Blade Runner

Blade Runner 2049 review (2D and 3D versions)

By Andrew Reid (EOSHD)

Comment on this article at the EOSHD Forum

Comment on the forum Blade Runner 2049 cinematographer Roger Deakins has been quoted in the clickbait media (basically every website now) saying “don’t see the 3D version”! Actually rather than slamming the 3D version, all he did was state a preference for the 2D version! In most cinemas the 3D version was the only one available, be it on a standard size screen or IMAX. This was the case in Berlin at Sony’s very own state of the art cinema, so I watched the film twice – the first time in 3D and the second time in 2D in a …

The post Blade Runner 2049 review (2D and 3D versions) appeared first on EOSHD.

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From:: EosHD

10 Reasons Why “Blade Runner 2049” Is Better Than The Original

By Tom Lorenzo

Sequels are a hard nut to crack. Hollywood’s insistence on utilizing any name brand they can get their hands on doesn’t always work. It rarely does. Just because something had a name that was worthwhile at some point, or worthwhile to a niche audience, doesn’t mean it’s going to make money, and money is what these suits want.

It’s even more bizarre when they decide to make a sequel decades after the fact to a long forgotten box office bomb. So while a certain audience may love it, it’s weird that Disney would expect that a big budget sequel to “Tron” would make enough money to justify a nine-figure budget. Or that Warner Bros. would expect a “Blade Runner” sequel to do so as well.

But there’s one thing that isn’t always a guarantee with these, and that is whether they will be good or not. Cause for every “Mad Max: Fury Road”, there’s a “Tron: Legacy”. And thankfully, “Blade Runner 2049” managed to overcome its inherent probability of being a “Tron” and fell more in line with “Fury Road”.

That this team was able to crack the code on a movie that is so iconic and singular is a miracle and one that needs to be looked at a little more clearly. So without further ado, let’s get to it. Spoilers are quite freely abound in this piece. Be warned.

10. The Return of Hampton Fancher

When tackling these kinds of movies so far after the original’s release, it’s hard to capture that feeling. Movies are a special kind of magic and to try to replicate it at any point is hard, but to do it so many years later is even harder. So to get at least one of the original creatives involved in the → continue…

From:: Taste Of Cinema

Blade Runner 2049 is a cinematic masterpiece – Here’s why

By (Neil Oseman)

Blade Runner 2049 is a cinematic masterpiece - Here's why

35 years after the original, Blade Runner 2049 hit cinemas last week to widespread critical acclaim. While director Denis Villeneuve has received his fair share of praise, many have highlighted the exceptional work of cinematographer Roger Deakins, suggesting it may finally win the 13-times-nominated DP an Oscar. Neil Oseman takes a look at the photographic style Deakins employed for the sci-fi sequel and how it plays into the movie’s themes.

  • Blade Runner
  • Neil Oseman
  • Cinematography

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    From:: RedShark News

    12 Movies with the Best Color Cinematography of All-Time

    By Chris O’Falt Roger Deakins does incredible things with color in “Blade Runner 2049,” but he’s part of a longstanding tradition. → continue…

    From:: Indie WIRE Filmmaker Toolkit

    Watch: Roger Deakins on Personal Connection through Cinematography

    By Filmmaker Staff

    To supplement Matt Mulcahey’s interview with Roger Deakins about shooting Blade Runner 2049, check out ARRI’s interview with the legendary DP. He starts with a few general anecdotes, notes that he’s not lit the way he’d light a scene, and tells a story about lighting a scene in Sicario with just a lighter, among other highlights. → continue…

    From:: Filmmaker Magazine

    Sci-Fi Masterpiece? Cult Classic? B.O. Bomb? ‘Blade Runner’ Will Always Be an Enigma

    By Christopher Boone

    If history is our guide, ‘Blade Runner 2049’ was never going to open big. But it will likely have us talking for years to come.

    On Friday, June 25, 1982, two films shared the title for the widest release of the weekend with 1,295 screens: Star Trek II: The Wrath of Khan (down from its initial screen count of 1,621 on June 4, 1982) and a new release, the strangely titled Blade Runner.

    Neither of those films, however, would capture the top spot at the box office that weekend. That honor went to E.T., which in its third week in release recorded its best weekly box office of its one-year theatrical run, bringing in $24.9 million between June 25 and July 1 on its way to an historic $353.3 million in its initial theatrical release. During that same week, Blade Runner captured the No. 2 spot on the box office chart, bringing in $9.55 million for the week after a weekend opening of $6.15 million.

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    From:: No Film School

    Watch: 5 Films That Director Ridley Scott Loves

    By V Renée

    Ridley Scott’s list of favorite films is as eclectic as they come.

    When it comes to genre, director Ridley Scott’s work is quite diverse. He made a name for himself in the late-70s and early-80s with his brand of dark sci-fi cinema, including titles like Alien and Blade Runner, but eventually went on to cover cop thrillers, war films, “sword and sandal” flicks, and pretty much everything in between. And knowing that he has inspired the work of so many young filmmakers, it makes you wonder if the films that inspired him are just as diverse as his filmography. According to this video by Fandor, they are.

    The list gives you a little bit of everything. You’ve got a film noir made during the height of the film movement, an iconic sci-fi film made by one of the greatest filmmakers who has ever lived, an Australian dramedy that introduced Toni Collette to the world, a post-apocalyptic sci-fi number, and, of course, Star Wars.

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    From:: No Film School

    Your Definitive Guide to Preparing for ‘Blade Runner 2049’

    By Liz Nord

    Want to brush up on your ‘Blade Runner’? We’ve got you covered.

    We’ve been waiting for this moment for years. Sure, we put Blade Runner 2049 on our list of most anticipated films for 2017, but our love affair with this sci-fi classic and intrigue about its long overdue sequel goes back much further than that.

    After all, Ridley Scott’s 1982 original Blade Runner damn near defined a genre, and the crew behind the new film are top notch. Director Denis Villeneuve was known for suspenseful dramas like Prisoners (2013) and Sicario (2015) until his first foray into sci-fi last year, Arrival, a film that quietly subverted genre conventions. DP Roger Deakins, though not necessarily a household name, is a hero to cinematographers worldwide, and has shot some of the most influential films of the last 30 years, including every Coen Brothers hit fas far back as Barton Fink (1991).

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    From:: No Film School

    Watch: ‘Blade Runner 2049’ Final Prequel Short Reveals the Origin of the Blackout

    By Christopher Boone

    The anime short ‘Black Out 2022’ by Shinichiro Watanabe gives us the most details yet between the original ‘Blade Runner’ and its sequel.

    If the first two Blade Runner 2049 prequel shorts directed by Luke Scott, Ridley’s son, felt like appetizers, the final prequel short feels almost like a meal. Legendary anime director Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo, and Kid’s Story and A Detective Story from The Animatrix) reveals much more about what happened between Ridley Scott’s original film and Denis Villeneuve’s highly anticipated (and much praised) sequel.

    Check out Black Out 2022, an anime prequel that illustrates the fate of the replicants, the fall of the Tyrell Corporation and the rise of the Wallace Corp.

    In case you missed it, here’s the second prequel short, 2048: Nowhere to Run, introducing Sapper Morton (Dave Bautista), a worm farmer with something to hide.

    And here’s the first prequel short, 2036: Nexus Dawn, about the next generation of replicants created by Niander Wallace (Jared Leto).

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    From:: No Film School

    The 15 Best Film Scores of The 2010s (So Far)

    By Anmol Titoria

    Film scores have defined our moviegoing experiences for decades. They have altered, manipulated, distorted, uplifted, haunted and underlined our perception of a particular work of cinematic art countless times.

    Would the fantasy of Harry Potter grow and get darker and richer, while preserving the childish whimsy and charm without John Williams’s brilliant score for “Prisoner of Azkaban”? Would the moral and principled Marge Gunderson hold half the allure she does in Joel Coen’s dark comedy “Fargo” without the staggering, lamenting cords of Carter Burwell’s serene score? Would either “Blade Runner” or “Chariots of Fire” succeed without Vangelis’s shaded ambiguity in the former and the swooning patriotism in the latter?

    Composition of scores began as an exercise to embellish and decorate film, it was done in want of something to annotate the text without reducing its importance. It was lively, efficient, and in rare instances, melodious too. But it never existed as a part of a film’s narrative, as an inseparable element, defining its thematic intentions and charging its validity and relevance to accentuate the temporal qualities of a film. It was intentioned only to make the film more appealing as a source of entertainment, to add to its texture, but never become a part of that texture.

    But as auteur filmmakers began to link sound with images and to realize how deeply significant scores can be to the experience of a film, and how singular ideas can be communicated in specific auditory terms, scores became what they should have been from the inception of sound in film: an incessant source of the effectiveness of the filmmaker’s ideas. They created auras around films, making them at once much more accessible and mysterious.

    Ideas intended to communicate one thing, lead to a hundred-different interpretation, thanks to the experience of the score registering in varied → continue…

    From:: Taste Of Cinema

    Watch: Discover How ‘Blade Runner’ Created a New Genre

    By Justin Morrow

    Take a deep dive into this indelible world of future noir that has influenced art and culture ever since.

    To say that Blade Runner 2049 is eagerly anticipated would be to understate the case by orders of magnitude. The original Blade Runner, directed in 1982 by Ridley Scott and based on the Philip K. Dick novel Do Androids Dream of Electric Sheep? single-handedly created a new aesthetic. It was science fiction set in a world uncomfortably close to our own, yet canted just enough to hide in shadow. And, as Michael Tucker notes in this new video from Lessons from the Screenplay, “Blade Runner was the first film to truly take the thematic elements of classic film noir and integrate them into the science fiction genre.” Here are three ways the film the did that, and in doing so, made film history.

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    From:: No Film School