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03 Oct 17
22:43
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05 Apr 06
A must see ?
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https://www.theguardian.com/film/filmblog/2017/oct/03/blade-runner-2049-sci-fi-classics-sequel-denis-villeneuve
The story behind the 35-year gap between Blade Runner’s first and second episodes is almost as ornate as the dusky flame-lit cityscapes of Ridley Scott’s 1982 opus of dystopian neon-noir. When the movie first hit cinemas in a cut featuring an ill-advised Chandleresque voiceover from Harrison Ford and a frankly laughable tacked-on happy ending that ruined every last trace of enigma over replicant Rachel’s future, it received mixed reviews from critics.
There’s an ironic parallel between the powers that be in Scott’s film, who deny the humanity of Roy Batty and his gang of replicants, and reviewers of the time, who seem to have felt that Blade Runner, while looking amazing, lacked something in the way of soul. Roger Ebert described the film as “thin in its human story” while Pauline Kael criticised its development “in human terms”. The movie barely made its $33.8m production budget back at the box office, according to Box Office Mojo.
Blade Runner 2049 review – a gigantic spectacle of pure hallucinatory craziness
Ryan Gosling plays an LAPD officer heading for an encounter with Harrison Ford’s Deckard in a film whose sheer scale leaves you hyperventilating
Read more
While the film began to pick up a cult following among fans from the moment it first screened, critical opinion only really began to shift in 1993, when Warner Bros released the Director’s Cut, and zoomed into top gear in 2007, when Scott’s own Final Cut (the only version over which the film-maker had full control, though only minutely different from its predecessor) was released. By this point the film had already been voted the best science-fiction movie of all time, by scientists (no less) in a poll for the Guardian. This newspaper’s Xan Brooks called Blade Runner “Scott’s most ambitious, fully realised film” apart from Alien, at the time of the Final Cut’s release. It is arguable, in the light of Blade Runner 2049’s rapturous reception from critics, that the British director’s second major contribution to sci-fi cinema may now have an even more lasting effect on the future of Hollywood than his first.
Given the glacial pace of Blade Runner’s development, it is also tempting to wonder how many other sci-fi bombs that have been languishing for years in relative ignominy might yet find traction in the not-so-distant future. The story of the futuristic noir’s slow rise to the cultural pinnacle suggests it can sometimes take a generation for studios to accept that opinion has changed; that there is suddenly a demand for fresh stories set in the same universe.
Blade Runner 2049: five things we learned from the shorts
Read more
If that’s so, can we please have a sequel to Pete Travis and Alex Garland’s Dredd for starters? The 2000AD adaptation in 2012 was a smash at the UK box office but struggled in the US, and failed to get the sequel it was so obviously crying out for. Garland has since proven himself the coming man of sci-fi with the Oscar-nominated Ex-Machina, and the idea of future instalments set in this brutally minimalistic version of the comics’ Mega City One could be even more addictive than Slo-Mo, the time perception-freezing narcotic of choice for its lowlife denizens. Star Karl Urban has spent a fair bit of time canvassing for a followup, yet so far to no avail. It’s probably wishful thinking to imagine that Blade Runner 2049’s reception could change minds at studio Lionsgate, but here’s hoping.
Ethan Hawke in Andrew Niccol’s Gattaca
Cult classic … Ethan Hawke in Andrew Niccol’s Gattaca. Photograph: Moviestore/Rex Shutterstock
Joss Whedon’s Serenity really ought to be another matter entirely. This is the film-maker who made The Avengers, the fifth-highest-grossing movie of all time at the global box office with more than $1.5bn in receipts, and who has just been given the chance to rescue DC’s similarly momentous superhero epic Justice League following Zack Snyder’s unfortunate departure. If he’s not trusted by studios, then no one should be. Yet Whedon has an entire space opera galaxy ready to be exploited in the form of the universe he created for cruelly curtailed TV show Firefly and its big-screen sequel, 2005’s Serenity. Darker and less fantastical than Star Wars or Guardians of the Galaxy, it’s a cosmos without aliens that somehow ends up being more intriguing for its barbarous and cold-blooded vision of the future as a 22nd century-set paean to the old west frontier. And if they can roll out Harrison Ford for new Star Wars and Blade Runner movies, there surely ought to be a place for Nathan Fillion’s moody Captain Malcolm Reynolds in future big-screen efforts.
It’s possible to argue that the current hype around Blade Runner 2049 should also encourage studio executives to take a second look at the unheralded work of Australian film-maker Andrew Niccol, whose Aldous Huxley-inspired 1997 thriller Gattaca remains an under-viewed cult classic. Set in a world where eugenics have led to humans being judged according to the quality of their genetic code, its failure at the box office shouldn’t mask the movie’s potential as the jumping off point for dozens of potential sequels. Niccol’s In Time, about a society where the human body clock simply stops if one runs out of cash, is another underrated allegorical study of societal polarisation between the haves and the have nots.
John Carpenter’s They Live
Fright-fest … John Carpenter’s They Live. Photograph: Courtesy Everett Collection / Rex Features
Alex Proyas’ gothic curiosity Dark City is one more startling vision of the future that never quite found its audience, while John Carpenter fright-fest They Live could also do with being dug out and expanded upon – even if these two latter films perhaps lack the imaginative scope of some of the others I’ve mentioned. Perhaps you have your own suggestions?
The point is, that with Blade Runner 2049 set to carry all before it, the rules have changed forever. It no longer matters if a given movie was a box-office dud when it first emerged, for there’s every chance it will still emerge as a cultural touchstone, albeit if one is prepared to hang on a mere 35 years for society to catch up.
https://www.theguardian.com/film/filmblog/2017/oct/03/blade-runner-2049-sci-fi-classics-sequel-denis-villeneuve
The story behind the 35-year gap between Blade Runner’s first and second episodes is almost as ornate as the dusky flame-lit cityscapes of Ridley Scott’s 1982 opus of dystopian neon-noir. When the movie first hit cinemas in a cut featuring an ill-advised Chandleresque voiceover from Harrison Ford and a frankly laughable tacked-on happy ending that ruined every last trace of enigma over replicant Rachel’s future, it received mixed reviews from critics.
There’s an ironic parallel between the powers that be in Scott’s film, who deny the humanity of Roy Batty and his gang of replicants, and reviewers of the time, who seem to have felt that Blade Runner, while looking amazing, lacked something in the way of soul. Roger Ebert described the film as “thin in its human story” while Pauline Kael criticised its development “in human terms”. The movie barely made its $33.8m production budget back at the box office, according to Box Office Mojo.
Blade Runner 2049 review – a gigantic spectacle of pure hallucinatory craziness
Ryan Gosling plays an LAPD officer heading for an encounter with Harrison Ford’s Deckard in a film whose sheer scale leaves you hyperventilating
Read more
While the film began to pick up a cult following among fans from the moment it first screened, critical opinion only really began to shift in 1993, when Warner Bros released the Director’s Cut, and zoomed into top gear in 2007, when Scott’s own Final Cut (the only version over which the film-maker had full control, though only minutely different from its predecessor) was released. By this point the film had already been voted the best science-fiction movie of all time, by scientists (no less) in a poll for the Guardian. This newspaper’s Xan Brooks called Blade Runner “Scott’s most ambitious, fully realised film” apart from Alien, at the time of the Final Cut’s release. It is arguable, in the light of Blade Runner 2049’s rapturous reception from critics, that the British director’s second major contribution to sci-fi cinema may now have an even more lasting effect on the future of Hollywood than his first.
Given the glacial pace of Blade Runner’s development, it is also tempting to wonder how many other sci-fi bombs that have been languishing for years in relative ignominy might yet find traction in the not-so-distant future. The story of the futuristic noir’s slow rise to the cultural pinnacle suggests it can sometimes take a generation for studios to accept that opinion has changed; that there is suddenly a demand for fresh stories set in the same universe.
Blade Runner 2049: five things we learned from the shorts
Read more
If that’s so, can we please have a sequel to Pete Travis and Alex Garland’s Dredd for starters? The 2000AD adaptation in 2012 was a smash at the UK box office but struggled in the US, and failed to get the sequel it was so obviously crying out for. Garland has since proven himself the coming man of sci-fi with the Oscar-nominated Ex-Machina, and the idea of future instalments set in this brutally minimalistic version of the comics’ Mega City One could be even more addictive than Slo-Mo, the time perception-freezing narcotic of choice for its lowlife denizens. Star Karl Urban has spent a fair bit of time canvassing for a followup, yet so far to no avail. It’s probably wishful thinking to imagine that Blade Runner 2049’s reception could change minds at studio Lionsgate, but here’s hoping.
Ethan Hawke in Andrew Niccol’s Gattaca
Cult classic … Ethan Hawke in Andrew Niccol’s Gattaca. Photograph: Moviestore/Rex Shutterstock
Joss Whedon’s Serenity really ought to be another matter entirely. This is the film-maker who made The Avengers, the fifth-highest-grossing movie of all time at the global box office with more than $1.5bn in receipts, and who has just been given the chance to rescue DC’s similarly momentous superhero epic Justice League following Zack Snyder’s unfortunate departure. If he’s not trusted by studios, then no one should be. Yet Whedon has an entire space opera galaxy ready to be exploited in the form of the universe he created for cruelly curtailed TV show Firefly and its big-screen sequel, 2005’s Serenity. Darker and less fantastical than Star Wars or Guardians of the Galaxy, it’s a cosmos without aliens that somehow ends up being more intriguing for its barbarous and cold-blooded vision of the future as a 22nd century-set paean to the old west frontier. And if they can roll out Harrison Ford for new Star Wars and Blade Runner movies, there surely ought to be a place for Nathan Fillion’s moody Captain Malcolm Reynolds in future big-screen efforts.
It’s possible to argue that the current hype around Blade Runner 2049 should also encourage studio executives to take a second look at the unheralded work of Australian film-maker Andrew Niccol, whose Aldous Huxley-inspired 1997 thriller Gattaca remains an under-viewed cult classic. Set in a world where eugenics have led to humans being judged according to the quality of their genetic code, its failure at the box office shouldn’t mask the movie’s potential as the jumping off point for dozens of potential sequels. Niccol’s In Time, about a society where the human body clock simply stops if one runs out of cash, is another underrated allegorical study of societal polarisation between the haves and the have nots.
John Carpenter’s They Live
Fright-fest … John Carpenter’s They Live. Photograph: Courtesy Everett Collection / Rex Features
Alex Proyas’ gothic curiosity Dark City is one more startling vision of the future that never quite found its audience, while John Carpenter fright-fest They Live could also do with being dug out and expanded upon – even if these two latter films perhaps lack the imaginative scope of some of the others I’ve mentioned. Perhaps you have your own suggestions?
The point is, that with Blade Runner 2049 set to carry all before it, the rules have changed forever. It no longer matters if a given movie was a box-office dud when it first emerged, for there’s every chance it will still emerge as a cultural touchstone, albeit if one is prepared to hang on a mere 35 years for society to catch up.
October 6th release. Reviews seem positive, will see it this weekend.
There are preview screenings here on the 5th. Don't normally like going to the cinema, but I'll fork out £20 for imax this time.
Hard to say. An alarming number of major press film critics are young and "gender-fluid". Since they seem to think most comic-book films are thrilling, insightful and multi-layered masterpieces, as opposed to films for the semi-literate with attention-span problems - you have to take their opinions with a pinch of meth. It's got to be better than most though.
I love the original but I'm gutted that they haven't got Vangelis back to do the soundtrack, it won't quite feel the same without it
Oct 6, 2017 -- 2:30PM, the bloob wrote:
I love the original but I'm gutted that they haven't got Vangelis back to do the soundtrack, it won't quite feel the same without it
Kermode said the sound was very evocative of Vangelis
still do back flips ?
Memories of Green :
https://www.youtube.com/watch?v=JBkMVelmb08
https://www.youtube.com/watch?v=JBkMVelmb08
Oct 6, 2017 -- 12:54PM, MadVlad wrote:
Never watched the original is it worthwhile ?
See it before the 2049 film if you can.
A feel of the film here :
.
https://www.youtube.com/watch?v=ccJJ0uxigVA
.
https://www.youtube.com/watch?v=ccJJ0uxigVA
Went to see yesterday
Give it a princely 3 out of 10
If you like cinematic effects-well played
Otherwise it was RUBBISH
mORE Hollywood PR
For an insomniac I nearly fell asleep
What a waste of time
Give it a princely 3 out of 10
If you like cinematic effects-well played
Otherwise it was RUBBISH
mORE Hollywood PR
For an insomniac I nearly fell asleep
What a waste of time
10 star review from IMDB :
So 35 years of wait is finally over... Was it worth the wait???
5 October 2017 | by Blade Runner – See all my reviews
This is my updated review as I feel I did not do the movie justice and I have also increased my score of the movie...
I was one of the lucky ones who got to see an early preview.... And the more that time passes by and the more the story of Blade Runner 2049 sinks in the more the gravity of the story hits me... First of all it really was not what I was expecting... I had watched many trailers and interviews and I feel like I had done quite a successful job in staying away from spoilers....
And....
Without spoiling it for anyone else and giving too much away.... Whatever you think you know about the film... well, forget it.... You're way off the mark...
The best advice I can give though is however dark you think Blade Runner 2049 is.... It's darker than that.... It's much darker than the original... And the original was quite dark.... The cinematography is beautiful... it really is stunning... but the film itself.... did I mention it was dark??.. I think this is amplified (excuse the pun) by the movie's soundtrack... The work of Hans Zimmer and Benjamin Wallfisch was for me... at times.... malevolent... And perhaps if the music wasn't so dark and hostile the movie itself wouldn't come across like that also... But then what do I know?... That's not to say the music is bad... It was for me.... like I said malevolent.... As for the movie itself... Again without giving too much away.... It's a story of loneliness.... A story of wanting nothing more than to be accepted... It's a story of desperate hope and anguish... Wanting for a better life.... Replicants being more human than humans, being more perfect than humans.... but not being human and wanting nothing more than to be human... even for all the faults the human race has and the perfection of the replicant race... Still the desperate hope and anguish of wanting to be human.... Are you keeping up??... And this whole time living in a dystopian world.... where the future of the human race is a lost cause and Mother Earth has never looked so heartbroken....
Speaking of heartbreak... again without spoiling the story... be prepared... the whole story is a story of heartbreak and literally at every turn Ryan Gosling is having his heart broken.... whether that be his relationships with others or his life in general... For me Ryan Gosling has a knack of playing the lonely leading role... and he has done this on a few occasions now.... both in the movies - "Drive" and "Only God Forgives".... which I hope he doesn't end up being typecast in... but saying that... I don't think there is an actor alive today who can play the role of being totally isolated from the rest of the world better than Ryan Gosling.
Blade Runner 2049 did have some nice surprises... which again... I won't spoil...
In closing.... Ryan Gosling is excellent... It is Harrison Ford's best work for years.... This overall review may sound like I'm being negative about Blade Runner 2049... But I'm not... I'm really not...
As for where it stands next to the original... I never thought I'd hear myself saying this but I think as years pass by it will stand next to the original Blade Runner quite easily.... It's not the same movie as the original but it is as good as the original in its own right...
I think Ryan Gosling said it best in an interview
The film is incredible... it's.... haunting...
With this in mind a few days have passed now and I am still left with a feeling of being haunted by Blade Runner 2049....
So much so that I want to see it again and I will go and see it again... and again... and again....
Just like I did the original...
Blade Runner 2049 "is" incredible....
It's...
Haunting
So 35 years of wait is finally over... Was it worth the wait???
5 October 2017 | by Blade Runner – See all my reviews
This is my updated review as I feel I did not do the movie justice and I have also increased my score of the movie...
I was one of the lucky ones who got to see an early preview.... And the more that time passes by and the more the story of Blade Runner 2049 sinks in the more the gravity of the story hits me... First of all it really was not what I was expecting... I had watched many trailers and interviews and I feel like I had done quite a successful job in staying away from spoilers....
And....
Without spoiling it for anyone else and giving too much away.... Whatever you think you know about the film... well, forget it.... You're way off the mark...
The best advice I can give though is however dark you think Blade Runner 2049 is.... It's darker than that.... It's much darker than the original... And the original was quite dark.... The cinematography is beautiful... it really is stunning... but the film itself.... did I mention it was dark??.. I think this is amplified (excuse the pun) by the movie's soundtrack... The work of Hans Zimmer and Benjamin Wallfisch was for me... at times.... malevolent... And perhaps if the music wasn't so dark and hostile the movie itself wouldn't come across like that also... But then what do I know?... That's not to say the music is bad... It was for me.... like I said malevolent.... As for the movie itself... Again without giving too much away.... It's a story of loneliness.... A story of wanting nothing more than to be accepted... It's a story of desperate hope and anguish... Wanting for a better life.... Replicants being more human than humans, being more perfect than humans.... but not being human and wanting nothing more than to be human... even for all the faults the human race has and the perfection of the replicant race... Still the desperate hope and anguish of wanting to be human.... Are you keeping up??... And this whole time living in a dystopian world.... where the future of the human race is a lost cause and Mother Earth has never looked so heartbroken....
Speaking of heartbreak... again without spoiling the story... be prepared... the whole story is a story of heartbreak and literally at every turn Ryan Gosling is having his heart broken.... whether that be his relationships with others or his life in general... For me Ryan Gosling has a knack of playing the lonely leading role... and he has done this on a few occasions now.... both in the movies - "Drive" and "Only God Forgives".... which I hope he doesn't end up being typecast in... but saying that... I don't think there is an actor alive today who can play the role of being totally isolated from the rest of the world better than Ryan Gosling.
Blade Runner 2049 did have some nice surprises... which again... I won't spoil...
In closing.... Ryan Gosling is excellent... It is Harrison Ford's best work for years.... This overall review may sound like I'm being negative about Blade Runner 2049... But I'm not... I'm really not...
As for where it stands next to the original... I never thought I'd hear myself saying this but I think as years pass by it will stand next to the original Blade Runner quite easily.... It's not the same movie as the original but it is as good as the original in its own right...
I think Ryan Gosling said it best in an interview
The film is incredible... it's.... haunting...
With this in mind a few days have passed now and I am still left with a feeling of being haunted by Blade Runner 2049....
So much so that I want to see it again and I will go and see it again... and again... and again....
Just like I did the original...
Blade Runner 2049 "is" incredible....
It's...
Haunting
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