Blade Runner: 2049 and Cinema Etiquette
Cinema Etiquette
If cinema etiquette was graded, the selfish bastard next to me would've been expelled post haste. Although having said that, I am somewhat of a cinema etiquette Nazi when it comes to this. And so, I've made a simple list of rules to ensure optimum film satisfaction.
1. No late entry.
You know what time the film starts. You can get your ticket oodles of ways in advance before the actual screening. I don't want the James Bond gun barrel sequences blocked out by your silhouette barging past the early people in their seats.
2. No mobile phones once the film starts.
Again, self explanatory. The cinema is dark. Your mobile, no matter how much you dim it and your personality, will still distract me from WHAT I'VE PAID MONEY TO SEE. If you can't go the duration of the film that you've chosen to watch without checking your Insta/Tinder/Snap/FB then just fuck off.
3. A cinema is not a dumping ground for your brats: control your kids
I remember trying to watch The Dark Knight Rises for the second time in the cinema. Thankfully, I'd already seen it once as this second time round was totally ruined by a parent just letting their screeching offspring run rampant around the cinema. I don't care if the film doesn't bar people of a certain age being allowed in due to an age rating, either do your research before you see the film to see if it will keep the brat entertained or control the kid.
4. If it is allocated seating, take the seat you've been assigned.
I shouldn't have to go to my seat to find a gang of greedy cinema goers planted there. This reached a point of immense stupidity when I and a group of friends tried to watch Catching Fire. Whichever friend was leading our conga line of friends to our seats, found them already occupied and were told "Well someone took ours." My friend found this a sufficient excuse. Nope. Kick them out.
5. Open all your rustling, popping, cracking, creaking food before film starts.
I imagine the crucial scenes in Sophie's Choice become a whole lot less tense when you tear open some crisps.
6. Do not clap.
I'm English, it irkes me.
I'm sure I've missed so classics out, so let me know what grinds your gears about other cinemagoers.
Blade Runner: 2049
So, whilst the stranger next to me tried to ruin Blade Runner: 2049 they were very much unsuccessful. However, having enjoyed it so much and also missing a minute due to me needing a time out from the noisy monster next to me, I went to see it again in IMAX which I'd highly recommend.
I'll stay light on plot as I think the trailers and pre-marketing have done a great job of keeping the central story under wraps. Ryan Gosling plays a Blade Runner, a type of cop who's sole job is to hunt down replicants who are lifelike but "robotic" humans. Gosling specifically hunts down older model replicants that were the focus of the first film who are now "out of service" as their line had been deemed too dangerous. Now, there is a new line of subservient replicants, overseen by monologuing, "method actor" Jared Leto. In the course of Gosling's investigations he uncovers a potentially world shattering secret which forms the backbone of the plot.
Fleshed around this backbone are the classic Blade Runner themes of what it means to be a human, free will, at what point is artificial intelligence no longer "artificial", memory, and it also brings home the topic of family which was not a talking point for the original. I'll try not to compare the 2049 to the original too much as a) whilst I'd highly recommend you watch the original before the new one, it isn't essential and b) apart from the aesthetic and tone, the plot of 2049 is vastly different from the original.
As seems to be traditional with these blog posts I'd like to knock out the weak points now, as whilst they are weak in comparison to the rest of the movie, they aren't weak in the cinematic landscape of most movies out at the moment. Jared Leto's nominal bad guy is only given two scenes and whilst he is the focal point of these two scenes, he does little more the monologue and play exposition for his plans. Whilst his monologuing can be explained away in terms of it being in line with what little characterisation, namely he has a God-complex, it still stands out. A scene or two of him at work before he intersects with the main plot would've helped establish how the events of the plot affect him. As it currently stands its just apparent that he has always been a dodgy guy.
The next weak point is not one that I would identify but I realise it may be an issue with some people. The movie is long. Clocking in at around 2 hours 40 minutes, this is a big film that takes its time setting the scene, slowly revealing the puzzle pieces, and only occasionally interspersing the sombre tone with brief flashes of violence. I've noticed that over the last few years one of my chief complaints for a lot of films has been "It could've just had 10-15 mins taken out and I'd have enjoyed it so much more." This is not a film I can say that about. This film never bored more, nor did I ever notice the length. It had me constantly engaged with its story, characters, and most impressively the visuals.
Like the original, the visuals of 2049 are consistently mind-blowing. Whilst the original pretty much invented the neo-noir cyberpunk cinematic look, it shouldn't take anything away from what has been accomplished in this film. I think you could take almost any still of this film and frame it and it would be a work of art. Furthermore, whilst the original relegated the entirety of the action to rain slicked futuristic monoliths and cathedral like interiors, 2049 ventures further afield to wide expanses and desolates cities. And each of these fantastic shots is backed by a dark and swirling synth score by film composer of the times, Hans Zimmer. He faithfully recreates the sound of the original whilst updating it and at one key point simply allowing a pivotal piece of music from the original play out. Your eyes and ears will never be left wanting.
I'd like to talk about the performances but for fear of spoiling certain character arcs I'll be very brief. Gosling, as always, is great, furthering his commitment to often portraying complex thoughts and emotions with just a look and only occasionally letting his emotions burst out of control. Robin Wright of House of Cards fame brings her steely command to good use in the film, and a close companion of Gosling provides an engaging subplot the ends with a true kicker. Harrison Ford completes a home run of returning to age old franchises and reminds us why he was the star of that time gone by. However, the standout performance is Sylvia Hoeks who must certainly be on the Bond producers minds for a future career as a henchwoman. She gets to be involved in what is perhaps the most strikingly staged fight I've seen in a long time.
I really hope this little blog has convinced any readers who were in two minds of seeing this amazing film to go and see it as it box office returns for 2049 have been well under what was expected. I really don't understand how this has happened. The director, Denis Villeneuve (give him the next Bond film!), has a string of fantastic films under his belt (Sicario, Prisoners, Arrival), the film comes with all that wonderfully synthy neo-noir nostalgia that the original fostered, and the film has significant star power. Fingers crossed that it picks up at the box office. Having said that, the original famously did not do well when first released and instead gained a strong cult following through the various versions of the film (if you see one version of the original, see the Final Cut). So do yourself a favour, and go see Blade Runner: 2049 on the biggest screen possible, with sound so powerful it'll feel like you are right in the heart of that rain slicked neon nightmare of a city.
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