Monthly Archives: June 2020

Blade Runner 2049

BladeRunner2049

Jesus Christ on a cracker! It’s been three years since I started writing this review. Obviously, I have been derelict in my duties on my own blog. Been recording a movie podcast, working, and even writing my own scripts, so I suppose the itch was scratched in that manner. Anyway, might as well put this one out there…

Blade Runner is my favorite movie. It has many flaws, it’s not perfect, it’s still my favorite. When I heard a sequel was being made, I was nonplussed. On one hand, more Blade Runner! On the other, a studio might be making a cash grab (Joke’s on them – the original was a bomb) and ruining what made Blade Runner great for me. News continued to trickle out. Ridley Scott will not be directing. Whew. I love the guy, but he’s very hit or miss. Seems like he’s determined to keep working until the day he dies. I think someone else might have more perspective on the world of Blade Runner and he infamously made the first one a nightmare to work on. More news: Ryan Gosling cast in the lead role. Very interesting… Roger Deakins will be the director of photography. Keep it coming, news, I’m starting to get on board. Harrison Ford is coming back even though he hated, hated, HATED the first one? And Denis Villeneuve will direct? FINE, WARNER BROTHERS, I’M IN. From that point on, I watched the first trailer and two of the three short films made to flesh out the history of the movie. I wanted this movie to surprise me as much as possible.

I was surprised to find a movie as captivating as the original. Despite being given hope by all the pre-production news, I was afraid those hopes would be dashed and we’d have another Ghost in the Shell on our hands. This deserves a scene by scene analysis in the style of Roger Ebert’s Cinema Interruptus – 10 (or more)-hour long discussions of a single film with a theater full of people. I’m working mainly from memory here, but let’s get started. If any lost souls of the internet are actually reading this post, please tell me your own thoughts on the movie. (Actually, don’t. This post has been an unfinished draft so long, I’ve seen the entire internet’s opinion on the movie.)

I love this movie. After the first viewing I felt it was too reliant on typical structure and action sequences, but upon further reflection it is a movie that is as deep as it is long. One thing it excels at is asking questions that don’t bore you or pointlessly tease you. One gets the feeling that these questions have answers, you merely have to inhabit this world to divine them. It draws me into the movie’s world instead of confusing me, like many “hard” sci-fi stories do when they give you nothing.

BR2049 immediately sets itself apart from its predecessor by dodging The Big Question the first one posed: Is the main character a replicant? A casual home invasion and brutal fight scene answer it, yes. This time we are teamed up with a manufactured man, which I consider a well-deserved middle finger to non-fans of the director’s cut who view Deckard’s replicanthood with disdain and claim no good story has ever been spun about a THING, which a replicant is. First of all, nice job missing the point, dummies. We’ve got two whole films here devoted to exploring the idea that artificial humans should be considered real humans and you’re upset that Harrison Ford’s arc has more to do with self discovery than blowing away the bad guy. Second of all, that’s racist and you’re as bad as the people in this movie calling K a skinjob.

Fun fact: Another version of this scene was storyboarded for Blade Runner, but never shot. It involved Deckard tearing out the replicant’s jawbone to retrieve the serial number. I think Ridley Scott didn’t want to reveal a metallic, machine-made bone because that would prove the replicants to be nothing more than advanced machines. He wanted to blur the line between human and replicant and that’s why they aren’t called androids like in the book. Or perhaps he thought that was way too gory and would set the audience against Deckard from the start – I can’t find the interview in which he discusses that scene.

So our stoic hero, K, dispatches a protein/worm farmer (Dave Bautista) at the beginning and tears his eyeball out. Thankfully, they stay away from the gore and portray K as a simple working stiff following orders from on high. He’s also portrayed as an underdog. Even though he’s a newer model of replicant than the one he’s been ordered to retire, he’s half the size of Bautista. He’s got to rely on his speed and his wits (and his ability to be punched and stabbed a LOT) instead of sheer brawn.

While he does inhabit a particular spot on the hierarchy within the LAPD, K is not a mindless soldier. If he were – if ANY replicant were – the aforementioned critics of Deckard’s not-quite-humanity would have a point. When his boss (Robin Wright) tells him to return to HQ, he dares to tell her no as he spots a clue to hidden mysteries. And she dares to listen. The implication in their working relationship is that she sees him as more than a tool to hunt down rogue replicants. She seems to honestly value his insights like she would any fully human cop. Many other characters in this world who look down on replicants would treat him like a toaster instead.

Speaking of those people, how do they even know K is a replicant? He looks like Ryan Gosling, not like Ryan Gosling wearing a robot mask. The fellow cops I can understand, but do they have a replicant version of Megan’s Law that requires replicants to inform all their neighbors of what they are? Do they make a bunch of replicants with the same face so people can recognize them? Or is there an inherent otherness about replicants that real people can still detect? I guess if that were the case, they wouldn’t need the Voight-Kampff test.

We don’t witness a Voight-Kampff test in this film except for a replay of the one from the first film. What we get instead is the V-K on steroids – the baseline test. Where the V-K felt eerily calm and casual considering what it was trying to uncover, the baseline is aggressive, loud, and fast. What sounds like an irritated court clerk remains unseen as he barks out nonsensical questions at K. “Have you ever been in an institution? Do they keep you in a cell? When you’re not performing your duties do they keep you in a little box? What’s it like to hold the hand of someone you love? Did they teach you how to feel finger to finger? Do you long for having your heart interlinked?” It’s all a script for K to recite his half and as sensors measure his response time to the millisecond. If there is too much of a delay, well… They can always make another K. Exploring the IMDB trivia, one learns that these questions come from a Vladimir Nabokov novel, Pale Fire, which K has at his apartment. Another question: Why does he have the book? Is he trying to find meaning in the baseline test? “The Moon’s an arrant thief, and her pale fire she snatches from the Sun.” – Timon of Athen, Shakespeare. Perhaps replicants are the moon which steal their pale fire from real people. Regardless, the baseline test’s real cruelty is that it’s a constant reminder to K that he is Less Than. After every day on the job, he has to subject himself to a test that comforts his keepers with the reminder that, yes, this machine is still functioning as intended.

Enter Joi, K’s virtual girlfriend and extra layer of artificial humanity. He lives with a holographic projector which has a weightless face and body named Joi. It’s their pretend anniversary and he bought her a gift which will allow her projection to exist outside the apartment at last. Do “soulless” replicants seem like they’d be the kind to give gifts? Seems very human to me. Joi is an extension of this theme. Joi has more life and color than any other character in the movie, yet she is the most obviously fake. In this world it’s the humans who have been drained of their life force, who drink to excess, who have physical impairments, who live within regimented structures, and they’re dragging the replicants along with them. But Joi exists, like the replicants in Blade Runner, to live. She is curious, exciting, and passionate – perhaps everything K wants in himself. Advertisements later in the movie describe Joi programs as everything you want to see and hear, which presents a lot of questions about her nature. Is she simply the natural evolution of an Amazon Echo? Does she spend years catering to your every whim in order to form a perfect psychological profile of you in order to sell you products – like the projection wand K gifts her with? Every technological implication in this movie is a friggin’ rabbit hole.

The clue K found at the beginning leads to a buried skeleton at the farm. The first thing they notice about the skeleton is that it’s of a woman who gave birth via C-section before dying. The second thing they notice about it is that it’s a replicant’s skeleton – who traditionally are not permitted biologically to have children. This is the kind of civilization-shattering information that can get a lot of people killed, so the boss lady tasks K with finding the child, if it is still alive, and making sure no one ever hears about this again. When wondering where the baby went, a lab tech suggests maybe the farmer ATE IT. This can go one of two ways, or both. A) He regards replicants with the same disdain many today have for atheists, homosexuals, Muslims, liberals, abortionists, etc. B) Real meat is so hard to come by, it’s actually conceivable to eat a newborn child in a desperate time. One of the many details/throwaway lines that make this movie come to life in my opinion. The third thing the audience might know about this skeleton if they’ve seen the first movie is that this is Rachel’s body.

Using a very fancy microscope that’s not unlike the ESPER machine from Blade Runner, we see that Rachel’s serial number starts with N7, as in Nexus 7. Nexus 6 was the first generation that could pass for human, but had a 4 year lifespan. Nexus 8 are the current ones with the normal lifespan. Nexus 7 is a mysterious middle generation that apparently could procreate, but we still don’t know if they had an extended lifespan since she died after childbirth. Her serial number ended in 18, implying she was “born” in 2018, one year before the first movie. She died in 2021, only 3 years after that, so it’s possible she still had the 4 year limit, but died prematurely. The answer to that question still depends on if Deckard was also a Nexus 7 or a real human, and we still won’t find out for sure. Ridley Scott has stated that Deckard is absolutely a replicant in his director’s cut, but Denis Villeneuve has cleverly not stated which version of Blade Runner this movie is a sequel to. Or maybe that’s not what the serial number means at all and I’m 100% wrong.

K heads off to the replicant manufacturing behemoth Wallace to research Rachel’s origins. The Tyrell Corp pyramids from 2019 have since been dwarfed by the new Wallace towers, which disappear into the clouds. Where do they get the materials for all that building? I imagine some of the Off World Colonies from the first movie have been sending resources back to Earth, but that’s not really important to the story. Just nerd fuel for people like me. K is assisted by Luv, another replicant, who works directly for Mr. Wallace (Jared Leto). Luv, Joi… Even if there wasn’t any other evidence of the subjugation, commercialization, and sexualization of women in 2049 in this movie – which there is – these characters’ names should lead you believe that women have been getting the short end of the stick in a big way. Marketing has possibly led to all female replicants/holograms getting branded with positive, “fun” names like theirs. They are now simply a product to improve your life in various ways. And in another twist on the expected, Luv is an ironic name for a violent “combat model” that does some sales work on the side. She is presumably the latest and greatest in replicant technology since she works for the big man himself. She often sheds tears in moments of violence, yet she commits so much of it in the course of her duties. Is it her soul reacting in horror to all the things she sees and does while her body must obey Wallace? Questions, questions…

One can’t help but notice that one of Wallace’s drone eyes is always trained on Luv while they meet. She is his right hand, the executor of his will and special enough to name, and he still doesn’t trust her. Is this merely paranoia like we see in many powerful figures or is it because Wallace knows that even his replicants really ARE capable of anything? Perhaps even just a creator admiring his most perfect work to date.

K heads back to the farm to find any other leads and he finds them in the piano. It’s a nice callback to the scene of Rachel playing the piano which was also adorned in photographs. Music, photos, and art are clearly important to replicants, it’s one of those things that make them (more human than) human. We’ve seen this before from Leon, who put himself in danger of being caught just to collect his “precious photos.” I happen to think this obsession with pictures is a replicant’s way of prioritizing his own memories over the implanted ones that are meant to subdue, castrate, and control them. When they have a handful of photos of places they’ve actually been and people they’ve really meant, it proves the authenticity of their existence.

Not to say that other natural born humans aren’t on the verge of accepting replicants for what they are, even if they remain selfish about their own needs. Madam comes to see K, ostensibly to discuss the case, but also to drink some liquor. She drunkenly says that she sometimes forgets he’s a replicant, then implies she could use him as a sex toy. Despite her presence on the “good guy” end of the spectrum in this movie, it’s hard not to equate this behavior to a slave owner taking advantage of her slave. Luckily, the movie doesn’t go down this path and we do not have to hate Madam. Instead, we feel pity for her because she must resort to getting drunk and almost molesting her employee to feel a personal connection in this dystopia.

K and Joi go hunting through old DNA records to find the child to which Rachel died giving birth. The speed reading of hundreds of DNA chains is finally something that does set replicants apart from humans. I confess, if I saw someone zipping through books at the library like Johnny Five, I might find a different chair. Two records show up, a boy and a girl, and the girl apparently died of Galatians disease – another biblical reference. Now I am not a religious person and don’t know anything about this part of the Bible, so I looked it up. The webz tells me it is a letter from Paul the Apostle to a number of Early Christian communities in Galatia. Knowing what we know about the end of the movie, perhaps the Galatians in the film are the replicant rebels in hiding who are looking for their own savior. One piece of Galatians 5 I found fitting was, “Stand firm, then, and do not let yourselves be burdened again by a yoke of slavery.” Very appropriate. Still, in the context of the film world, I wonder what Galatians disease is. Doesn’t matter really. That’s what comic book sequels and fan fiction are for.

With only the missing boy’s records to work from, K leaves to visit an orphanage in the wastes over the ocean wall. The walls are another immense construction that seems impossible to build with or without slave labor. Is all this metal coming from Off-World? Maybe they’re drilling into the molten layer of the earth’s crust and turning that into metal. We are given no clues because that’s not the story, but damn, I want to know all these details!

Something has happened to the very land itself that requires K to cross a large body of water to go from L.A. to San Diego, which is now entirely a garbage dump! Geez, why do the filmmakers hate San Diego? Furthermore, San Diego is referred to as merely as district of Los Angeles, evidence that L.A. just took over all of southern California. I’m imagining this happened across the country, each urban center becoming a megacity and swallowing up the surrounding municipalities for 100 miles in all directions. But did the Big One finally strike and sink everything between L.A. and S.D., or is that merely where the flying car freeway is located so no one crashes into buildings?

At the Bald Children Poisonous Metals Reclamation Orphanage, K stumbles onto a classic film noir clue – the book with a torn out page! The exact records that would help locate the first child born of a replicant have been taken. I always wonder about criminals trying to cover their trail like this. Why only destroy the one page? That’s too obvious! In this case, where it involved many volumes of records, maybe steal a few of the books, then totally disorganize the rest, so it’ll take longer for the sleuth to even realize the records are gone. Not exactly a complaint on the movie, I just like to think about things from the perspective of the guy trying to get away with it… On his way out, K recognizes where he is. But he’s never been here before, has he? The dream he detailed about the toy horse took place here. This is the first time we’ve seen an implanted memory play out in the real world, which begs the question – is this an implant or was this the real thing? The journey to the boiler is very long and quiet. Painful because we know where it’s heading. Knowing what it would do to K’s existence, I really wanted him to not find it. But there it is. A wooden horse toy that isn’t supposed to be real is real. And the replicant blade runner who isn’t supposed to be real…

The following scene in the dream builder’s bubble could have given everything away, but the movie plays its hand well. We heard briefly about a girl with a disease who should be dead, then we soon meet a woman with a disease who’s being kept hidden away from prying eyes. She watches K’s memory of the toy horse and sheds a tear. In the end, we know it’s because she’s watching her own memory, but in the moment we can believe an Artist like herself would be entirely empathetic just watching someone else’s. She declares it to be the real thing (her own) and he takes it to mean HE is the real boy and screams out in frustration. He knows he will be hunted to the very end, and what do you know, he wants to live. Something finally shattered his cool exterior. If a replicant can feel this way, what exactly makes them not human?

Trivia: After learning he could be an honest to goodness human, Joi starts calling K “Joe” over and over again. Josef K is the character from Franz Kafka’s The Trial who is hauled through a nightmarish justice system and found guilty without ever even being told what crime he was accused of. That’s the plight of the a replicant – seen as a villain without understanding the reason why.

Enter the weird In & Out Double-Double Animal Style strip tease. It is weird, isn’t it? It’s as though Joi wants to level up her own human qualities to meet K at his new status. She wants to be more real because he is now more real. Joi hires a replicant prostitute (Mackenzie Davis) from earlier to act as her body in order to make love. (So can these holo-girls just go out and make phone calls to whoever they want? Do they have holo-friends when Mr. Man is at the office? I thought they were sort of limited to when their user turns them on. Whatever, who cares…) What ensues is truly one of the oddest visual effects I’ve ever seen. They filmed both actresses performing the same gestures in time, then recreated them in 3D so that they would overlap and poke through each other in three dimensions. It’s so much more than simply overlaying one face on top of the other. It maintains the analog feel of two beings trying to copy each other and being a little bit off from moment to moment. It creates a sensation of the two women competing for the front position in K’s affections, which I can see as a bit sexist, but I can also see it as highlighting Joi’s perfectly programmed humanity and a counterpoint to Mariette’s hard edge we saw before. A great scene heightened by stellar VFX.

Joi has a major character moment next – in my opinion THE moment that makes Joi a real character and not just a program. K is leaving to continue his search and Joi wants to go with, insisting that she transfers to his holostick completely. If she was left behind in the home station, she could be made to inform Wallace where K has gone. She decides to remove her own safety net to help K. After all the previous scenes of her becoming closer to human by degrees, K breaks the backup and she is suddenly made mortal. If anything happens to the device in K’s pocket, she dies. She knows it and she makes the decision anyway. There’s been a lot of analysis about Joi’s motivations here and I simply think it continues Blade Runner’s tradition of showing greater empathy, understanding, and self-sacrifice in the “artificial” lifeforms. She’s not just a program trying to please her owner anymore, she has become a person, if not flesh and blood, making choices about her own life.

Another great scene (this movie is full of them!) is when Luv shows up at Madam’s office looking for K. Madam’s shock and horror at Luv’s deception and violence is palpable. In a way, it’s the final nail in Madam’s prejudices. She knows in this moment that replicants can be just as bad as people and then she tries to protect K with her life. Sylvia Hoeks’ performance is riveting as she proves that everyone’s beliefs about replicants to be a comforting lie. “You’re so sure. Because he told you. Because we never lie,” she coos as she crushes Madam’s hand over a shattered glass. She even feels the need to tell a story to Wallace about why she killed a policewoman. It’s like she enjoys acting out in ways she never can at home with dad watching over her.

K utilizes the very cyberpunk invention of the skid row-dwelling nuclear scientist who sells his services out of a tent to discover that the wooden horse came from an area with a particular radiation signature – Vegas baby! The following sequence may be the most well known of the entire movie because of its iconic red fog look based on Australian sandstorms. You only need one look at the Las Vegas desert like this to understand that civilization doesn’t exist here. K narrows down his search by looking for signs of life – any life should stick out like a sort thumb. What he finds is a bee colony, an interesting choice. Bees are a drone insect, slaves to the queen, kinda like replicants are expected to be. He sticks his hand into the hive and brings it out covered with bees – and apparently not stung as I expected it to be. Perhaps they recognize a fellow traveler.

The set design of the casino interior is really great. They didn’t overdo the wretchedness of the abandoned place like JF Sebastian’s arguably was in the previous film. (Seriously, why would a person who lives in that apartment let it get THAT funky? There are considerations to be made for representing the “kipple” from Do Androids Dream of Electric Sheep.) The stack of empty whiskey bottles is funny without being too on the nose. As great as this part of the movie is, the fist fight in the Elvis concert room is a low point for me. It’s pointless old man action that goes nowhere. Punch Ryan Gosling in the face, Ryan Gosling tries to stop him, repeat. Not sure what the point of all the conflict is if he’s just going to give up and drink whiskey with the stranger anyway.

I wasn’t sure what to expect from Harrison Ford in this movie. I was afraid he’d be in one scene, then unceremoniously killed off or something due to the fact that all promotional material showed him in the same grey T-shirt. I fully expected his contract to have a line regarding a maximum of one costume change per week. He’s in the stage of his career where people will do it his way or he won’t do the movie. He can live off of Star Wars money forever, no skin off his nose. So I was surprised and thrilled by his role in the movie. It’s pivotal, not a cameo for a paycheck. And despite whatever misgivings he may have about making the first one, he shows up with the same attention to character detail he had in 1982. This isn’t Ford showing up in Anchorman 2 because holy shit it’s so funny that he would do a movie like this, this is Ford bringing real emotion to a role like I haven’t seen him do in decades, frankly. The conversations he and K have are of that old, slow Blade Runner cloth, but the content runs deep and never bores. “Sometimes to love someone, you’ve got to be a stranger.” This is all masterfully written to lead the audience down the “K is Deckard’s Son” path, but when you rewatch it, it’s a man – a father – struggling to justify his actions and his current lonely existence. He did the right thing, but for whom? Also regarding the dog: “Is it real?” “I don’t know. Why don’t you ask him?” is a clever nod to the fans who have longed for the answer of Deckard’s humanity while also fitting the film’s themes of identity. In the end, what’s the difference?

Luv and some goons track K out to Vegas and the first meaningful death of the movie occurs – Luv squashes Joi’s holostick underfoot as she is about say she loves K. A truly devastating death since we’ve seen Joi’s evolution over the last 2 hours. The death of Sapper in the opening is affecting in its brutality, but we didn’t get to know him. The deaths of the humans are mostly used to illustrate Luv’s strength and invincibility. This is the first person (yes, a person!) we really care about to suffer this fate. The goons capture Deckard despite K’s best efforts. Exit. Alarum.

One of the weaker scenes in the movie, frankly, is when K is rescued by a group of replicant rebels. Many of them bear a scarred eye socket, so they cannot be identified as replicants. (Wouldn’t missing a friggin’ EYE become the thing the blade runners are looking for then? That can’t be the ONLY way they’re identified, right? But it’s the one the movie has setup for us, so this is OK in the name of efficient screenwriting and staying away from sci-fi bullshit better explored in very thick novels.) They tell him he is not the One, as he though, but they all thought they were at one point. Because who doesn’t want to matter in the world? Their goal is to protect the child. The girl. Deckard knows about her – the dream maker trapped in a snow globe – so he must not be allowed to reveal anything to Wallace. They want K to kill Deckard.

Deckard is taken to one of the coolest villain lairs in recent memory – a wide open room filled a foot high with water and only little wooden steps leading to a center platform. The lights bounces off the rippling surface in another echo/one-up of Blade Runner’s Tyrell Corp. conference room (which didn’t even have visible water, it was just a lighting effect). Two things we’ve already learned are extremely rare in this world are wood and water and Wallace has more than his share of both. This is probably the room where Wallace does his heavy thinking, but now it is an interrogation room. Deckard knows something about the replicant’s child and Wallace will not be denied. He asks if perhaps Deckard was DESIGNED to fall for Rachel 30 years ago, suggesting he is also a replicant and together they were the Adam and Eve of the independent replicant race. The can of worms remains as deep as ever as we do not get a solid answer either way. The fans can still debate, hooray! With his line of questioning not getting anywhere, Wallace brings out the big guns. I actually gasped in the theater when her silhouette took shape. Rachel Tyrell, in all her 2019 glory, not having aged a day, emerges from the shadows to tug at Deckard’s innermost desires. This is yet another example of stunning visual effects not being used merely to impress the audience, but to emotionally engage them. Every fan of Blade Runner was no doubt speechless during this scene. At the time, this was THE BEST youngified person I’d ever seen. There were a few aspects of Rachel’s face that felt rubbery or too slick. Despite the technically perfect recreation of Sean Young’s face and the photoreal texture of the skin and the way the light passes into it, it was still animated. But it was definitely on the far side of the uncanny valley. Since then, we’ve seen strides forward in deep fakes, and it’s enough to make traditional 3D artists worry. Why make it 3D when you could use an actor’s own face from 30 years ago to de-age them now? I suspect a lot of studios may start creating catalogs of their top stars’ faces from decades past in as high a resolution as possible so that they may be reused in the future. If I was an unethical producer who had no ability to find new stars, that’s what I’d be doing anyway…

Regardless of how “real” Rachel appears to Deckard, he knows it’s a fake. The way she pleads with him too desperately feels like that’s how all the Joi companions (another product of Wallace Corp.) get their start too. She was designed to be whatever Deckard wanted, but he wanted the real Rachel who died almost 30 years ago. And they got the eye color wrong. Allegedly. There’s some confusion on the eye color if you’re looking at Sean Young vs. the Voight-Kampff test videos vs. this Replicant. Wallace’s plan to do this the easy way has failed. He signals Luv, who shoots New Rachel right in the head. Just another obsolete toaster oven to throw away now.

As Deckard is confronted with a recreation of his lost love, so is K in the form of a giant Joi advertisement. Who calls him “a good Joe.” And the lines are blurred again. Are all Jois programmed to like the name Joe? Does that make K less unique as a result? He looks down at his gun and decides he must protect the child, though we don’t yet know if he intends to do that by way of killing Deckard. We also don’t know his train of thought regarding Joi. Does he realize he was just another victim of Wallace Corp products and Joi was just an electric sheep to keep him company? Or does he realize in the face of the pink monstrosity with solid black eyes that his love for Joi was real even if she technically was not?

The climactic end to the film works in some ways, but not at all. It involves some brief flying car dogfighting followed by a race against a rising tide as the spinner Deckard is restrained in is dragged out to the ocean. Luv stabs K a bunch and he doesn’t seem to mind. He perseveres (somehow) and drowns her. As she thrashes around and finally expires, we can see, if we look hard enough, that she is also as human as anyone in this story. She doesn’t want to live merely to execute her master’s commands, she just WANTS TO LIVE. Like Roy Batty, Leon, and Pris, or anyone really.

So K is bleeding badly, but still pretty much OK. He gets Deckard out and they fly to his daughter in the snow. (Is it snowing because they’re so high up? It was just raining like crazy when they were playing in the ocean.) I do like this snowscape as a contrast to the rest of the city. It may be pretty dreary and gray up here, but it is also peaceful and quiet. It’s slow. The snowflakes haven’t joined the chaos below as rain. Deckard goes inside to see his child for the first time since she was born. K stays on the steps to enjoy the snow falling on his face. In the end, he wasn’t the One, but he mattered all the same.

Blade Runner 2049 gets 10 holographic Elvises out of 10. Thanks for reading, whoever you are. I really had to get all that rambling off my chest.