Blade Runner 2049

BRDirector: Denis Villeneuve

Screenwriters: Hampton Fancher and Michael Green

Cast: Ryan Gosling, Harrison Ford, Robin Wright, Dave Bautista, Ana de Armas, and Jared Leto

Cells. Cells interlinked within cells – interlinked. Do they keep you in a cell? Cells. Interlinked. Within cells interlinked.

Yes, that’s a poor representation of the baseline test used by the LAPD to ascertain whether K (Ryan Gosling), a replicant blade runner, is developing dangerous emotions in the new film Blade Runner 2049.

That’s right, I said “replicant” “blade runner;” one and the same. 30 years of degradation will do that to a society. If you remember back to the 1982 original film, you’ll recall that blade runner units are special police squads tasked with locating and retiring (killing) rogue biological manufactured creatures called replicants that were used “off-world” to develop colonies in the early 21st century. These replicants soon mutinied against their human masters, and those who managed to escape to Earth were hunted down by blade runners. Now, 30 years later in the year 2049, the Tyrell corporation responsible for the original development of replicants is bankrupt and has been absorbed by tech giant, the Wallace corporation. Niander Wallace (Jared Leto) has resurrected the replicant, creating an entirely new breed capable of obeying humans, which allows them to serve at every level of society, even as blade runners, working with the police to help retire older rogue models that continue to persist.  In fact, Wallace also manufactures holographic companions for these new obedient replicants, allowing him to enjoy the double consumer bump of producing consumers who consume their producers’ products! I can picture Jeff Bezos at Amazon headquarters considering a way to get Alexa to want to buy her own Alexa!

Blade Runner 2049 opens with a magnificent sequence where K, one of these new Wallace replicant blade runners is on a mission to track down and retire an old rogue nexus-model replicant named Sapper Morton (Dave Bautista). While at Morton’s, K discovers the buried remains of a deceased female replicant whose death is evidenced by signs of complications from an emergency C-section; no replicant has ever been capable of reproduction. K’s superior, Lieutenant Joshi (Robin Wright) orders K to destroy the remains, and track down and retire the child for fear that public knowledge that replicants can reproduce may start a war. Conversely, Wallace is made privy to the discovery and desires to capture the offspring in the hopes conducting tests on the anomaly in order to create a self-sustaining replicant force that could increase his production off-world exponentially. Now K is caught in the middle between obeying his superiors and facing the reality that replicants are “more human than human.” Suffice it to say, his baseline gets all messed up.

K’s search for the replicant child makes up most of the second half of the 164 minute

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Harrison Ford as Rick Deckard in Blade Runner 2049

masterpiece, and his journey expands the world we remember from the 1982 film beyond LA, and also leads him to some familiar faces we recall from the original, most notably Rick Deckard (Harrison Ford) who has been hiding out in Las Vegas…or what’s left of it.

 

Blade Runner 2049 dethrones Baby Driver as the best film of 2017 so far. This is also the rare sequel that improves upon its original. Villenuve has been on the cusp of breaking out for some time now. He first arrived on my radar with the 2013 film Prisoners, which I thought was outstanding. That film also marked his first collaboration with his now go-to cinematographer, Roger Deakins, famous for his many films with the Coen Brothers and Sam Mendes. Deakins lends his lens to Villenueve for the third time here, and I think it’s his best effort yet. The visual landscapes, environments, and overall immersion experienced with this film are

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Ana de Armas as Joi, an adaptive computer hologram companion in Blade Runner 2049.

breathtaking. Do yourself a favor and see Blade Runner 2049 on the big screen. In his previous film, Arrival, Villenueve used cinematographer Bradford Young, and Young received an Oscar nod for it. It turned out, while Villenueve was wrapping up Arrival, he was already working and storyboarding Blade Runner 2049 with Deakins. I mentioned in my Oscar predictions last year that I was excited to see Villenueve was coming off Arrival and going right into Blade Runner 2049 with Deakins. I now can comfortably predict that Deakins will receive his 13th Oscar nomination for this film, and, I also expect, his first win!

Blade Runner 2049 is a visual achievement, but it is also a triumph of science fiction and exploration into the flawed emotionality of the human being. Villenueve and original screenwriter, Hampton Fancher deepen the themes and ideas introduced in the 1982 original, creating a superb overall film that demands repeat viewings. A

Blade Runner 2049 is rated R and has a running time of 2 hours and 44 minutes.

Logan

LoganDirector: James Mangold

Screenwriters: James Mangold, Scott Frank, and Michael Green

Cast: Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook, and Stephen Merchant

Seventeen years, appearances in nine separate X-Men related films (credited/uncredited), and about 27 different timelines – Hugh Jackman is finally hanging up his claws. Citing fatigue, age, and skin cancer as factors, Jackman has made it clear Logan will be his final film as the iconic Wolverine. But don’t worry, Wolverine will not go GENTLE into that good night.

We open in the year 2029, and time has not been kind to Logan. A glorified, Uber driver, Logan (Jackman) is a limo driver for hire scraping together cash in order to buy a boat where he and an ailing Professor Charles Xavier (Patrick Stewart) can live out their days isolated, yet out of harm’s way. Logan also has some health concerns of his own. His healing abilities are nothing like they used to be, which was the only thing protecting him from adamantium poisoning; he’s also a little too friendly with the bottle.

Mutants are all but extinct at this point, none having been born in over 25 years. Also, a catastrophe has basically wiped out the X-Men altogether. This event is but glossed over, but it clearly has to do with a seizure condition affecting Xavier. His mind being the most powerful the world has ever seen, as it deteriorates, the fallout can be alarming. In order to keep him safe, undetected and from doing harm, Logan, with the assistance of a mutant tracker named Caliban (Stephen Merchant), keeps Xavier medicated and contained in a large, empty water tank. This temporary measure is mostly effective, but as Xavier’s seizures get worse, it becomes clear Logan needs to speed up his plan. Things are complicated, however, with the arrival of a young girl named Laura (Dafne Keen), who possesses the same mutant ability as Logan and is being pursued by a powerful corporation, Transigen. If one were to connect the dots, it would imply that the DNA William Stryker used to “create” Wolverine has been stolen and repurposed by Transigen, which it has. More specifically, a mad scientist type by the name of Dr. Zander Rice (Richard E. Grant) is using the stolen mutant DNA to design, grow, and patent a militant mutant force who are now child aged, Laura being one.

Laura hopes to escape Transigen’s clutches by finding a safe haven called Eden across the Canadian border North of North Dakota, and she needs Logan’s help. Logan wants no part, but thankfully Professor Xavier sees Laura as someone who can begin to repair the damage that has annihilated his gifted youngsters. She can be the start of something new and someone who can teach Logan to love again.

What follows is your basic cat and mouse chase with Logan shepherding Professor Xavier and Laura while being pursued by an army of sinister figures, mutant and human alike.

The action is relentless, and now would probably be a good time to address the R rating. This is one brutal film both visually and emotionally. The violence is also off the charts. Director James Mangold always planned to make this film a darker, heavier Wolverine film, even before the success of Deadpool last year. The source material for the storylines came from some of the bleaker, more recent Wolverine graphic novels, including Old Man Logan (2008). This is truly a departure and another progression for the Marvel universe. While still under the 20th Century Fox studio and not officially a Marvel Production, Logan gets to be something different without too much disruption to other properties. With Logan, continuity is an afterthought, we have a more personal film, there is limited CGI, we get to spend time considering the value of aging heroes, and most of all the case is made that superheroes are not just for kids.

There’s a scene in Logan where Professor X and Laura are watching the movie Shane in a hotel room just as Alan Ladd says, “A man has to be what he is, Joey. Can’t break the mould. I tried it and it didn’t work for me.” There’s no finer epitaph for this movie or superior way to express it. Referencing a 1953 western to make your point is cinematic gold and a far more mature approach than in most “superhero” fare. I don’t think we are far from seeing the evolution of the superhero genre substantiating itself into cinematic art of the finest regard. Logan may not quite be that film, but it will likely be cited as the influence for that film. It’s important to take this film for what it is, and that is a character-driven action film. Logan does fine work with that, and while Logan may be Shane, Logan is not Shane. Still, this is certainly the finest of the Wolverine films, and its limited cast and mature perspective make it one of the most important comic book films yet. Furthermore, Jackman is outstanding as the tortured hero once again. This is the role he was born to play, and that is likely why he took it so seriously every time he played it. Unfortunately, nearly every role Jackman takes, he seems born to play, so it is fitting that he, like his character, is ready to move on to what’s next. A-

Logan is rated R and has a running time of 2 hours and 17 minutes. There is no after-credit scene with this film, but there is a humorous Deadpool 2 teaser before the film, so get there early.