Newspapers offline and on the web are reporting the low box office results of the recently released sequel to the classic scifi-noir drama, 'Bladerunner: 2049'. THIS MEANS NOTHING. The original 'Bladerunner' didn't make a great impact either upon landing. But like most great ideas it flew over the heads of the masses and slowly built up a cult following consisting primarily of the intellectually driven media consumers. Now, many years later, the world generally acknowledges that the first 'Bladerunner' was great. A classic slipped to us right under the fanboy noses. But the pros saw it for what it was: sheer genius.
Now 'Bladerunner: 2049', the sequel to 'Bladerunner' is here and enduring the same low box office result of the original. I went and saw this film and I've got to tell you, Ridley Scott, the director of the first 'Bladerunner' and now the producer of this new one, HAS DONE IT AGAIN. 'Bladerunner: 2049' is a textbook example of how a science fiction movie SHOULD BE MADE. It has created a world so believable that you never question it's reality on the screen. For you and the characters it is all occuring. All so damn well constructed artificial believability!!!!
I tell you I had a hell of time watching this film; a film that was not trying to impress you. It was only trying to tell you that we, our species, is headed for serious trouble when we start making androids so close to our own images that we cannot tell them apart (without special equipment). It's a movie about the near necessity of a slave work force in order to make sure that a large and presumably great endeavor takes place. This is a frightening thought, I know. For nothing justifies slavery. BUT what if you could justify it? That is the world of 'Bladerunner'. And what do you do with those slaves once their work is done?? That's 'Bladerunner''s problem and coincidentally the problem of African-Americans and the descendants of the slave owners, White Americans. That's how subliminal Bladerunner is operating on. That's how deep it's going. Doesn't matter if it made money, once you see it. Once you hear it, you will never forget it.
The movie is directed like clockwork by Denis Villeneuve. His hand is so deft and so purposeful that you forget that everything on the screen is being guided by him and those working with him. The seriousness of the film is what strikes you the best. It's no joke, living in a world RUN BY CORPORATIONS (sound familiar?). It doesn't seek to explain to you repeatedly what's occurring in this world. It hopes that you are not an idiot so much so that when the characters discuss the now radioactive wasteland of Las Vegas -made so by a 'dirty bomb', it never mentions the possibility or likelihood that Vegas fell victim to a terrorists attack. For a 'dirty bomb' is a weapon that terrorists can more likely get their hands on than a straight-up nuclear weapon.
But the casting of 'Bladerunner: 2049' is what's so dead-on about it. Done by Zsolt Csutak
Francine Maisler, Lucinda Syson , all of the characters are unassuming in their roles, as if they were born to play them. No favoritism here. No casting couches got these guys their roles. They fit the part. They got it. End of story. Ryan Gosling does his best at NOT BEING RYAN GOSLING. At not being a human. And it works. He manages to walk the line between Human and Almost Human perfectly. His LAPD (Los Angeles Police Department) commander RESEARCH is also very effective at being a woman with an almost personal mission at maintaining the order, or THE LINE that's been drawn (by the masses of humanity and not the corporations) separating a human being from a 'Replicant'. At times during the course of the film she appears to be the lone defender of that line and quiet effective at it. Other characters are also there for a reason. Take Harrison Ford's Rick Deckard. Rick Deckard is a man that has lost the love of his life, Rachel -a replicant, but he has not forgotten her at all. The love he had for her has not faded in many, many years. This is so emphasized in an exquisite scene that has to be seen to be fully appreciated; when corporate head RESEARCH, played hauntingly, 'cybernetically', by the weirdness exuding Jared Leto. What a scene when he meets Harrison Ford! What a scene when Ford's character is tempted by Jared's character to LOVE AGAIN if he will only do what Let's character wants him to do. NEEDS him to do.
The special effects are flawless. Kiss your laptop or PC tower tonight for this. For computers have made the unbelievable so believable that it's ridiculous. Did they film this shit from the future itself?? Every image tries to stay with you in this film. It's all so down-right well done. And I've seen a lot of science fiction films. This is some good stuff. Flying cars never looked so awesome! And what gets me about the 'Bladerunner' universe is it's appropriateness of it's future predicting. If and when we do get flying cars who do you think will covet them the most but the police departments?? None of that skyway traffic crunch shown in other films involving the future. How believable is that? No, cops will probably get those flying cars first --and if they get their way, the last.
Are you ready to see this movie yet? You should be. Now I warn you, if you do see it, put aside your expectations of what a movie should be. This is done in a more 'real time' feel, like a Stanley Kubric film. '2001: A Space Odyssey' style. It takes it's time. It doesn't give a fuck if you don't have the nearly 3 hours to spare to see this film. It's a masterpiece that no one is seeing. Not the slower folks out there. Only the smart people are seeing it for now. Then, years later, the slower ones will see it and they will call it a classic right along with the people who called it a classic from the start. 'Bladerunner: 2049' is lightning striking twice.
I'm George Alan Booker and I created the character known as Zombie Racer and then everyone and his mother started turning it into shitty video games on the Internet so now it's just all over the damn place. Anyway I used to work in comic books, animation, and TV advertising storyboarding. Now I'm returning to comics again with the start of this website. Check the site ledger on the Home Page (Graphic Storytelling.com and Gallery subheadings listings) for samples of my artwork. Follow me on Facebook at www.facebook.com/zombieracer for satirical jokes and political commentary (it's where I chill at).