Blade Runner 2049
Ryan Gosling in Blade Runner 2049
opens this evening, and you should postpone all life events, up to and including the viewing of professional baseball and the birth of your children, to see it on the biggest, best possible screen available. Locally, that means getting your butt to the XD theater at Valley View or the IMAX screen at Crocker Park. The film is an arresting visual marvel and it deserves to be viewed in premium formats.
Reviewers have been asked, by Director Denis Villeneuve himself, not to reveal key (or, in fact, any
) plot points, this to preserve the sanctity of the movie-going experience. This is a request I'm tickled pink to dignify. He wrote a personal letter and everything. Plus, Villeneuve's film Arrival
was my favorite of 2016, and I'm floored by what he's been able to achieve.
Know only this: Blade Runner 2049
is big and loud and long and grand. Like its 1982 predecessor, it is serious to the point of being funereal — not much levity to be found in any of its 163-odd minutes — but it is an opus unlike any other film this year, with a sci-fi near future more richly textured and boldly conceptualized than anything I can think of off the top of my head. Even Steven Spielberg's
ingenious Minority Report,
from 2002, which was also based on source material from science fiction czar Philip K. Dick, takes a back seat.
Props, as always, to cinematographer Roger Deakins — the longtime Coen brothers collaborator — but also to production designer Dennis Gassner and the armies in the art and visual effects teams, to say nothing of the location scouts and set decorators, all of whom combined to create this dark and glorious visual fabric that remains deferential to Ridley Scott's vision while also being totally original.
You'll be pleased to know that Harrison Ford's still got it.