Plot: Former blade runner, Rick Deckard (Harrison Ford) has been missing for thirty years and now LAPD Officer K (Ryan Gosling), has taken over the role of "retiring" replicants that don't conform to society. Going even further back than that, Denis Villenueve revisits Blade Runner after a 35 year hiatus and relieves my nervous disposition with the impressive completion of a 2017 hat-trick. They weren't just money-spinning exercises but revisits to much loved cult classics that were intent on exploring their characters in a whole new depth: 20 years after the drug-addled exploits of Trainspotting, Danny Boyle brought a satisfying maturity to T2 while, 25 years later, David Lynch revisited the quaint logging town of Twin Peaks with The Return - a deeply surreal 18 episodes that has reinvented the way that television can be viewed. But 2017 took the sequel to a whole new level. Like Ridley Scott's film before it, it has proven to be a box-office failure and despite the desire to provide sequels, the masses simply weren't interested in this one. The rise of the superhero blockbuster has played a huge part in this and, as result, the creative and artistic nature of Blade Runner 2049 has become a casualty.
We now find ourselves in an age where the filmmaking craft is so preoccupied with making money that it hinders the art form itself and saturates the market with crowd-pleasing dross.
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