“SKumm’s Thoughts” - BLADE RUNNER 2049

“SKumm’s Thoughts”

BLADE RUNNER 2049 (2016, R, 163 minutes, 16:14 ENTERTAINMENT/COLUMBIA PICTURES)

It is a well-known fact in the world of science fiction that the best tales of the future are the ones that explore the human element, and the place of humans within that possible tomorrow.  Not some giant robots, exploding Death Stars, and (sharks with) laser beams (on their frickin’ heads).

In recent years, a few directors have tried to not redefine the genre, but honestly show you the true meaning of it.  From Duncan Jones’s brilliant MOON, to Christopher Nolan’s INTERSTELLAR, smart sci-fi isn’t something that is released all that often.  (Mainly due to the lack of laser blasters and evil aliens.)  A few years ago, director Denis Villeneuve (SICARIO) also reminded us that science fiction is supposed to be thought-provoking; his understanding of the genre—almost to a fault—brought us the singular vision which was ARRIVAL, a film heavy on the human element.

Having him at the helm of a sequel which took thirty-five years to bring to fruition is an act of sheer genius on the part of Ridley Scott, the man who brought the genre back on track way back in 1982 with the original BLADE RUNNER.  No other film in recent years (honestly, you kinda have to go back to what Sir Scott created in ’82 to even compare) comes even close to touching the visionary poetry on display here.  Working from Syd Meade’s artistic rendering of a realistic future in the first film, the crew here (including Mr. Meade, who is credited in both films as the “visual futurist”) expands upon that world in rich layers of muted color and derelict structures.  This is a future Los Angeles—future America—steeped in human overabundance and waste.  Even the neighboring “farmland” feels claustrophobic and overbearing, both of which are visual effects Sir Scott has incorporated into his best films.  That influence is not lost on Villeneuve; there are several personal nods to the first film, which reverberate throughout the storytelling.

That doesn’t mean this is a rehash of the source material; if anything, this is a wholly new tale which incorporates all the best things from that groundbreaking vision created decades ago.  The story centers on “K”, played with a seeming emotionless and muted thoughtfulness by Ryan Gosling, a Blade Runner who starts off hunting another “skin-job”, and winds up neck deep in an investigation which has him questioning his own place in things.  And that’s as much of a description of the story as you are getting out of me; you all know I don’t do spoilers, and I won’t ruin any aspect of the tale by giving you any hints of things to watch for or story arcs to pay closer attention to.  This is a tale best witnessed by yourself, and it might take more than one viewing for you to get everything.  Seriously.

Yes, Harrison Ford is back as “Deckard”.  Yes, there are still flying cars.  Yes, those sweet looking guns are still in use, and Japanese influences are still abundant.  What is most surprising here, though, is the sweet and desperate underlying love story, the human and non-human battles for symmetry and the grace of life, and the struggles with identity and death.

Again: it is the human element, whether concerning a Homo sapiens or otherwise, which drive tales of science fiction. And this tale is one of brutal beauty and subtle love.  At almost two hours and forty-five minutes, you would think it could all get overbearing and really freaking heavy at times.  But under the genius eye of cinematographer Roger Deakins (THE SHAWSHANK REDEMPTION, SICARIO), every aspect of the landscape, not to mention the perspective of every character, is captured in such a way that you never feel alienated.  You are necessary to the viewing of this modern masterpiece; after all, it is your emotions which complete the experience.

Do not wait for this to come out on video, as this style of visual storytelling is best seen larger than life and onscreen.  Do yourself the favor of seeing it now.  It isn’t often that we get to witness something as original and visually striking as…well, as BLADE RUNNER, really.

Grade: A+

-- T.S. Kummelman

‘Blu-ray or Bust’ - WONDER WOMAN

‘Blu-ray or Bust’

WONDER WOMAN (2017, 141 minutes, DC ENTERTAINMENT/WARNER BROTHERS)

Director Patty Jenkins (MONSTER) is a badass.  Not only did the theatrical release of her epic vision for DC Comics fan favorite WONDER WOMAN receive rave reviews, but it also made more money than any of the other DC universe films to date.  Sorry, producer and DC directorial favorite Zack Snyder, but, thou hast been usurped.

We finally have a DC film that is perfect without a Snyder Director’s Cut.  Which is surprising when you consider that he was one of the writers of the film; clocking in at well over two hours, Warner Brothers must have finally gotten the hint that longer movies sometimes make for better stories.  The slashing of Snyder’s WATCHMEN and BATMAN VS SUPERMAN produced theatrical releases that seemed half-hearted, whereas the longer versions were better told stories, and darn good films.  I appreciate Snyder enough to admit that I am a big fan of his Blu-ray releases.

But the fact that Jenkins’s film does not need a “director’s cut”, or a “special edition”, speaks volumes.  She has crafted a tight and focused story, a visually stunning GLADIATOR for the female masses.  Even with all the hype about strong leading women, and feminism as a super power, it is easy to push all of the gender politics and stereotypes out of the way and just enjoy a kickass film.  Which just happens to be directed by a woman, and stars three awesomely cast female leads: Gal Gadot in the titular role (stop snickering) is a breath of fresh air in a male-dominated and overly chiseled genre.  She captures the innocence, ferocity, and determination that gets lost with other “super” characters.  Her “Diana” is a hero for the ages, one that learns how to fight before finding out who she really is.  Her mother is played by the stoic Connie Nielsen (THE ICE HARVEST), who rules their homeland with a knowing and steady grip.  And the woman that trains her in combat is none other than Robin Wright (THE PRINCESS BRIDE), who is fierce and passionate and leads an army (take that, James Cameron) of female warriors.

And then there is Chris Pine.  This dude is one of the best unheralded actors of this era, and everyone just kind of ignores him.  ‘Oh, yeah, the new Captain Kirk, whatever’.  Uh, pardon me, but did anyone see him in HELL OR HIGH WATER?  How about his uncredited role in STRETCH?  It isn’t just his versatility, it is also his presence, the sarcastic looks, the intelligence bubbling in his eyes.  The man is a hell of an actor, and he shows more layers here than an ordinary superhero film deserves in a supporting character.

The vision that Jenkins and cinematographer Matthew Jensen (the beautifully photographed CHRONICLE and “Game of Thrones”) capture here is a story so visually stunning that you are really in awe of the locations they scouted.  The isle of Themyscira is indeed a paradise, just as much as the torn earth of the Western Front is a gritty, dirty hell.  From the way the film was lit to the way some of the action is slowed down (so you can see just how our heroine moves), there are brilliant strokes of filmmaking in abundance, and they all add to the beauty of this story.         

This is no ordinary superhero film, but it is a film about an extraordinary woman.  It is one that doesn’t need other action heroes, doesn’t need any Avengers or competing super men.  At its heart—and all the girl power!  Reviewers may not like me for saying this—it is a coming of age film, told through the eyes of a little girl that grows into a woman at exactly the right moment.  Bravo, Warner Brothers, for handing the reigns of this film over to the likes of Jenkins & Co., and for not needing a longer cut to fully flesh out what the director had in mind.

Grade: A

Bonus Features:

Blu-ray Necessary: you bet your tattered red cape it is

-- T.S. Kummelman