Fifth about The Seventh

Blade Runner 2049

Blade Runner 2049: one of the strengths of Denis Villeneuve’s sequel is how well it dialogues with Ridley Scott’s original work, even it doesn’t quite rise up to it. The detective story at its core has enough science fiction undertones to raise up some interesting debates. The characters are interesting; the sole exception being the main villain, who comes across as a cypher and less interesting because of it. Jared Leto’s performance doesn’t help matters; the rest of the cast, however, is very solid, from the small but crucial role of Dave Bautista (very touchingly played) and Ana de Armas to Ryan Gosling (who is a good choice, as he has the cool to play the role); of course, Harrison Ford fares fine as well. The film is, simply put, a visual masterpiece; every frame of this film is gorgeous and evocative. The world is beautifully designed by Dennis Gassner, and has a rare lived-in quality to it; Roger Deakins lights and frames those settings as the master that he is; the special effects team also deserves credit, in particular for the execution of de Armas’ character. Benjamin Wallfisch and Hans Zimmer’s musical score have the same unsettling, eerie vibe than the original Vangelis score; the whole sound design, in fact, is quite good. The flip side of all this is that the film has a ponderous pace, and exudes emotional coldness (not fully inappropriate given the nature of the character.)

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