Blade Runner 2049 Replicates

Blade Runner 2049 movie poster

Some people are quick to respond to the idea of a film sequel with equal parts cynicism and skepticism.

Given major Hollywood film studios' current reliance on big-budget franchises (eight Transformers movies and counting) to boost revenue and woo audiences away from the comfort of the plethora of on-demand entertainment available through cable or OTT streaming services like Netflix, that's totally understandable.

Personally I'm not one of those people, as a film fan I try to take an individual film on its own merits.

There are many examples of sequels that are as good as, or exceed the original movie; even when the first one is considered a classic.

In my personal view, The Godfather II is a superior film to the original and I rank Francis Ford Coppola's brilliant sequel as one of the top five films of all time.


As much as I loved the original Star Wars, the sequel The Empire Strikes Back, is a much better picture in terms of the quality and depth of the story, character development and the overall film.

By any measure, it's a huge risk for a producer, director or screenwriter to attempt a sequel to a film considered a classic in its own right, but in my humble opinion I think there's no question that executive producer Ridley Scott and French-Canadian director Dennis Villeneuve have succeeded with Blade Runner 2049.

As someone who came of age in the 70's and 80's, the original Blade Runner, which came out in 1982, is often described as "visionary" - but it truly was.

Director Ridley Scott's dark dystopian film based on the 1968 Phillip K. Dick novel, "Do Androids Dream of Electric Sheep?", underperformed at the American box office when it first came out (I saw it in the theater), but many fans and critics alike were totally floored by its moody, atmospheric feel and unusual characters.

The popularity of the film grew exponentially after it was released on VHS then eventually shown on cable TV as a wider audience got a chance to see and appreciate it.

Like The Empire Strikes Back (1980), Blade Runner elevated the science-fiction film genre into an entirely new level with its breathtaking scenery, special effects, cutting edge production design and brilliant (and haunting) sound track.

Rutger Hauer as android Roy Batty in his unforgettable
3rd act scene in the 1982 film Blade Runner

To say nothing of the acting performances of Harrison Ford, Sean Young, Edward James Olmos and an absolutely unforgettable Rutger Hauer as the android Roy Batty.

The supporting cast, including M. Emmet Walsh, Daryl Hannah, Brion James, Joanna Cassidy and James Hong was excellent as well.

William Sanderson's touching performance as toy designer J.F. Sebastian was amazing.

From my perspective, the original Blade Runner successfully tapped into anxieties felt by many people about the threat of nuclear war in the late 70's and early 80's.

For those too young to remember, this was at a time when elevated Cold War tensions between the U.S. and the Soviet Union were a constant reminder of the vast nuclear arsenals of both countries.

Blade Runner came out a year before the widely-watched ABC television movie The Day After, which depicted the terrifying aftermath of a fictional nuclear war between America and the U.S.S.R - that was broadcast in 1983.

I think a lot of people were drawn to the original Blade Runner in part because it offered a glimpse of what a society that had survived the ravages of nuclear war, pollution and climate change, might look like - it offered hope that humanity would survive.

After seeing Blade Runner 2049 last night in IMAX, I think screenwriters Hampton Francher and Michael Green (Francher co-wrote the original film) successfully use the story to explore timely issues that our current culture continues to wrestle with today.

Topics like bigotry, the over-saturation of commercialization, the effects of drastic climate change, corporations allowed to run amok - and of course, the dilemma and ethical and moral implications of humans existing alongside artificial intelligence.

For those who plan to see it, don't worry I won't give away any plot twists or surprises.

A huge holographic figure from an ad talks with Ryan Gosling's
character "K" in Blade Runner 2049

But given the topics I explore in my blog I think it's important to note that Blade Runner 2049 offers glimpses of prejudice against androids in the first act (including slurs and graffiti) that instantly bring to mind the racism and divisiveness cultivated by Donald Trump.

One of the most interesting (and coolest) visual aspects of the first Blade Runner were the enormous video ads that were seen on the sides of buildings and large futuristic blimps or airships throughout the film in the background of scenes.

Those are reflections of the fact that director Ridley Scott originally learned his craft as a commercial director in London, and we get to see more of that in Blade Runner 2049.

The original Blade Runner was set in 2019, so thirty years later, improvements in technology (both in the story of the film and for SFX and visual effects teams) allow the ads in Blade Runner 2049 to exist as moving three-dimensional holographic images that are really stunning - and beautiful to watch.

For example in one scene, a luminescent three or four story-tall ballerina twirls and dances in the middle of a busy street at night crowded with pedestrians and vehicles; in another scene later in the film an enormous naked woman from an ad projected onto the side of a building steps out of the ad and crouches down to talk directly to Ryan Gosling's character "K" (pictured above).

Jared Leto as the ruthless Niander Wallace 

Without giving away anything, holographic projection of, and "physical" interaction with, humans figures prominently in Blade Runner 2049 in ways that are stunning, erotic and at times, creepy to watch.

As in the original Blade Runner, the only real government authority we see are the police who track down the remaining rogue Nexus-6 models of android "replicants" manufactured by the Tryrell Corporation.

In Blade Runner 2049 we are introduced to Niander Wallace, a sociopathic bio-engineer-CEO effectively played by actor Jared Leto who controls the powerful corporation that now manufactures replicants that, unlike the Nexus-6 models in the original film, are programmed to be completely loyal to humans.

Leto is solid as Wallace, a blind, enigmatic character who "sees" with the aid of small drone-like objects that follow him around, the main plot revolves around his desire to harness, and profit from, a disturbing secret that relates to Harrison Ford's character Deckard and his love interest Rachel, the stunning replicant brilliantly played by actress Sean Young in the original Blade Runner. 

Even more impressive than Leto in my opinion is his sidekick "henchman" (or hench-woman I should say) played by relatively unknown actress Sylvia Hoeks, in true Bond fashion she's graceful, intelligent, beautiful, ruthless and deadly - she really steals the scenes she's in and remember her name because this is a star-making role for her.

But before I wrap up, let's quickly review the good guys in the movie, which I intentionally saved for the end.

Harrison Ford's character Deckard appears in
Blade Runner 2049

As a guy whose grown up watching, and admiring, Harrison Ford from his first roles in American Graffiti, Star Wars and Apocalypse Now, I was eager to see what had become of the character Deckard.

Privately I worried that his presence in the sequel might be forced, awkward or klutzy from the standpoint of a screenwriter (Ford always delivers as an actor).


But the story in Blade Runner 2049 really delivers, and Deckard's appearance is a natural result of a logical, complex and well-structured plot.

It was an emotional moment for me as a fan of the original film and Ford, seeing the reality of both him and the character aging with grace and a kind of cinematic nobility - Ford (an avid tennis player) has clearly kept himself in shape and he looks good.

He also delivers a nuanced performance as Deckard reveals what he's been doing for the past thirty years - again, without giving away anything specific, he plays a critical part of the plot and the third-act resolution.

A plot that's bolstered with fine supporting actor performances by Robin Wright as LAPD Lt. Joshi and Ana de Armas as a hologram named Joi.

But, and I saved this for the end, this film unquestionably belongs to Ryan Gosling.

Ryan Gosling's character "K" sets out in search of
secrets across a futuristic landscape

Director Dennis Villeneuve (who directed Sicario and Arrival) has elicited what may be Gosling's finest on-screen performance to date.

Gosling's riveting performance is at once measured, introspective, subtle, moody and intense.

Yet he also displays emotional vulnerability and unleashes powerful physical intensity when needed - a modern reflection of Ford's incredible performance in the original film.

Gosling's performance perfectly captures the essence and style of the world of Ridley Scott's vision in a way that makes Blade Runner 2049 one of the finest sequels to a classic that I've ever seen.

To me one of the most impressive aspects about this film is that, like the original Blade Runner, the sequel never panders to any kind of mainstream Hollywood ideas about "commercial appeal".

It runs two hours and 44 minutes, and the producer, director, editor allow the film to take it's time to develop with long, unhurried scenes that allow the characters time to develop, and the plot to become carefully layered as it presents a new story set in the future, while merging plot elements with the original film.

New characters are introduced, and for fans of the original, old characters make appearances as well.

A giant holographic ballerina twirls in the middle
of the street in 2049 Los Angeles  

The sweeping camera shots by the master cinematographer Roger Deakins along with the a film soundtrack that incorporates the amazing music of Vangelis simultaneously takes us on a journey that wanders into the past original film, while moving through a future landscape and setting up a path forward for what will surely be another sequel.

Blade Runner 2049 makes clear that in some ways, the wall between humans and the artificially intelligent replicants who often display a humanity that is startling to behold, is growing even more fragile - a question we ourselves face as AI advances rapidly.

This amazing sequel manages to achieve the same epic emotional heights of the original in ways that make it something quite rare in American cinema today - a transformative and moving film experience that makes you work and offers no simple answers.

For film buffs and sci-fi fans, Blade Runner 2049 needs to be seen on the large screen - the extra few dollars to see it in IMAX is worth it.

It's not often that a sequel comes along that ranks up there with the original, and rare is the big Hollywood release these days that leaves you thinking as you leave the theater  - and searching for answers after the film is over.

This is one of those films that leaves you knowing one thing as you start your car in the theater parking lot, or wait for the subway or bus - that you have to see it again.

'Exodus: Of Gods & Men' & The Egyptian History Debate

(Left to Right) Joel Edgerton, Sigourney Weaver, John Toturro & Christian Bale.

A lot of buzz has been generated over the ethnicity of some of the casting choices for Egyptian characters depicted in acclaimed director Ridley Scott's latest film, 'Exodus: of Gods & Men', a big-budget retelling of the biblical story of Moses.

But after seeing the two-hour and thirty minute movie in 3-D, I have to wonder how much of that buzz is based on the actual content of the film itself, versus the almost impossibly high standards fans and critics have of Ridley Scott's films, and the ongoing cultural debate over what ancient Egyptians really looked like.

Let's take a quick look at the cast of main characters (pictured above left) first.

Christian Bale is cast in the title role as Moses, the child of Hebrew slaves who was found as a baby and "adopted" by Bithiah (played by actress Hiam Abbass), the sister of Pharaoh Seti I.

It was Bithiah who decided to claim Moses as her own child and raise him as a prince of Egypt alongside her nephew Ramses; Pharaoh's true son played in 'Exodus' by Joel Edgerton.

The Pharaoh Seti I is played by John Turturro, and Sigourney Weaver plays Queen Tuya, his wife,  who despises Moses and sees him as a threat to her son Ramses' rule.

Those who look at the cast of 'Exodus' simply in terms of how authentically "Egyptian" they look, and judge the entire film exclusively in that context, are likely to overlook some fine acting performances, some pretty well-written characters and a well-crafted film.

Now I have two minor issues related to the cast, neither of which have to do with criticism of their ethnicity or race.

First, I felt like an actress of Sigourney Weaver's stature and ability should have been given more to do in this film. Her appearances are limited to a few scenes where she's given very few lines, or simply appears with the members of the royal family looking regal.

The film ran two and a half hours, so maybe some of her scenes ended up on the cutting room floor, or maybe Ridley Scott decided he didn't want the film's focus to be on her character's hatred of Moses; but I was left wanting to see more of her in this film, and from a screenwriter's standpoint, her role could have had some more meat on it.

Actor Yul Brynner as Ramses in 'The Ten Commandments'

My second issue is that even though Joel Edgerton (who plays Pharaoh's son Ramses) is an excellent actor who delivers a fine performance and effectively conveys the aura and stature of a prince of Egypt, it's difficult for him to have to live up to the inevitable comparison film buffs like me will make to the brilliant on-screen performance of actor Yul Brynner (pictured left); who owned the role of Ramses in the classic 1956 film 'The Ten Commandments' directed by Cecile B. DeMille.

That said, for me, race or ethnicity of casting is not at issue in this film, especially with a director of Ridely Scott's stature who has a history of consistently casting African-American actors in his films in both supporting and lead roles.

Those who've criticized Scott for his casting in 'Exodus' might do well to look back on some of the casting choices the director/producer has made in the past.

Actor Yaphet Kotto

For example, he cast the brilliant Yaphet Kotto (pictured left) as Parker in the visionary 1979 sci-fi blockbuster film 'Alien'; arguably the first serious on-screen supporting role for a darker-skinned actor of color in a major Hollywood sci-fi release.

Did you know the actual Alien in the costume in the movie 'Alien' was played by an African actor from Nigeria named Bloaji Badejo?

Scott also cast the impressive West African actor and former model Djimon Hounsou as Juba, the African gladiator who helped and befriended Russell Crowe's character in the 2000 'sandals and swords' epic hit 'Gladiator'.

Ridley Scott was also instrumental in casting Denzel Washington as the lead in the 2004 action film 'Man on Fire' and in 2010's 'Unstoppable' - even though Ridley Scott's bother Tony was actually the director of both of those films, they (as well as 'Gladiator') were released through Scott Free Productions, the film production company formed by Ridley and Tony Scott in 1995.

In 'Exodus', from my take, Scott chose to tell some aspects of the story of Moses; he never billed it as a film that's 100% true to the text of the Old Testament as possible - as Cecil B. DeMille famously boasted in the lengthy intro to his 1956 version.
 
Plus, 'Exodus' has a wide variety of actors of color cast in various support roles and does a good job of background casting as well in terms of the overall diversity.

Like many others, I've often blogged about Hollywood's on-screen portrayals of Egyptian characters depicted as non-African or non-Mid-Eastern in appearance; but I don't think Scott was trying to use 'Exodus' as a platform to weigh in on, or solve that debate.

And it's not a simple debate.

Egyptians are in fact Africans. The country is located on the northeast part of the massive African content on the border of the Mid-East, but there are Africans from many different ethnic origins.

In recent years, as many Afro-centrist scholars, historians and enthusiasts have delved deeper into ancient African history that mainstream Western educational institutions have often marginalized, or ignored, there have been many who try to 'claim' Egypt as a definitive 'African' civilization in terms of our contemporary ideas of race; rather than the actual geographic history of ancient Egypt.

Egyptian Pharaoh Taharqa

For example, there are any number of ancient Egyptian masks, statues, carvings or illustrations that depict various members of Egyptian royalty with clearly defined African features; as seen in this photo (at left) of a statue of a sphinx with the head of Taharqa, a Nubian ruler of Egypt from the 25th Dynasty; actor Will Smith is currently trying to produce and possibly star in a movie about Taharqa's life.

But it's important to remember that there were some 31 different ancient Egyptian dynasties that existed over a period of over 3,385 years; and some scholars suggest there were dynasties that existed in Upper Egypt long before the 1st Dynasty began 3,050 years before the birth of Christ.


Some, like the 25th Dynasty, had rulers and Pharaohs who came from sub-Saharan African regions such as Nubia and Ethiopia, and therefore had facial features and racial characteristics like skin color that we consider more closely associated with traditional 'black' Africans like Taharqa.

But there were also many Egyptian dynasties ruled by people who came from other areas of the Mid-East, Africa and even the Mediterranean to conquer Egypt as well.

Like the infamous Cleopatra, an Egyptian princess born in AD 69 who became the last active Pharaoh and lived at the tail end of the Egyptian dynasties during the Ptolemaic (or Hellenistic) dynasty that lasted until about AD 330.   

Cleopatra's father was Ptolemy XII, he came from a family of Macedonian Greek origin that came to power in Egypt after the death of Alexander the Great.

While many have criticized Hollywood's traditional ethnic casting of Cleopatra with actresses such as Elizabeth Taylor, the contention by many that Cleopatra was at least part 'African' has never been definitively proven.

Her father was Greek, but her mother's identity has not been conclusively proven.

But given all that, it is still relevant to note that Hollywood has never cast a film about Moses with an actor with African, Mediterranean or distinctly Mid-Eastern features; and remember, if we go by the Biblical text of Exodus, Moses passed as an Egyptian prince well into adulthood; so it's doubtful that he would have looked 'European'.

Did Moses look like Charleton Heston or Christian Bale?  

It's perfectly legitimate to explore those kinds of questions; but I don't think it's really fair for critics or anyone else to conclude that it was Ridley Scott's goal as a filmmaker to answer those complex kinds of questions in 'Exodus'.

I can certainly understand some of the criticisms expressed in mainstream and social media about the ethnic authenticity of the cast in terms of historical accuracy, but I think 'Exodus' was a well-executed film with a top-notch cast, a solid storyline and incredible production value in terms of the scale of the locations, sets, costumes and props.

The framing of many of the scenes is breathtaking.

Personally, I'm giving the film a solid three stars out of five and I think it was well worth the ticket price to see it on the big screen in 3-D.

Charleton Heston parts the Red Sea as Moses in 1956

Scott's film offers some very interesting takes on the traditional story of Moses, including casting a child to play God and portraying Moses as much more human and skeptical of God and religion; and less the stern, humorless, grim prophet as Charleton Heston (seen left) played the character in 1956.

Of course, it boasts some excellent digital special effects, including the parting of the Red Sea, that don't overwhelm the film.

As someone who is still a big fan of the 1956 film 'The Ten Commandments', I have to say that the special effects used to create the Angel of Death coming down from the moonlit sky to kill every first-born son of Egypt, still hold up after all these years.

Scott's Angel of Death in 'Exodus' is much more like a gentle whisper, or malevolent breeze that delivers a quick death to it's victims - it's effective, but the I think Cecile B. DeMille's 1956 Angel of Death scene is much scarier; and remains one of my all-time favorite special effects scenes.

But Scott's film showcases the ability of modern CGI to bring the various other plagues God sends upon Egypt to life in some truly spectacular ways.

If you don't think plague, frogs, flies and locusts can be frightening, then you should see this film on the big screen.

Oh, and as far as the sea turning red, I wouldn't want to have been an Egyptian fisherman on a boat in the Nile in this film - two words; crocodile frenzy.
 
In today's world where morals and ethics can be seen as sorely lacking in our government institutions and law enforcement, and too many Hollywood films substitute guns, excessive dialog, naked flesh and gratuitous sex for quality story telling and story structure, I for one applaud Ridley Scott for having the guts to use his talents and influence as a filmmaker to bring a classic story from the Old Testament to life on the big screen.

One that compels the audience to re-examine ideas of slavery, retribution, vengeance and faith.