Ana de Armas
USA
summary Young Blade Runner K's discovery of a long-buried secret leads him to track down former Blade Runner Rick Deckard, who's been missing for thirty years
Score 426925 Vote
creator Michael Green

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Given the length of this film, coupled with the acclaimed visuals, I decided not to watch this at my local IMAX when it was released 2 years ago because I knew it would demand my complete and utter attention.
As a consequence I waited a good year for the Blu Ray to be released and spent one evening totally absorbed and "ready" for the BR2049 experience via my TV and 7:1 sound system.
During this time I had read many many reviews of the film, both from professional sources, fans and the general public. The consensus being that the film is indeed visually impressive, but was also slow, indulgent and not very involving. But then I recall reading similar reviews when the originally Blade Runner was released back in 1982, but that never deterred me from watching and later fully applauding such a marvelously constructed film on so many levels.
So I watched 2049 at home, and yes, it blew me away visually! So much so that I completely lost track of time, and the 160 odd minutes felt more like 60 so engrossing was the film. However, when the final credits rolled I did think to myself: well what have I really learnt here? What was the plot about again. Who was that character and what did he/she do again?
So enraptured with the visual sfx and hardware that the story felt like an afterthought. So a week later I did the same again, but this time I wore wireless headphones rather than my sound system; and this time the story really began to make sense. I also realised how character-driven this film really is, and you really have to watch and rewatch the film to appreciate the nuances of each and every one of them.
I have since watched the film from home at least 6 times, and I still learn something new. It is a truly amazing film, even if the plot isn't quite as complex as it tries to be; and I never really liked the fight sequence at the end of the film either.
That said, Gosling, Ford,Armas,Hoeks and in particular director,Denis Villeneuve all do an exceptional job, as well as making BR2049 a worthy sequel to such a cult film.

Few sequels match the original. Successful sequels, such as Terminator 2 and Aliens, rarely introduce new ideas. Instead, they build on the original plot - and have good plots themselves. Blade Runner 2049 definitely doesn't introduce any new ideas. New ideas are hard to come up with. A good plot isn't but 2049 doesn't have one. That's the difference between a movie based on a book (Blade Runner) and a movie based on a screenplay (this one. But, in spite of that, I enjoyed this movie. It's at least an hour too long for it's paper-thin story line but it's a sumptuous movie in terms of its cinematography and music. You don't even have to watch it on a huge screen (I didn't) to get drawn into it. I think anyone who enjoyed the original would enjoy this movie. The story line is sparse but, at least, it's serious science fiction and avoids sentimentality and silliness (I'm looking at you Matrix Reloaded. So, not bad. Decent science fiction. Wonderful visuals and music. Weak plot. Wasted opportunity.

(Warner Bros. ) In Ridley Scott's sci-fi classic, humans may be the privileged class, but it's the replicants who are truly alive Scott Bukatman August 26, 2018 10:30PM (UTC) Excerpted from "Blade Runner" © Scott Bukatman (1997). Reprinted with kind permission of the author, the British Film Institute and Bloomsbury Publishing. While it was pursued less emphatically in the movie than in the novel, there were continual hints that Deckard might be something other than human. What, for example, of the blade runner who meets his demise in the film’s opening scene? Is it a coincidence that he looks and sounds remarkably like Harrison Ford/Rick Deckard? Or are they the same model of blade runner? Isn’t it odd that the headquarters of the Tyrell Corporation and Deckard’s apartment (modeled on Frank Lloyd Wright’s Ennis-Brown House of 1923) are both inspired by Mayan architectural design? ( Neumann, 1996) Why do Deckard’s eyes briefly glow with a red reflection? And how does Gaff know about Deckard’s unicorn reverie? Small wonder, then, that Deckard is edgy from the start, and that his anxiety so easily slides into paralysis and panic. The Deckard debate is, in some ways, a denial of what the film really does offer, which is a double reading: undecidability. Noël Carroll has argued that "Citizen Kane" was designed to support two entirely contradictory interpretations of Rosebud’s importance to Charles Foster Kane. ( Carroll, 1989) This is somewhat true of "Blade Runner" as well: Marvin Westmore, the film’s chief make-up artist, noted that "a lot of things we did on 'Blade Runner' were 'possibly it’s this' or 'possibly it’s that, '" in keeping with Scott’s desire to make a film that was more evocative than explicit. To some extent, though, Deckard’s status is undecidable because nobody finally decided. Some versions of the script made Deckard into an android, others don’t even raise the question. Scott wanted to include hints that Deckard was a replicant, but with all the changes and revisions, it’s no wonder that audiences were baffled. One might argue that in the original release, Deckard isn’t a replicant, but in the Director’s Cut, he is. Paul Sammon, the author of the definitive "making-of" book on the film, "deduces" that in the Director’s Cut, "Rick Deckard is a replicant. " The answer lies, as it does for others, in Deckard’s "unicorn reverie, " which may connect to the origami unicorn that Gaff later leaves in Deckard’s hallway. According to the "Blade Runner" FAQ list on the Internet: "Gaff left the unicorn outside Deckard’s apartment because he knew that Deckard dreamt of a unicorn. If Gaff knew what Deckard was dreaming, then we can assume that Deckard was a replicant himself, and Gaff knew he would be dreaming of a unicorn. " In other words, the unicorn image was implanted, and Gaff knew it. But the, to my mind, obsessive desire to answer the question has always seemed misguided. If Deckard is a replicant, then what’s the moral of this story? The issue of human definition is clearly – to me – central to the work, and thus the ambiguity is crucial. Many of the clues to Deckard’s status could certainly be taken metaphorically. The unicorn, for example, could easily represent Rachael: it is, after all, an archetype. Murray Chapman’s FAQ reasonably links it to the unicorn symbolism in Tennessee Williams’s "The Glass Menagerie, " and the girl who was "different to other horses. " "Rachael is (and always will be) a replicant among humans, and will be different, like a unicorn among horses, because of her termination date. " And when Rachael asks Deckard whether he has ever taken the Voight-Kampff test, she may not be asking about his literal human status, but about his capacity for the empathy that the machine measures. On the other hand, for Slavoj Žižek, philosopher and cultural theorist, the most radical implications of "Blade Runner" depend upon Deckard’s standing revealed as a replicant. "Blade Runner, " he argues, is valuable in that it stages a confrontation with our own "replicant-status. " Žižek is writing through the discourse of Lacanian psychoanalysis, in which the self never belonged as fully to itself as Descartes’s cogito implied or as fully as we want it to (Deckard and Descartes are homophones, he notes, a pun for which I’d give Philip Dick full credit). "Our" replicant-status is not just a function of our constructedness (old news, really), but of the awareness of the void (the gap between "our" and "selves") that follows its recognition. It is the replicants’ obvious knowledge of their own manufacture that makes them our (or Žižek’s) "impossible fantasy-formation. " Even before the advent of what is known as "the society of the spectacle" the cogito was incomplete, but the exteriorization of memory in the information age makes that fundamental error all the more evident. Computer networks and satellite systems make the "decentered" or "virtual" self newly unavoidable, but they hardly invented it. Replicants expose the hubristic self-misconception of the human – the mythos of the self-sustaining "self" becomes all the more untenable. Žižek writes: "It is only when … I assume my replicant-status" that "I become a truly human subject. " It is when we acknowledge our own replicant-status that we come face to face with ourselves as that irresolvable paradox: the "thing" that "thinks. " * * * Žižek has criticized the Director’s Cut as inadequate and compromised regarding Deckard’s status. He wants Deckard to be unambiguously a replicant and to confront that reality: for him it is in that confrontation that the film’s meaning lies. But there is someone else at the film’s center who does confront his post-human condition – gleefully – and while Deckard/Descartes remains mired in agonized denial, Roy Batty (batty, nutty, kooky) is romping through the film, the "thing" that thinks and fights and pouts and plays and poses. More human than human, right? Batty provides a kind of antidote to Deckard’s panicky blandness. After killing Tyrell, Batty rides the elevator back down the side of the pyramid. In one of the film’s best subjective moments, he gazes heavenward in what Hampton Fancher points out is "the only shot in the whole movie where you see stars. And they’re moving away from him, as if he’s some kind of fallen angel. " READ MORE: The bizarro world of Steven Seagal: Hero in the movies, villain in real life Roy is a perfect denizen of the modern city; he embodies its kaleidoscopic essence. The city, after all, is a masked ball, a place of emergence and submergence, opulent display and clandestine transformation. Criminals might benefit from the possibilities the concentrated city offered for anonymity, but they weren’t alone. "In retrospect it is clear that the laws of the costume ball have governed Manhattan’s architecture, " Rem Koolhaas has claimed. "The costume ball is the one formal convention in which the desire for individuality and extreme originality does not endanger collective performance but is actually a condition for it. " Rutger Hauer’s fabulously campy performance turns Roy into a figure of resistance and play. "Gosh … you’ve got a lot of great toys here, " he tells Sebastian, his voice quivering with lust. He exhibits real joie de vivre ("I want more life, f***er"), but demonstrates even more joy in performance. He purses his lips, taunts, teases, confesses remorse, paints his face and in general eroticizes the world. In a few drafts of Fancher’s screenplay, Roy’s appearance in the final battle is described as being "somewhere between a Comanche warrior and a transvestite. " He jumbles male and not-male, white and not-white, human and not-human. The protracted battle between Deckard and Roy extends from Sebastian’s home to other apartments in the near-abandoned Bradbury Building to the rooftops. Throughout this penultimate sequence there is a constant straining upward, a physicality reminiscent of the final showdown with the spider in "The Incredible Shrinking Man" (1957). There, too, the scenario forces the protagonist upwards in a straining gesture towards human triumph over an anti-human enemy: these are climbs towards transcendence. But "Blade Runner" will complicate these oppositions. Roy’s death was the last sequence to be filmed, and while the exhaustion on Harrison Ford’s face as he watches his "enemy" die is real enough, it is also the exhaustion of humanity on display. MORE FROM Scott Bukatman.

Phil Resch was a bounty hunter in northern California. Although he was initially unaware of the fact, he was assigned for two years to a precinct that was occupied entirely by androids. Biography [ edit | edit source] At some point, Resch slept with the android Rachael Rosen, who intended for him to quit his job as a bounty hunter, but he continued. [1] When bounty hunter Rick Deckard was brought to the precinct for questioning after retiring the android Max Polokov and preparing to act upon his next target, Luba Luft. Officer Garland – while realizing he was Deckard's next target – summoned Resch to see if Deckard was an android Resch was assigned to retire. Upon learning of Polokov's nature, Resch suggested he test the station's personnel with the Boneli test, which Garland opposed. [1] Resch left to get the equipment. Upon his return, he had expected an ambush by Garland, so shot him. Resch left with Deckard to retire Luba Luft at an art gallery. However, before they could subject Luft to the Voigt-Kampff test, she taunted Resch to the point where he retired her on the spot. Fearful that he was an android himself, he was willingly tested by Deckard. He passed the test and the two bounty hunters parted ways. [1] Behind the scenes [ edit | edit source] Resch appears in Do Androids Dream of Electric Sheep? and its comic book adaptation. He has no equivalent character in the film adaptation, Blade Runner. In the stage adaptation, Resch is changed to a female bounty hunter named Phillipa Ryan. References [ edit | edit source].

Camrip Blade Runner 2049 Here. Blade Runner English Film Watch"Blade"Run.n~e,r"2049` Online"Megavideo…. SOLARMOVIE Blade Runner 2049 Watch full movie todaypk. Film Do Androids Dream of Electric Sheep? Jeter books Dave Holden was a Blade Runner assigned to test new employees at the Tyrell Corporation on the premise that the escaped replicants might try to infiltrate the company in the hopes of extending their four-year lifespans. Biography [ edit | edit source] Despite having an excellent reputation as a Blade Runner, Holden underestimated the Nexus-6 replicants, as they were difficult to detect even with the Voight-Kampff test. While testing Leon Kowalski, the subject became noticeably agitated at Holden's questions before pulling out a gun and shooting Holden. He was able to draw his pistol after Leon's first shot, but the second crippled him and sent him crashing into a desk. [1] Holden in 2023 Holden later recovered and, by 2023, was promoted to Captain of the LAPD Blade Runner Unit. After Detective Harper of the unit was ambushed by the replicant Eve, Holden gave him the task of finding the missing Kano Nakayama. [2] Harper's investigation uncovered Night Owl, which Specialist Mackey later explained was a fast-acting viral pathogen designed by Tyrell to eliminate all replicants if they were to become a threat. Holden suggested the LAPD obtain a court order to be given Night Owl, wishing to release it to fully eliminate the replicant population. [2] After Harper failed to rescue Nakayama from the hands of the Replicant Underground Resistance and sparing the Nexus-6 Lazarus, Holden ordered him back to the police headquarters. Holden asked about the missing Lilith Tyrell, whose assistant claimed Harper had requested a meeting with. Because Harper withheld evidence, Holden suspected he could be the mole and subjected him to a Voight-Kampff test. Gaff entered midway through the test, informing Holden that Lilith had been found after showing up at her office. Holden then ordered Harper to go home and return first thing the next day for another Voight-Kampff test. [2] Holden went to the Tyrell headquarters to confront Lilith Tyrell about Night Owl. [2] Harper soon arrived, revealing his deception of the Blade Runner Unit, prompting Holden to conclude that Harper was a replicant and summoned other Blade Runners to retire him. Holden pursued Lilith, but was ultimately shot and killed by Harper. [2] Harper soon arrived, revealing to Holden that the present Lilith was actually a replicant that Nakayama was forced to help the Resistance create. Once exposed, Lilith attacked Holden and Harper retired her. Holden commended Harper for saving his life and helping the LAPD retrieve Night Owl. [2] Holden later sent Gaff to offer a "big" case to Harper. [2] Behind the scenes [ edit | edit source] Holden is based on Dave Holden in Do Androids Dream of Electric Sheep?. He is essentially the same character as presented in the film, but is mentioned to own a sports-car type model hovercar. However, it is clearly stated in the novel that Holden will eventually fully recover. No such assurances are given in Blade Runner. Morgan Paull was initially hired on the film to perform screentests with actresses being considered for the roles of Rachael and Pris. Ridley Scott enjoyed working with Paull and offered him the role of Holden. There were two hospital scenes with Holden and Deckard in the film, but these were cut out, explained by director Ridley Scott as being extraneous and perhaps distracting. The scenes have been included in the latest DVD editions of the film released in December 2007. Here additional background info and insight into Holden's character is provided, as Holden is shown reading Treasure Island while in hospital, an old favorite of his. He is also shown to use the derogatory term "Skinjob" in conversation with Deckard and expresses his fear of Replicants becoming almost human, going so far as to accuse Deckard of sleeping with Zhora when Deckard expresses doubts about hunting them. He also reveals that he had tested 26 other Tyrell employees, explaining his short patience when dealing with Leon. He correctly predicted that the replicants were on Earth searching for "God" - to them, Eldon Tyrell. Another deleted scene shows Bryant and Gaff reviewing recordings of Deckard's visits with Holden; Bryant is shown thinking of both Blade Runners derisively as "two old men trying to grapple with metaphysics" and is confused at Holden's statement that the Replicants are searching for God. Gaff, on the other hand, understands perfectly. Holden's death in the comic In the Blade Runner comic book adaptation, Holden's interrogation of Leon is shortened, with Leon rising and shooting Holden from across the table as opposed to firing from under it. Here Holden is blown into the wall as opposed to through it by Leon's shot, nor does he draw his weapon (though he is described as attempting to do so) and is presumably killed by Leon's first shot, Leon's second shot being either to confirm the kill or just a sadistic pleasure on Leon's part. Thus as opposed to saying that Holden is in hospital, Bryant comments "He's no good anything. " In the 1997 video game, it is revealed that Leon stole Holden's badge and left it in the apartment the replicants were using. Fortunately, rookie Blade Runner Ray McCoy found the badge when investigating the scene. Additionally, it is shown in the game that Holden is the third best shot in the Rep-Detect department, behind only Gaff and Crystal Steele. The game also says he buys custom-made armor-piercing rounds from Bullet Bob, a gunstore owner. Paull was approached to reprise his role in the game, but negotiations fell through. Holden later appeared in Blade Runner: Revelations, voiced by Steve Prince. Appearances [ edit | edit source] Blade Runner Blade Runner: Revelations References [ edit | edit source].

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