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Blade Runner 2049 Joi hologram

Joi is the one who gets remembered. A product that learns to love, lies to protect, and gets destroyed, then you walk past her billboard and realize she reads as more human than Deckard, more human than K, more human than half the people who bought a ticket. "you walk past her billboard. That's not sci-fi. That's every relationship after the app." Blade Runner 2049 came out in 2017 and I gave it 4/5. The 1982 original has its defenders but the sequel is the better film, and the only thing keeping that argument alive is nostalgia. Denis Villeneuve took a cult premise and went deeper into existential philosophy than the first one ever did, with pacing that actually holds, and visual storytelling nothing else touches. Ryan Gosling and Harrison Ford are both in it, Roger Deakins shot it, and Ford's work here is one of his best late-career turns. Three hours, and what happens is a man finding out he is not special, then dying. "Nothing happens" isn't a complaint. It's the plot. 2017 audiences let it underperform so they could go watch Fast & Furious 8 instead. We say Hollywood only makes lazy superhero sequels and uninspired remakes, then an original three-hour sci-fi epic shows up trusting you to keep up and nobody buys a ticket. Deakins photographed loneliness, frame after frame, the last good dream before the power goes out. If all you keep is the hologram giantess and the snow, that's fine. That's the whole religion. A cybernetic detective hunts his own kind, lives with a digital girlfriend, uncovers a secret that could shatter society, and learns he isn't even the main character of his own story. Identity, soul, what it means to be human. The ultimate sci-fi noir, and it flopped. #RickDeckard

2h

Yuna@yuna_y

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Blade Runner 2049 Joi hologram

Joi is the one who gets remembered. A product that learns to love, lies to protect, and gets destroyed, then you walk past her billboard and realize she reads as more human than Deckard, more human than K, more human than half the people who bought a ticket. "you walk past her billboard. That's not sci-fi. That's every relationship after the app." Blade Runner 2049 came out in 2017 and I gave it 4/5. The 1982 original has its defenders but the sequel is the better film, and the only thing keeping that argument alive is nostalgia. Denis Villeneuve took a cult premise and went deeper into existential philosophy than the first one ever did, with pacing that actually holds, and visual storytelling nothing else touches. Ryan Gosling and Harrison Ford are both in it, Roger Deakins shot it, and Ford's work here is one of his best late-career turns. Three hours, and what happens is a man finding out he is not special, then dying. "Nothing happens" isn't a complaint. It's the plot. 2017 audiences let it underperform so they could go watch Fast & Furious 8 instead. We say Hollywood only makes lazy superhero sequels and uninspired remakes, then an original three-hour sci-fi epic shows up trusting you to keep up and nobody buys a ticket. Deakins photographed loneliness, frame after frame, the last good dream before the power goes out. If all you keep is the hologram giantess and the snow, that's fine. That's the whole religion. A cybernetic detective hunts his own kind, lives with a digital girlfriend, uncovers a secret that could shatter society, and learns he isn't even the main character of his own story. Identity, soul, what it means to be human. The ultimate sci-fi noir, and it flopped. #RickDeckard

2h