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Blade Runner 2049 Full Movie
Country: United States
Category: Horror, Mystery, Thriller
Release Date: 5 October, 2017
Director: Denis Villeneuve
Starring: Harrison Ford, Ryan Gosling, Ana de Armas
Age Restriction: 18 years
Duration: 163 minutes
Blade Runner 2049 is a 2017 American horror-mystery thriller film directed by Denis Villeneuve and written by Hampton Fancher
A good symbol of what this sequel to the classic 1982 Ridley Scott is in its soundtrack: sample Vangelis’ legendary sax combo and synthesizer, which with only two notes transports us at once to that rainy and futuristic Los Angeles, but he plugs the Hans Zimmer treatment. A saturation based on cacophonous excesses, which shakes the movie sound system.
That is, ‘Blade Runner 2049’ has done the homework and knows what characterized, what made it great and what made its predecessor a classic. And it imitates it with good taste: with a taste, in fact, that sometimes touches the visionary and that, in a film without such a notorious precedent, could have raised a project by itself. And then he puts the volume to eleven: of the dramatic, of the visual, of the noisy or of believing himself worthy of his predecessor. And that’s where he limps.
Because what ‘Blade Runner 2049’ does not take too much into consideration is that Scott’s movie was a simple movie. Not simple, but built with schematic elements. His argument can be summed up in five lines: an android hunter faces a handful of them escaped and they want to kill their creator, and along the way he falls in love with an artificial being. All without barely straying from a straight line argument notable for what was elementary.
Nor was Blade Runner conceptually overly complex: her disquisitions on self-conscious artificial intelligence had long been analyzed in much greater depth by gender literature. It is his mix of an unrepeatable setting, a rhythm and characters absolutely indebted to hard-boiled literature, a work of impeccable atmosphere and actors that give significance to the enigma of their characters, which made it a classic.
None of these elements, dissected by themselves, gives birth to a film of the category of ‘Blade Runner’, but just that is what this 2049 tries to replicate the brilliance of Scott’s film imitating, empowering, remixing many of the elements that made it great. At times, it is indisputable, it succeeds: the value of Villeneuve’s film as visual spectacle is beyond doubt. But it takes more than that.
The sequel of the year. The coat of the decade. Blade Runner 2049 was conceived wounded at a disadvantage in proposing to continue a film, Blade Runner, which is not mythical by what counts but by how it counts. Director Denis Villeneuve can not therefore limit himself to the standard way of continuing the adventures of the first part: he had to recreate such intangible sensations as the atmosphere, the philosophical aftertaste and the existentialist pose that rooted the viewer when he sees (and, all during the following days) Blade Runner. The classic of 1982 is perhaps the most famous film of the cinema that resists to postulate like generational work. Because Blade Runner did not mark the audience at the same time and in the same way, but each spectator generated an intimate relationship with her and at different moments of her life.
The (already we can define it) “expanded universe Blade Runner” serves to x-ray the own texture and consequences of the art. The original novel Androids with Electric Sheep Dreamed, published by Philip K. Dick in 1968, questioned reality and human nature ascribing itself to the postmodernist trend which, after World War II, could no longer accept absolute values and deconstructed it everything to doubt about it: what differentiates an android, which for practical purposes is a living being, a human being who does not even appreciate its existence? His cinematographic adaptation fused the genre of fashion (science fiction) with a stale and obsolete one (black cinema) to pose a metaphor for soldiers who, after returning traumatized from Vietnam, saw society rejected them. As with the replicants, they were used by a government that had now abandoned them and, through social ostracism, sought to deactivate them. That same year, in 1982, Acorralado denounced this situation but with less metaphors and with more hosts. This Friday, October 6, 35 years after Blade Runner, the question that his successor intends to answer is, does Hollywood dream of the perfect sequel?
Without going into spoilers (and the premise of Blade Runner 2049 is a mastodontic spoiler), the film uses the pieces of its predecessor to build another story. In his favor he has the expectations of an audience that thinks he knows what is going to happen because he has seen it a thousand times, but this is not a movie like the others. If it were, Denis Villeneuve would never have agreed to direct it. The protagonist, K (Ryan Gosling), assumes that it is special by default due to two factors: every individual believes that he is special and this seems to be aware that he is the protagonist of a movie. Like Buzz Lightyear in Toy Story, K is programmed to feel unique and thus to play with enthusiastic efficiency the role assigned to him. During the (at all times entertained) two and a half hours of footage, the film will remove parts of the tower of his personality as if it were the game of the Jenga. K seeks his identity because that is what the protagonist of a movie of the XXI century must do, but the paradox and the narrative bewilderment is that in each new scene is further away from finding it.
Where the novel symbolized the disgusting deception of the human being towards itself and the film criticized the abandonment of the State to its soldiers, this sequel connects viscerally with the Xennial generation. The nth generation lost. If Generation X (born between 1962 and 1977) provoked with apathy and rejection the economic crisis and the Millennials (1984-2000) are being in charge of rebuilding it, the Xennials (1978-1983) suffered it full and fit all the bullets. They went to the university in the middle of economic and cultural prosperity, they entered the labor market when everyone seemed to have money in spaghetti and, just when it was their duty to start up their company, buy a flat and start a family, they were fired and they were 30 years old and unemployed.
The Xennials were educated to feel special, the generation more and better prepared of history and therefore they went through the hoop one after another. University careers, masters, interns, overtime. The world told them during their adolescence and youth exactly what they wanted to hear and that is why they worked relentlessly to achieve a triumph that, in theory, was designed to suit them waiting for them with the arrival of the thirties. That triumph never happened and now it’s starting to be too late for them. Their cultural identity as a generation has become too diffuse: they do not have their own Reality Bites or their own social network portrayed for posterity. Some listened to Nirvana, some to Bon Jovi. Not having, as happens to K, have no name: xennial is a hybrid between Generation X and Millennial. This lost generation is not because they feel they have no direction, but because they were a sacrifice and collateral damage that the economic system had to do to recover. And when those viewers see Blade Runner 2049 this weekend they will empathize (perhaps more than they would like) with their protagonist: conceived as a unique, special and surpassing creature, little by little discovers that those dreams were artificially created by the system, governments and businesses to work without asking questions. Those dreams are not yours, but you were implanted.
Humans and replicants are reunited 35 years later in Blade Runner 2049, a sequel directed by Denis Villeneuve, full of nods and tributes to the original film directed by Ridley Scott, which opens this Friday with Harrison Ford, Ryan Gosling and Cuban Ana de Armas in the cast.
1.- 30 YEARS LATER.- ‘Blade Runner 2049’ takes place 30 years after the original story. The script is re-run by Hampton Fancher, responsible for the first adaptation of Phililp’s novel K.Dick “Androids with Electric Sheep Dreams”, along with Michael Green, Ridley Scott’s regular collaborator.
2.- APPOINTING SEAL VILLENEUVE.- Canadian Denis Villeneuve takes the witness of Ridley Scott, who remains a producer of the sequel, and again demonstrates his enormous talent as a creator of hypnotic and overwhelming images, as well as being able to make it seem short the 2 hours and 43 minutes that the film lasts.
3 .- WHAT MAKES US HUMAN? .- Scott’s film was ahead of its time in raising the debate that engenders genetic engineering about what makes us human. The question is still present, but more diffusely and without bringing anything new. There is a new generation of replicants, supposedly perfected in their obedience to humans, but with the need to find meaning.
4. THE WALL AND CLASSROOM STRUGGLE The new Blade Runner accentuates its political tone by raising issues such as the need for a caste to deal with the most dirty and degrading works and walls that contain them.