that looks incredible, but falls short on story and emotion.
Ryan Gosling plays K, a new breed of replicant (genetically engineered slave) created to be perfectly subservient. He is a Blade Runner, tasked with ‘retiring’ (killing) fugitive replicants from past generations, who still have the ability to rebel. K stumbles on a secret long kept by his quarry, which sets him on a detective journey that could rewrite his identity.
Three short films were produced to be seen before the main feature. These set the scene and give crucial backstory. But such important plot points should have been made clear in the film itself – which is confusing and incomplete without them. They can be found online and on the home release. But even without the full story included, 2049 somehow manages to be ponderous and overlong.
Therein lies the problem with the new Blade Runner. Director Denis Villeneuve was so busy recreating the look of the its predecessor that he neglected to make sure the story was worth it. A self-confessed fan of the original, one wonders how he could get this so wrong. He dwells on the idea that memories are what makes us human, and only briefly touches on the more interesting notion that having a soul could be the key. Villeneuve shies from further exploring our spiritual side, whereas the first film was rich with Christian motifs.
The opportunity to explore new themes is let down by the overwrought plot. The introduction of Joi, a virtual companion for K, is one of the more original ideas. She demonstrates K’s unfulfillable longing for human warmth and love, which motivates him to try and attain these for someone who can appreciate them. But unfortunately, in portraying a female character so subservient, not to mention with explicit nudity, the film becomes exploitative in a way that it was perhaps trying to warn against.
The original’s composer Vangelis is sorely missed. His majestic music is replaced by a noisy exercise in atmospheric sounds, devoid of melody and harsh on the ear. Harrison Ford makes a welcome return however, giving a career best performance. But he arrives too late to rescue the film.
The real star of 2049 is the visuals. Rightly winning Oscars for cinematography and special effects, the film plays like an extended show reel for director of photography Roger Deakins. Drawing visual cues from the first Blade Runner, and introducing new touches such as atmospheric use of snow and pollution, this is where the film really shines. A key scene involving a holographic Elvis Presley is especially dazzling. But it’s a pity the story ends up playing second fiddle to the imagery.
The filmmakers should have listened to actor Rutger Hauer, who contributed so much to the 1982 masterpiece: “I struggle to see why [Blade Runner 2049] was necessary. I just think if something is so beautiful, you should just leave it alone and make another film. …I’m not certain what the question was in the second Blade Runner. It’s not a character-driven movie and there’s no humour, there’s no love, there’s no soul. You can see the homage to the original. But that’s not enough to me. I knew that wasn’t going to work.”
This disappointing sequel is a reminder of just how good the 80s classic is. Villeneuve brings his own creative flourishes, but doesn’t let the story go as deep as it could. He couldn’t capture the old Blade Runner magic.
★★★☆☆ Impressive visuals can’t redeem a cold and unsatisfying story.