*NEW* BLADE RUNNER 2049 REVIEW *NEW*

Blade Runner 2049 minutezzz long

If we are lucky enough to get a director’s cut; I’d like to see the running length CUT.

A young blade runner’s (Ryan Gosling) discovery of a long-buried secret leads him to track down former blade runner Rick Deckard (Harrison Ford), who’s been missing for thirty years.

Now I wasn’t the biggest BR fan. I remember watching it for the first time, and thinking, “Is that it?!”. It was only through numerous re-watches (Thank you BA Film Studies) that I grew to love the 1982 cult classic. Not the first to say that, I’m sure.

Essentially, BR was a generic cyber noir about a disillusioned cop tracking down some killer robots. BUT what stood out and made BR so much more was the question of self and identity. Who were the real monsters? The replicants or their creators?

Hampton Fincher’s brooding social commentary on corporate capitalism (Again thank you BA Film Studies) spoke volumes BUT it also asked the biggest (and most important) question of all: was Deckard a replicant?!

Now 35 years on (What?!) . . . And Ridley Scott decides to make another sequel to another one of his movies.

To be honest, the opening had me from the get go. The Nexus 6 prologue, that opening shot of the burning flames in the iris of an eye, and that iconic Vangelis theme (teased meticulously by Wallfisch and Zimmer) blaring through those 17 Dolby Super Screen speakers. Goosebumps.

Roger Deakin’s breath-taking cinematography (You could do an essay on that alone and I’m sure people have).

Needless to say, the BR nerd in me was hook, line and sinker!

I remember watching Only God Forgives and denouncing Gosling. Screaming to the movie gods, demanding why this guy kept getting big Hollywood movies. BUT after stellar turns in La La Land and The Nice Guys, I was intrigued to see what he would do.

And he did not disappoint. A charismatic performance. He carried the film for me. Sorry Deckard. I was transfixed and happy to soak up the slow burning tension.

I will dispense a warning. There may be spoilers. So read ahead at your peril.

The character ‘K’ (Gosling) was a welcome addition to the BR universe. The fact he was openly a replicant changed the whole dynamic of the piece. He almost made the story his own.

The romantic subplot with Joi (The beautiful Ana de Armas) was a nice touch and I actually felt for them. A forbidden romance restricted in the cyber and the real world. Do androids dream of electric sheep? Can a robot fall in love with an erotic hologram?

All the little nods were there. Those origami unicorns, Edward James Olmos! The old faces working well with the new.

For the first hour or so, I was content. But then I realised there was another 100 minutes left.

This was where things went wrong for me. And as much as it pains me to say after praising Deakins’ amazing cinematography and set design. A feast for the eyes. Nice shots does not a good movie make.

If you’re looking for answers, you won’t find any. Now the question mark around Deckard was always the fun debate. The ambiguous ending a talking point for years to come. I didn’t care about getting an answer on that old chestnut (Do you? I’m not saying)

Some questions are better left unanswered. One of the appealing and infuriating messages of this film. A double edged sword.

BUT what disappointed me the most was what our hero Deckard was doing for 35 years. All that build up and promise. A welcome return for Harrison Ford. All the theories and questions about what the cyber-sleuth had been doing and the answer . . . Sweet nothing apparently.

Ford’s reactions reflected much of mine during the film. He really didn’t know what was going on or why people were seeking him?

The pace dragged and I found myself struggling to stay interested.

Robin Wright had potential as K’s superior officer Lieutenant Joshi BUT never really got the chance or the screen time. The same can be said for Dave Bautista. That guy continues to impress. Even in such a minute role.

Sylvia Hoeks was impressive as the resilient adversary Luv. A mercenary replicant on the heels of K’s quest for answers.

Despite the best efforts of the supporting characters, it lacked something.

Rutger Hauer was outstanding as Roy Batty. A charismatic and engaging turn that made this seemingly cyber punk android so much more. His “Time to die” speech left goosebumps. I felt more for the replicant than the protagonist.

Jared Leto? What the hell was he on? His performance as blind tycoon Niander Wallace was dreadful. His mind numbing monologues nearly put me into a mini-coma.

He fell short of Joe Turkel’s Tyrell (Bishop to King 7!) by a country mile. I mean, those glasses were iconic enough. Instead we get ol’ White eyes whispering and dithering away. If it wasn’t for one unexpected twist in the final act, I would have deemed him unnecessary.

It seemed like 2049 set things up for another and tried to tease that ambiguity that made the original so appealing but it didn’t work for me.

I just wasn’t as engrossed. It delivered all the nods and tried to make it on its own but it felt like a pale (albeit beautifully and bolder) imitation of the original.

Despite my nitpicking and disappointment, I do want to watch it again but somehow I don’t think I’ll fall for it as much as I did the original. I went in not expecting much and was rewarded with a mixed bag. No character of Batty’s calibre? No somersaulting Daryl Hannah (What?)

I could take the existential angst and themes of identity but it just wasn’t enough. In a way if Deckard wasn’t thrown into the mix, this might have fared better with just K.

Watchable by all means. It’s just a shame that a breathtaking opening first half was dragged down by poor pacing and a dithering plot line.

2.5/5

*NEW* THE NICE GUYS REVIEW *NEW*

Kiss Kiss Bang Bang, this ain’t.

A mismatched pair of private eyes (Ryan Gosling and Russell Crowe) investigate the apparent suicide of a porn star in 1970s Los Angeles.

From the mad opening sequence of a pornstar crashing her car into a family home, I knew what I was getting myself into. One mad ride.

Writer/director Shane Black is back with a new noir thriller and a dysfunctional duo in Crowe and Gosling as the private eyes who unwittingly get involved in the same case.

Crowe was brilliant was the no holds barred ‘punch first ask questions later’ Jackson Healey. I wasn’t sure if I was going to like his character after his macho introduction. Black’s lines didn’t really fly out at me like Kiss Kiss BUT there were still a few jewels: “Marriage is buying a house for somebody you hate. Remember that”.

Crowe playing yet another hard man. Here we go. BUT once he crossed paths with the equally mental Holland March, I knew we were in for a treat.

The pair had great chemistry and worked well off each other. Gosling stole the show. After seeing him in so many super serious dramas; Drive, The Place Beyond the Pines and Only God Forgives (God forgive whoever made that movie), it made a change to see him play such an idiot.

He was hilarious and made the fumbling fool look effortless. Cutting up his hand trying to break into an office. Dropping his gun on numerous occasions. The guy literally falls into trouble. A running gag with the drunk detective falling everywhere had me in stitches.

Despite all the tomfoolery, March and Healey were perfect noir protagonists. Healey, the man with a grudge. Out to right wrongs. No matter the cost. March, a man on the edge seeking solace in the bottom of a bottle after losing his wife. We introduced to the guy fulled dressed in the bath. A tattoo on his right hand saying; “You will never be happy”.

The first 45 minutes was fantastic. It was mad, quick witted and confusing as hell. Everything I expected from Black. It ticked all the boxes.

Keith David (The Thing) and Beau Knapp (Southpaw) were great as the appropriately titled Older Guy and Blue Face. Two murky underlings hot on the pair’s track to find the only witness to the crazy case.

The introduction of Angourie Rice as March’s daughter Holly gave March an extra depth and showed a softer side to Healey. However, she soon overstayed her welcome and took a good portion of the attention (and gags) away from the pair.

Her ‘moral compass’ viewpoint and busybody detective solving got on my nerves and killed a lot of the fun for me. And that was the problem, a heavy middle act got bogged down by too many serious moments and a befuddling plot.

Margaret Qualley (The Leftovers) was dreadfully irritating as Amelia. The running gag of her (Well, running away) got on my nerves. Her constant reappearances throughout the film really tested my patience. I’m sure that was the point BUT it didn’t leave me smiling.

Matt Bomer (Magic Mike) was heavily underused as the merciless hitman. A change of role BUT anyone could have played him. Kim Basinger (L.A. Confidential) was also wasted in her role as the shady Chief Justice. She may be looking good at 62 BUT her character was pushed in the background too much. Just another generic corrupt politician. Shame.

“Okay, that explains basically nothing” – The plot, despite all its intentional contrivances, was actually quite predictable and a little flat after all the mystery.

The lumbering pace and the snappy one liners lost their zing. BUT thankfully, a frantic and fiery final act restored it back on track.

It was tough NOT to draw comparisons with Kiss Kiss Bang Bang. An underrated and heavily recommended watch. BUT this was still good fun and definitely a breath of fresh air after the feeble efforts I’ve slogged through.

Despite my grumbles, I still enjoyed it. Thanks to the crazy coupling of Crowe and Gosling.

3/5

I will leave you with one of my favourite scenes and the best movie line I’ve heard in a while.