|Directed by||:||Denis Villeneuve||Produced by||:||Andrew A. Kosove, Broderick Johnson, Bud Yorkin, Cynthia Sikes Yorkin||Based on||:||Characters from Do Androids Dream of Electric Sheep? by Philip K. Dick||Starring||:||Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright||Production company||:||Alcon Entertainment, Columbia Pictures, Scott Free Productions, Torridon Films||Country||:||United States|
DOES BLADE RUNNER 2049 WANT TO HAVE ITS WOKE CAKE AND EAT IT TOO?
With Blade Runner 2049 now on DVD, I've been thinking about the film—a film that stuck with me long after I left the theater.
I remember stepping out of a showing not really sure how I felt about it. The easy answer was to say that I hated it flat out, but that discounts the level at which it has stayed with me since. Among my group were a few men who knew exactly how they felt about it. “I can’t believe we just got to watch a true modern sci-fi classic,” of them said as soon as our feet hit the sidewalk, dodging bodies flowing out of the theater, and it seemed like this was the group consensus. I cracked a joke about the sound editing but mostly just politely smiled and nodded, not wanting to get into a fight about it there. It felt immediately as if we’d seen two different movies.
I understand the movie they saw. A philosophical meditation on identity and humanity. A visually stunning achievement with sweeping artistic shots over a dust-covered seemingly white male-centric dystopian future, the future of specifically the city in which we both saw our movies. But also, yes, it's an often extremely loud film, in which someone decided to take the distortion pedal blaring that have conquered modern film trailers and scored an entire film with it, and yet, somehow, that worked?