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B+ from A.A. Dowd, who I trust more than most. Maybe I will see this after all.

 

2 hour 44 minute running time though. Woof.

I was pleased to see this too, he's usually spot on.

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  People will be talking about the three-way inter-dimensional sex scene. The sound mix is very detailed and very, very loud — the metallic groans make your eardrums quiver.

 

Now we're talking.

 

 

*unzips*

 

 

 

*unfurls*

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last one of the 3 short films they put out before release (this time an anime version)

 

I really liked it

 

 

Good to hear it's getting good reviews and that its 2 hrs and 44 mins, really looking forward 

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i just can't wait to see leto die

 

this isn't a spoiler idk just assuming.

 

 

 

yeah. that too :)

 

p.s. i bet he's an android so he removed his eyes to hide the fact

//cause of the redness

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Vox Media Review (No Spoilers)

 

If you are already inclined to see Blade Runner 2049, then go for it. Rest assured: It’s not a disaster. It’s the sort of original and stylish film that — if Hollywood is going to insist on resurrecting everything — is actually worth the film it’s printed on.

 
And it’s worth seeing on a big screen, because if there’s one thing Scott’s successor Denis Villeneuve knows how to do, it’s make a compelling image. In this film he works with his frequent collaborator, the great cinematographer Roger Deakins, whose comically accomplished oeuvre and work in this film almost certainly guarantees him an Oscar nomination, if not the still-elusive Oscar itself.
 
Blade Runner 2049 does its due diligence as a sequel, wrapping up some threads from the original film that may (or may not) satisfy some fans still puzzling over Blade Runner’s biggest open question. But it’s not mere fan service; the film tries very hard to sustain interest with new characters and developments that draw on the past without being handcuffed to it, throughout its sometimes ponderous 163-minute runtime.
 
But far too often that attempt to be interesting fails. Its score (from Benjamin Wallfisch and the ever-present Hans Zimmer, detectable because your chair shakes when the music plays) lacks the pristine transcendence of the original Vangelis score. The Blade Runner 2049 screenplay (co-written by Logan screenwriter Michael Green and a returning Fancher) doesn’t have the thematic or even structural clarity of its predecessor. Too many of its scenes seem invented as vehicles for cool images, without the latter also informing the former.
 
Much of cinema’s greatest sci-fi leans heavily on visuals for its storytelling, of course — Tarkovsky’s Stalker, Kubrick’s 2001: A Space Odyssey, Blade Runner itself. But all the senses need to work in tandem, and in Blade Runner 2049 they fall out of sync. And it’s the thematic material that suffers.
Edited by fumi
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So, basicaly, 2/10

 

 

Well, I only picked that review from the many out there because it has a more balanced appraisal than all the over-the-top reviews I've read elsewhere.

 

I think the movie will be excel at some things and also be a disappointment in others.

 

by the way, there are reviews out there that basically say the film is at least an hour too long and offers visual spectacle only to prop up a thin script.

 

http://www.nationalreview.com/article/452208/blade-runner-2049-review-dark-vision-weak-storytelling

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the film is at least an hour too long and offers visual spectacle only to prop up a thin script.

so the first film then

 

 

mic drop

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Liked the review in nytimes

https://www.nytimes.com/2017/10/02/movies/blade-runner-2049-review-ryan-gosling-harrison-ford.html?_r=0

 

Most revealing bit seems to be this:

Which is not something I’m going to explain, at least as far as it relates to the story. The studio has been unusually insistent in its pleas to critics not to reveal plot points. That’s fair enough, but it’s also evidence of how imaginatively impoverished big-budget movies have become. Like any great movie, Mr. Scott’s “Blade Runner” cannot be spoiled. It repays repeated viewing because its mysteries are too deep to be solved and don’t depend on the sequence of events. Mr. Villeneuve’s film, by contrast, is a carefully engineered narrative puzzle, and its power dissipates as the pieces snap into place. As sumptuous and surprising as it is from one scene to the next, it lacks the creative excess, the intriguing opacity and the haunting residue of its predecessor.

 

Or, in other words: fanboys will love it, but it doesnt look like it will have the same lasting power as the original Edited by goDel
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