Blade Runner: 2049

Photo by Stephen Vaughan courtesy of Warner Brothers

Details

Thu., Oct. 5, 7 p.m., Fri., Oct. 6, 3:05 & 10:30 p.m., Sat., Oct. 7, 3:05 & 10:30 p.m., Sun., Oct. 8, 3:05 & 10:30 p.m., Mon., Oct. 9, 3:05 & 10:30 p.m., Tue., Oct. 10, 3:05 & 10:30 p.m., Thu., Oct. 12, 1:20, 3, 5, 7:15, 8:45 & 10:30 p.m., Fri., Oct. 13, 12, 1:30, 3:05, 5, 7:15, 8:35 & 10:30 p.m., Sat., Oct. 14, 12, 1:30, 3:05, 5, 7:15, 8:35 & 10:30 p.m., Sun., Oct. 15, 12, 1:30, 3, 5, 7, 8:35 & 10:15 p.m., Mon., Oct. 16, 12, 1:30, 3, 5, 7, 8:35 & 10:15 p.m. and Tue., Oct. 17, 12, 1:30, 3, 5, 7, 8:25 & 8:35 p.m. 2017
$7.73 to $12.71
In Blade Runner 2049, set three decades after Scott’s film, he has to re-create and expand Blade Runner, convincingly imagining how it might have changed over the years and reaching beyond its all-too-familiar milieu to envision the rest of its dying world. On those counts, he succeeds beyond anyone’s wildest dreams. Blade Runner 2049 is filled with mind-blowing images, with cinematographer Roger Deakins and production designer Dennis Gassner giving us frame after frame of impossible, forbidding beauty: Overhead shots of a gray, cluttered Los Angeles skyline, with brief, mysterious glimmers of those iconic neon screens below; desolate, dust-blasted orange wastelands; abandoned cities stacked with ornate, neoclassical ruins; even, yes, snow. The first Blade Runner was shot by the late Jordan Cronenweth, who found moments of crystalline precision within the grime and the clutter; its world was visually striking, but also somewhat monotone. Deakins, Villeneuve and team have to stay true to the feel of that classic — the original is too beloved for them to dare reinvent it — and yet still give us something new and exceptional. They have achieved all that, and more.

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