Dryness does not mean that it is not convincing-remember "Blade Runner 2049"

Once the story about artificial intelligence falls into the use of "you may be a copying person" as a panacea, and then use overlapping methods to make the complex seem unfathomable and indescribable, such a movie needs other outlets to alleviate it. This potential dryness. 35 years ago, the "Blade Runner" movie was about Los Angeles with an anti-Mediterranean climate. The shock came not so much from the advancement of the proposition, as it was that the so-called cyberpunk was more curious on the big screen, or that it was copied in the eyes of people. A touch of reflection is inherently a cool setting. Deckard's own role setting is clear, but Ford seems to have publicly stated that he is acting from a perspective that almost believes that he is personal. At the same time, the director Ridley said that "the protagonist is clearly a fool after watching the movie and he is still in the fog." People can't help but wonder whether the crew reached a consensus when shooting this movie. There is reason to believe that it is a very ambiguous, sketchy script.
The title of this time is "Blade Runner 2049", which makes people wonder if it should leave room for the next one. Would it be possible to shoot 2084 in 35 years? Don't worry about it for now. California has become Siberia, and Beverly Hills has become Kolkata. In my opinion, the source of the novelty of this work is of course not a copy of human identity or human anxiety. Columbia has invested heavily in creating a visual film, a commercial masterpiece similar to "Mad Max" that expands the wide range of peripheral products and selling points with sound effects, visual effects and prop design. Of course it doesn't matter if it is not deep.
For those who come into contact with "Blade Runner 2049" with a new vision, the experience may still be fresh, and the breath may still be deep, because it is indeed a solid and roaring movie, and it is not as roaring as "Interstellar" To be boring and contrived. Although the conventional narrative structure is not planned to catch the eye, it is far from yawning.
Visually, "Blade Runner 2049" may be really inspired by "Mad Max", learn to use high-concentration tones to render the atmosphere, rather than just use the original paintings that seem to be cool and tense on the street to organize a Very post-industrial scene (such as "Transformers", which has no new ideas at all). With the great melody set by Vangelis, as long as it is a slow-moving urban lens, it will basically not lose focus. Roger Antony Deakins's consistent stable and classical aesthetic lens makes the plot poetic, but it is difficult under the tone of a commercial film. Consistently (whether Deakins is a poetic photographer or not is of course a question). The impressive few shots should still be attributed to the success of the Blade Runner universe setting, including the glimpse of the maid advertisement after Gosling’s sexual liberation, which is a thorough "special effect achievement plot", if there is no very delicate "two women" It is impossible to talk about the detached feeling of copying people's love by shaping or solid dynamic advertising. Whether it is a future recycling plant, a farm or a city, we can see more than just the "elephant". The tone of "K" AKA "Joe" panicking in the end times is real and sensible. Relying on CGI, this work The sense of discovery is far ahead of the previous works.
I'm not sure whether the existence of Ryan Gosling's face is a plus or minus when the visual language is so complete. Although it doesn't give birth or firewood, I can't tell where it is more fascinating, but he slowly develops In addition to box office appeal, the value of the "corner" of the plot in this film is really dispensable in my opinion. Although young, it is strange that he feels too old than the younger Ford. The epiphany is more like something that has happened or once...Of course I don't agree with the so-called "Ryan is like a gorilla". In addition, David Dastmalchian and Sylvia Hoeks are born with weird and clean appearances who are born to exist in the Blade Runner universe, and Jared Leto's pretending to be a ghost is completely ineffective in my opinion. It may be too simple pupil treatment and too little previous work. That kind of shellfish texture. In terms of stunning, and of course it is Sylvia Hoeks. It is almost predictable that she will pick up various future-oriented films in the future.
I think the smartest complex for this game lies in the seemingly disjointed and even nonsensical beach decisive battle (certainly a civil war): Ford’s old meat is soaked in salt water, choking water, and there is nothing he can do. He can only watch the stand; the role of Sylvia Hoeks, though Fierce, but its power shaping is not as strong, it is more like a mentally confused copy. In fact, the most effective element is the ocean waves. The vicious slap is actually the memory, not the survival of the main actors. Fight back and forth, fighting is the right to remember.
At this time, "Blade Runner 2049" is completely aside from people, and the audience seems to be watching a hypothetical, pure copying story. The reason why it is sweaty is that you are not sure whether the copying person is a possibility in the future, or a reality that already exists, or that the copying person is more like a kind of our complex, a kind of removing the mask to show that you don't understand it after all. Your own complex?

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