Read on Twitter
If all this 5G gibberish isn& #39;t enough to weary the soul, now this...
I can feel a thread coming on. https://twitter.com/ThePlaylist/status/1250100011737575424">https://twitter.com/ThePlayli...
I can feel a thread coming on. https://twitter.com/ThePlaylist/status/1250100011737575424">https://twitter.com/ThePlayli...
Don& #39;t get me wrong, BR 2049 is a fine sequel, one that grows more interesting with repeat viewing. Such is the bracing Soviet hugeness of its reimagining of a reimagined LA it& #39;s almost a reboot, but still murky with noir themes and impenetrable plot. But...
There is an absence at its heart. There is none of the original& #39;s cool romanticism, its fairy tale whimsy. That all the replicants are all bizarre, twisted, angelic, otherworldly creatures. That the divine Roy Batty is the true protagonist — that he the most alive of all. And...
That the aesthetic — and the whole sour, uncertain mood of Deckard (despite everything, Ford& #39;s finest moment?) — is old fashioned not new fangled. It& #39;s a film forty years in the past as much as forty years in the future. Moreover...
Ridley Scott& #39;s imperious eye is arguably second to none. It is the eye of an artist, who couldn& #39;t explain why something looks (or sounds) right, even as he fought nail-and-tooth for it. Blade Runner is his most personal film, I& #39;m not sure the sequel is for Villeneuve. Plus...
Vangelis& #39;s score is as integral to this world as John Williams& #39;s is to Star Wars. The visuals are music and the music is visual. It& #39;s a lyrical, enchanting, synthesised soundscape — replicant music. Zimmer gets nowhere close. Also...
The things Roy Batty has seen...
And the greatest opening shot of all time...
