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Ryan Gosling takes on a classic

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WARNER BROS

With Blade Runner 2049 hitting theaters this end of the week, fans will at last get the opportunity to see the exceedingly acclaimed science fiction continuation for themselves. It's an abrupt and strangely claustrophobic final image for a great film whose spiritual bedrock lies in complex and evocative structures of space; perhaps old Mr. Scott will give it one more touch-up the next time around. (There's also a subtle nod to Joanna Cassidy's runaway stripper in the original Blade Runner when we meet a woman in a see-through vinyl raincoat.) As for the wild electro score, by Benjamin Wallfisch (It) and Hans Zimmer (every movie now being made), it's a new impetus for the phrase "Jesus Christ that's loud!" Yes, and then some. Now when we have Villeneuve collaborate with the legendary Roger Deakins, every frame of Blade Runner 2049 becomes lovely. But in other ways, the sequel is better. The original Blade Runner is, among many other things, a weird fucking movie, and Blade Runner 2049 proudly upholds that tradition with all kind of unusual little flourishes packed into every frame.

Villeneuve is lucky enough to have Ford back on board to play Deckard and form the connecting tissue between the two films.

This time, Ryan Gosling is Officer K, a member of the LAPD's recently reactivated Blade Runner unit, which we learn had been out of commission for most of the 30 intervening years, as the world coped with global starvation and also a power failure that erased most digital memories.

MONDELLO: That's blade runner K, whose job gets him roughed up a lot.

The host joined him in his cocktailing in short order. It stays closer to the tones picked by Vangelis for the first movie.

Rated R for violence, some sexuality, nudity and language.

Sticking to its noirish roots, it is a detective story, but Villeneuve deepens and focuses the original film's examination of Deckard's dubious humanity to actually dissect the story of our new detective himself as he tries to solve the case. That's the one Scott had complete editorial control over. The violent contrast of blackness and brilliant geysers of color drives the visuals throughout, with the strong geometry of the environments structuring the neo-noir shadowplay. Still, K values her companionship. As an example, Funke cited the film's "trash mesa", a sprawling landfill and scrapyard near San Diego that was the production's largest physical set, but needed to be extended to the horizon via miniatures and CG.

All you need to know is - the film picks up a few years after the events of the first one.

So my relationship with the original film was complicated.

The aural presentation, too, is something to be treasured. In their place we have a more dialed-down costume design: fleece-collar coats and simple straight skirts, t-shirts and dusty boots. He lives up to the challenge of acting his ass off and hold the screen. In fact, we are so down to see Ford and Gosling star in a buddy-cop comedy together! Newcomers to the Blade Runner universe are Jared Leto as Wallace Corporation CEO and the latest replicant creator Niander Wallace, Sylvia Hoeks as his replicant number two Luv, and the previously mentioned Wright. Running time: 164 minutes. Villeneuve proves himself a true master of odd atmospheres, and he also brings off the most fantastical sci-fi sex scene...probably ever. The story plays out methodically, at a pace unconventional for sci-fi thrillers but absolutely necessary for ruminative movies like this. "I love when actors are finding ideas in the working process", he said.

The screenplay originated as a novella by Blade Runner co-writer Hampton Fancher. Now it's time for 10 more! But fans of Villeneuve will surely consider it a triumph.

When movie stars are sitting for dozens of interviews in rapid succession, getting a genuinely fun interview out of them is hard.

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