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And so, pursued by the ruthless Luv, Agent K must track down Deckard and the identity of the miracle child. This leads K to visit the headquarters of replicant manufacturer Niander Wallace (Jared Leto), whose steely servant Luv (Sylvia Hoeks) reveals that the remains belong to Rachael. While unsettling, Lieutenant Joshi (Robin Wright) orders Agent K to retire the child and remove all evidence as the knowledge that replicants can reproduce is far too dangerous. Set 30 years after Deckard escapes with Rachael, an obedient replicant Blade Runner, Agent K (Ryan Gosling), discovers the remains of another that died in child birth. To retain one’s directorial style in a franchise such as Blade Runner is no easy task. With questions of identity and humanity as central concerns, Blade Runner 2049 is no different. In Enemy, Jake Gyllenhaal plays a man seeking out an exact lookalike he spotted in a film. Prisoners is a “whodunnit” with Jack Gylleenhaal and Hugh Jackman, playing a detective and father respectively, desperately trying to find abducted children.
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In Arrival, we piece together Louise’s (Amy Adams) backstory as she learns to communicate with aliens. Many of Villeneuve’s films work as puzzles for the viewer. While this subservience of women may well be a critique of the dystopian politics of the Blade Runner universe, no female character is granted any significant agency. Each scene makes a crowded urban space seem oddly weightless: Blade Runner thanks to slow motion and Chinatown thanks to airy photography.In one particularly disturbing scene, Deckard restrains Rachael and forcibly kisses her. Compare Deckard fighting his way through people and animals on the LA streets around Taffy Lewis' club with the crowd that suddenly surrounds Jack Nicholson's J. Both films understand that Los Angeles is about space, both the potential of empty space and the crush of filled space. That it can feature in films from the 1940s to the fictional 21st century suggests the timeless nature of the Bradbury's construction, which is reflected by the futuristic LA's distinctly eclectic architecture.Īccordingly, the Los Angeles of Blade Runner is not too different from the Los Angeles of Chinatown. In fact, that film's climactic final battle through the Bradbury is probably the building's most famous role. Save this picture! In perhaps its most famous role, the Bradbury Building reflects the eclecticism of the architecture in Blade Runner. It has been used in both film noir ( D.O.A., Marlowe, Chinatown) and science fiction and fantasy ( The Outer Limits, The Night Strangler) since the 1940s, so its use in Blade Runner was almost a given. The downtown Los Angeles landmark is hardly camera shy. One need look no further than the use of the Bradbury Building. The city has been so prominent throughout cinema history, in fact, that films such as the 1955 noir Kiss Me Deadly can be considered a kind of cinematic primer on LA architecture that isn't there anymore. Los Angeles has been used as a setting for many films, and its unique architecture has been invoked by filmmakers and studied by art historians on screen. It's a complex heritage that belongs to both the city and cinema. Los Angeles in Blade Runner was a paradox: dead but vibrant, dirty but drenched in rain, overcrowded but in the constant process of being abandoned. Save this picture! The architecture in the original Blade Runner shows more of a "civic soul" than its successor.
#IMDB BLADE RUNNER 2049 MOVIE#
The resulting movie feels curiously devoid of a civic soul, which is perhaps the point. In fact, one of the few prominent characters not recast is the city of Los Angeles, whose architecture is strikingly absent compared to the first film. For example, it's easy to see reflections of Blade Runner characters in 2049: private dick Rick Deckard is now the stoic, world-weary K femme fatale Rachael is Joi, a hologram companion who straddles the line between mortal and machine wacky Roy Batty is the single-minded, murderous Luv not to mention a bevy of replicants passing for humans and cops with hidden agendas. The film is perhaps more subtle in the way it refers to Ridley Scott's 1982 dystopian cult classic than some recent sci-fi restorations- Star Wars: The Force Awakens, I'm looking at you-but it isn't above a bit of blatant parallelism. There ought to be a word for this kind of film-halfway between a sequel and a reboot-but there isn't, so we just have to call it Blade Runner 2049.