Blade Runner 2049

Blade Runner fits the archetype of a cult classic. An initially poor box office return, then feverishly discussed through word of mouth upon video release, spreading to become one of the most influential science fiction films of all time and in the upper echelons of any publication’s ‘Best Movies Ever’ list.

It’s a film, like Trainspotting before it, which its many devotees felt should be left well alone. Despite Ridley Scott’s numerous edits, and the various short prequels and sequels which were released afterwards in various guises, and the ambiguous nature of its ending, a sequel was a much-mooted but largely derided idea.

Again, though, like Trainspotting, the insatiable nature of the project, the guaranteed audience base and critical kudos attached to the former meant it was always going to be a project discussed by studios and now, 35 years after the original, Blade Runner 2049 sees the light of day.

I’m delighted to say that this betters the great T2 and is another almighty notch on Director Denis Villeneuve’s belt. The critically adored Sicario and Arrival made Villeneuve a Director to watch but a successful project such as this puts him on an elite level at the film-making round table.

Set, itself, 30 years after the first film we follow Officer K, a modern Replicant Blade Runner hunting old Nexus models. On one mission he makes a startling discovery; a chance that Replicants can conceive children.

Like the original, this leads into a philosophical, slow-burner of a film. Happy to methodically languish in solipsism, to leave the audience to decide what makes us human. This is, by no means, an action film; the carefully selected moments where the action does arrive hit hard and the violence is brutal and uncompromising but the trailer, as is Hollywood’s wont, suggests a more thrilling picture.

Ryan Gosling was born to play this role; bringing the stern-faced charisma he showed in Drive he’s in almost every scene here. Much discussed, as well, is the returning Harrison Ford as Deckard. Not just roped in as fan service he is a key component to the twisting plot, a sci-fi mystery which hits every beat over its two and three-quarter hour run-time. No scene is extraneous and no stone unturned.

It is also absolutely gorgeous, the meticulous work of master cinematographer Roger Deakins is again on full display here with stunning vistas and eye-searing visuals. An Oscar is surely coming his way and your eyes will be bathed in neon and rain.

Another Oscar-worthy nod must go to the sound. My goodness, the sound! Jóhann Jóhannsson, Hans Zimmer and Benjamin Wallfisch perfectly channel Vangelis and stroke your ears with synths and bass.

Paying perfect homage to the original (the noodle bar, the 80’s idea of future technology, the hovercars, the adverts, I could go on) but still very much its own beast, Villeneuve has created a masterwork that certainly matches the original. Hell, it may just better it.

5 stars *****