Watching this tomorrow!
Also, in case you want to watch the shorts.
Last edited by Philip J. Fry; 10-06-2017 at 03:23 AM.
Very impressive at fulfilling a seemingly impossible (and impossibly daunting) task, though understandably doesn't feel as groundbreaking or mind-altering as the original did, though it is a pretty spectacular thematic and stylistic renovation and expansion of much of what makes the world of the original continue to have a pulse as strong as ever beneath its visual/aural presentation. And then it does a lot more.
Saw it tonight in Real-D 3D, seeing it again in IMAX 2D (expanded to 1.90:1 ratio for its entirety). Now knowing how to maybe re-calibrate my thoughts and expectations of it as a piece of work, I really look forward to experiencing all of it again.
Bottom line: They did it. Whatever it is to make a direct sequel to a seminal genre definer and actually have the guts to go about it this way. But aside from that, they totally accomplished the film at hand. It sings. It's just going to be an ongoing question as to whether or not it's exactly the song I, you, or we all wanted at all, or if we just didn't know we did.
Last 11 things I really enjoyed:
Speed Racer (Wachowski/Wachowski, 2008)
Safe (Haynes, 1995)
South Park: Bigger, Longer & Uncut (Parker, 1999)
Beastie Boys Story (Jonze, 2020)
Bad Trip (Sakurai, 2020)
What's Up Doc? (Bogdanovich, 1972)
Diva (Beineix, 1981)
Delicatessen (Caro/Jeunet, 1991)
The Hunger (Scott, 1983)
Pineapple Express (Green, 2008)
Chungking Express (Wong, 1994)
Quoting Philip J. Fry (view post)
I've seen this. I'm really impressed by Villeneuve's productivity. He released two films in 2013, shot Sicario in 2014 for mid 2015 release, then shot Arrival in 2015 for 2016 release. He managed to finish all the pre-production, casting, and filming for Blade Runner in 2016. I imagine he was at least thinking about and doing some pre-production work for Blade Runner in 2015, but it's hard to see how he'd have much time for that given summer shoots for Arrival and then festival season. And yet Blade Runner has such a premium design and sense of vision and scope that it appears to have been meticulously constructed from years of planning, intense focus, and hard work. I don't know how he does it.
See my latest blog entry: The Wolf of Wall Street and The New Cinema of Excess
I'm still in awe. Henry Gale nailed most of my initial thoughts.
It's not perfect: it could have been shorter, and some stuff could probably have been handled better, but overall it is so gripping and relentlessly atmospheric and beautiful. I can't wait to see it again next week.
Seeing this tonight
Finding out that Johann Johannson was no longer writing the score was a huge bummer for me. He's proven time and time again that he could do justice to the material, while also adding his own, unique voice to the compositions. Just listen to his album Orphee, and you can practically see a new Blade Runner in your mind. Not because it apes Vangelis' music, but because it's just that evocative. Also his score for Arrival is incredible. Hopefully Johannson is able to release what he had completed at some point in the future.
https://pitchfork.com/news/johann-jo...r-2049-report/
I was really looking forward to his unique music being used. Especially when what we got is a super generic Hans Zimmer score. I listened to the Zimmer score this morning, and absolutely nothing stands out about it. I'm sure it fits well with the film, but I definitely won't be listening to it on a weekly basis like I do the original. I do not like Zimmer's music at all. Very tired of his stuff.
Still super stoked to see the film, just not as stoked to hear it.
Glad this seems to be thrilling for everyone. There seems to be some divisiveness creeping up in RT, which is now at 89% and seems to be going down every day. But perhaps that's exactly in line with how it was in 1982. Those poor sods will come around...in 30 years.
Anyhow, IMAX 3D this coming Sunday!
Oh and 4K Blade Runner tonight on 65 inch LG Oled.
[+] closer to next rating / [-] closer to previous rating
- Dark (S3) ✦✦✦½ [-]
- Fall (Mann, 2022) ✦✦✦½ [-]
- Ms. Marvel (S1) ✦½ [+]
- Dark (S2) ✦✦✦✦
- Moon Knight (S1) ✦✦½ [-]
- Get Carter (Hodges, 1971) ✦✦✦½ [+]
- Prey (Trachtenberg, 2022) ✦✦✦ [-]
- Black Bird (S1) ✦✦✦✦
- Better Call Saul (S6) ✦✦✦½ [+]
- Halo (S1) ✦✦✦ [-]
- Slow Horses (S1) ✦✦✦½ [+]
- H4Z4RD (Govaerts, 2022/BE) ✦✦½ [-]
- Gangs of London (S1) ✦✦✦½ [+]
- We Own This City (S1) ✦✦✦½ [+]
- Thor: Love and Thunder (Waititi, 2022) ✦✦ [+]
Do I watch the shorts before I see the movie?
The one I watched was awesome, I say yes.
So close to being a masterpiece. Two biggest complaints are:
1. Using the Hollywood trope of horns as measure of the level of tension I should be feeling during any given scene. Really wish they didn't Nolanize the score. It worked in some areas but not across the board; too much 'Bwaaaaaaaa'
2. Literally could have cast anyone in the Gosling role that doesn't resemble a tree and would have received 10x the emotional response from the audience. How can an actor show chops in movies like the Nice Guys and La La Land to an extent, and literally has only one other persona. The dude has the acting range of a caterpillar.
Denis Villeneuve proves he knows what he's doing. He took the pacing of the first film and honored it. Use of colors was very appropriate. Loved the scope of LA and LOL @ San Diego. There was one scene in particular where it looks like embers were floating into the sky, and the lighting of skyscrapers turns on in the background and as it turns out it was actually snowflakes. Who was the DP on this because.... Oscar nod incoming.
I didn't mind any of the ties to the first film. It really could stand on it's own. But there's one question that I need answered.
[]
I lied, I have a third spoiler complaint.
[]
C'mon....Quoting Dukefrukem (view post)
[]Quoting Dukefrukem (view post)
See my latest blog entry: The Wolf of Wall Street and The New Cinema of Excess
Honest... I had no idea it was Zimmer or Deakins on this project. Lol. Just looked it up.
Doesn't quite stick the landing that it wants to, but boy is this a yay anyways. There's always one sci-fi movie a DECADE that truly nails a sci-fi feeling of the future, and this is the first one since maybe.... Children of Men with having a technology and future that feels real and astonishing to watch at the same time. The "synched sex scene" is something to behold in its own. FANTASTIC casting for both of those characters by the way. I've recognized them both, but forget.
Anyway, this just makes you want to watch the shorts and rewatch #1 all over again. Oh man.
This may be my favorite of the year, and again, there's a letdown of an ending, as it's not as emotional as it should feel, but I'd watch the first 80% of this over and over and over again. Kind of like the first.
Gosling in his "frozen" mode is kind of uninteresting, but when it's intentional and delivers it works. Think Drive... He's just getting this role way too much. He needs to be a villain soon, I think.
And, I want so much more to know about the Jared Leto character. I'm pretty confused with him actually, and feel a rewatch is in order just for his scenes.
And that Deakins cinematography............ Holy moly.
Yeah, this definitely lives up to the hype. Phenomenal work here.
And I also couldn't help but think this must make it especially embarrassing for that idiotic live action Ghost in the Shell movie to be released in the same year as something like this.
Those guys tried their best but no one was up to the task. This, on the other hand? All cylinders.
Are you talking about sci-fi in general or really putting thought into what life is going to be like several decades from now? I know you didn't like Fury Road, but i'd say that trumps this from a sci-fi perspective on all fronts.Quoting Ezee E (view post)
Fair. I guess "advanced sci-fi" in terms of how technology evolves. Mad Max: Fury Road shows end of times I guess. Her touches on it, but only feels a few years. The advanced/interactive commercials, vending machines, holograms... LOVE that stuff.Quoting Dukefrukem (view post)
Minority Report and Children of Men are the movies from last decade that did it.
E, you might be into this --- short "oral history" from the futurists who advised Minority Report's production team:
https://www.wired.com/2012/06/minori...t-idea-summit/
Sorry this happened for you I found myself in tears. From start to finish none of this disappointed.Quoting Ezee E (view post)
There's only the openness of the ending to frown upon. Too many loose ends in what I hoped wouldn't be a franchise starter.
I guess I just have to confess that the central themes of these films just aren't terribly compelling to me. To Villeneuve's credit, this film feels very much in the spirit of the first. I believe in the continuity that has been created. However, just like the first, good lord is it dramatically inert. The visuals are appealing and inventive. The characters are relentlessly dull. And it is next to impossible to care at all about this particular protagonist's journey. Who's real? Who's not? Who cares?
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
What do you think would have helped with that from your POV? Is it bad character development, or something about the themes themselves that just aren't interesting to you?Quoting Spinal (view post)
See my latest blog entry: The Wolf of Wall Street and The New Cinema of Excess