Tag Archives: Ridley Scott

BLADE RUNNER 2049

“…airborne vehicles swoop in and out of the huge neon-lit monolithic tower blocks from which [these] holograms emanate, visually bringing to mind Rupert Saunders’ 2017 offering, Ghost in the Shell.”

Wayward Wolf.

There is a school of opinion that I’ve been made aware of a number of times since the release of Blade Runner 2049. It’s one that suggests the film is overlong and drawn-out, with a bloated sense of self-importance. Now, that’s a pretty harsh assessment in anyone’s book and not one that I necessarily agree with, yet it’s not entirely a mystery as to why such an exaggerated conclusion might have come about.

At getting on towards three hours in duration, Denis Villeneuve’s epic sequel to Ridley Scott’s 1982 masterpiece, Blade Runner, is certainly in no rush, and clearly not concerned with your average curtailed 2017 attention span, and other such modern phenomena.

There is also a propensity for Blade Runner 2049‘s early exchanges to veer towards technological overload at times with the director positively wallowing in gadget and technology porn, leaving us in no doubt whatsoever that this is a point in time in which there have been absolute quantum leaps beyond what would be considered high-tech in 2017.

Less prevalent is the incessant rain of Blade Runner, now largely replaced by an overcast, desolate and arid climate over which hangs a smog so thick you could cut it. Perhaps an indication of a planet whose raised mean temperature has ultimately led to water becoming something of a scarce resource?

The future Los Angeles cityscape that has been conjured up here is one in which holographic advertisements for everything from major corporations to virtual call girls reach out and interact with the public. And airborne vehicles swoop in and out of the huge neon-lit monolithic tower blocks from which these holograms emanate, visually bringing to mind Rupert Saunders’ 2017 offering, Ghost in the Shell.

In amongst this rather soulless, gloom-sodden backdrop we are introduced to the story of  ‘K’ (an appropriately dead-pan performance from Ryan Gosling), a replicant working for the LAPD, who, on successfully executing a mission to ‘retire’ one of the few remaining rogue replicants, stumbles upon the remains of a female replicant buried beneath a nearby dead tree. This in itself isn’t necessarily news-worthy, but the fact that the replicant appears to have died during caesarean childbirth having obviously been pregnant – an impossibility according to mainstream scientific thought – clearly is.

Such a scenario presents the possibility of a hugely volatile situation unfolding, deemed potentially explosive enough to cause great conflict between humans and replicants, and K is therefore instructed by his superior, Lieutenant Joshi (Robin Wright), to track down the replicant child that had been born and eliminate it and all evidence that it had ever existed.

Blade Runner 2049 is noticeably built around a strong narrative, the slow and considered execution of which is very much to the benefit of the piece, building an introspective, mood-heavy work that offers its viewer ample time to consider and reflect upon the film’s myriad themes, not to mention opportunities to grapple with the film’s finer, slightly more cerebrally-taxing plot points.

Perhaps most impressive is its ability to elevate itself above 90% of any science fiction that has ever been committed to celluloid, by demonstrating considerable heart. Nowhere is this better exemplified than by way of K’s touching, if slightly unconventional relationship with his holographic other half, Joi (making full use of the seductive charms of Ana de Armas). Essentially, we’re talking about an android dating a moving picture here, yet Villeneueve successfully convinces us that such a scenario can be considered to be much more than just that, painting a picture of trust, intimacy, and dare I say it, something bordering on love? Not just a sequence of high-tech mechanics.

Joi’s frequent appearances are heralded by strains of Peter’s theme, from Sergei Prokofiev’s Peter and the Wolf. Such a sonically beautiful interlude, no matter how brief, is a nice touch, and a refreshing reminder from within such a cold impersonal landscape, of the true essence of humanity and of genuine emotion; not to mention a nod no doubt to the enduring longevity of real works of art.

And talking of music: though lacking the soaring sonic themes of its predecessor, Blade Runner 2049 – through the efforts of both Benjamin Wallfisch and the ever reliable Hans Zimmer – has at least tipped its hat to those sumptuous sensual swelling synth sounds of the magnificent Vangelis original, producing a soundtrack that, whilst unexceptional, at least offers some degree of continuity between the two films, and hence a reassuring familiarity.

Gosling, Wright and De Armas are joined in a strong cast by Jared Leto who puts in a powerful turn as Niander Wallace – a character that I felt a little more could have been made of – and naturally Harrison Ford is brought back in for a cameo role, reviving his portrayal of Rick Deckard, a move which thankfully proves to be far more than just a fleeting contractual obligation, with his character carefully and convincingly engrained into the film’s nuanced narrative.

It’s been 35 years now since Blade Runner first hit the big screen, and to even have attempted to create a sequel that does justice to the revered original was something of a bold move. The fact that Denis Villeneuve’s dystopian vision, whilst by no means perfect, not only doesn’t sour the lingering memory of one of the all time greats but proves to be a very fine film in its own right, is testament to the work of an excellent and courageous director.

 

 

 

 

 

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ALIEN: COVENANT

“…a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.”

Wayward Wolf.

Oh how I long for simplicity.

There are a handful of set pieces within Alien: Covenant that hint at what a decent film it could have been, but so buried are they within an over-cooked, rambling backstory, that any impact they may lend the film is fleeting, to say the least.

It was Ridley Scott who took charge of the much-hyped, but ultimately quite frankly poor, Prometheus, and in Alien: Covenant, he once again looks to rediscover a bit of that old Alien magic in the latest chapter of this most patchy of franchises.

Sadly, long gone it seems are the days when we cowered in horror and bit our nails down to the bone in fearful awe of the most excellent Alien, not to mention it’s excellent James Cameron-directed sequel, Aliens. Whilst Alien: Covenant does have its moments, it’s a very pale imitation of what’s preceded it.

Another 2017 release, Life, made no pretence to be anything other than something of a homage to some of the great science fiction films of the last half century, yet despite its relatively unoriginal concept(s), it delivered a tight, neatly packaged and thoroughly entertaining finished product with both considerable impact and laser-sharp precision.

Ridley Scott’s Alien: Covenant, in contrast, struggles somewhat for identity. There’s clearly an ‘epic’ vision at play behind the scenes here. The director tries manfully to engage his audience on far more of an expansive scale and cerebral level than simply throwing rampaging aliens in numbers at unsuspecting space travellers (although there’s plenty of that to be getting on with), but the general impression is that this is a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.

Part thriller, part thought-provoking science fiction piece, part action-packed white knuckle ride, part philosophical lament, you name it, this is a film that struggles gamely yet ultimately fails to weave these and other disparate threads together into something resembling a coherent whole.

Alien: Covenant is not helped by both momentum-sapping, drawn-out scenes of unnecessary ponderous self-reflection, and by fairly weak characterisation.

Although Michael Fassbender (playing both David & Walter) and Katherine Waterston (Daniels) turn in strong performances, and as whole-heartedly as all other parts are played, there’s something of a disconnect here between viewer and character, and I doubt that there will have been too many tears shed by the viewing public as the cast are predictably whittled down in number via various grisly means, leaving the remaining few to battle it all out in overly exaggerated bloated fight sequences.

Where Alien: Covenant does however score highly, is in the ‘memorable, hard-hitting set pieces’ department. Indeed, never let it be said that Ridley Scott doesn’t know how to shock, or to sear disturbing imagery into our collective grey matter.

There are certain franchises that tend to garner a generous tidal wave of goodwill regardless of the true quality of their output, attracting something of a blinkered, head-in-the-sand devotion by the masses. The Alien franchise is one such example. But the truth is that there have been just two truly excellent Alien films in the series, and the rest, no matter how much you dress them up, or who’s been pulling the strings, have largely been regurgitated re-hashes of the original, admittedly excellent concept.

There’s no doubt that there were good and very grand intentions behind Alien: Covenant – this is a film not without its positives, rest assured – but it’s probably all  best summed up by the rather sign-posted ‘twist’ at the film’s conclusion. Well executed, but rather predictable and ultimately all a bit unnecessary.