|Directed by||:||Denis Villeneuve||Produced by||:||Andrew A. Kosove, Broderick Johnson, Bud Yorkin, Cynthia Sikes Yorkin||Based on||:||Characters from Do Androids Dream of Electric Sheep? by Philip K. Dick||Starring||:||Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright||Production company||:||Alcon Entertainment, Columbia Pictures, Scott Free Productions, Torridon Films||Country||:||United States|
Films of the year: Blade Runner 2049
A belated sequel truly worth celebrating: here’s why Blade Runner 2049 is one of our favourite films of 2017...
NB: The following contains spoilers for Blade Runner and Blade Runner 2049.
A truly great movie has to work not only as a coherent story, but also moment-to-moment, scene to scene. If it doesn’t advance the story or tell us something important about the characters within it, even the best action sequence will fall flat. This is why Blade Runner 2049 succeeds so spectacularly well: it’s a lengthy film, clocking in at well over two and a half hours, but its construction is such that just about every shot and exchange has meaning in its greater story.
Take Blade Runner 2049’s opening sequence: a tense and lengthy exchange in a house in the middle of nowhere. A pot’s bubbling away on the stove; an air of dread hangs unmistakably in the air. In many respects, it’s an odd way to start a movie set in a dystopian future America; other directors might have gone straight for the obvious shot of towers stretching up into the night sky and flying cars zooming out of the screen. Instead, director Denis Villeneuve goes for the exact opposite: a sequence shot in the pale light of day, in a desolate wasteland far outside the city limits.