Blade Runner 2049

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Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.

Credits: TheMovieDb.
Blade Runner 2049
Overview:
Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
Cast:

‘K’: Ryan Gosling
Rick Deckard: Harrison Ford
Joi: Ana de Armas
Sapper Morton: Dave Bautista
Lieutenant Joshi: Robin Wright
Luv: Sylvia Hoeks
Mariette: Mackenzie Davis
Niander Wallace: Jared Leto
Dr. Ana Stelline: Carla Juri
Freysa: Hiam Abbass
Mister Cotton: Lennie James
Coco: David Dastmalchian
Rachael: Sean Young
Gaff: Edward James Olmos
Doc Badger: Barkhad Abdi
Nandez: Wood Harris
File Clerk: Tómas Lemarquis
Replicant: Sallie Harmsen
Rachael Double: Loren Peta
Interviewer: Mark Arnold
Doxie #2: Krista Kosonen
Doxie #3: Elarica Johnson
Liberace Look-A-Like: David Benson
Boy with One Ear: Kingston Taylor
Elvis Look-A-Like: Ben Thompson
Little Ellie: Ellie Wright
Marilyn Look-A-Like: Suzie Kennedy
Sinatra Look-A-Like: Stephen Triffitt
Angry Old Lady: Vilma Szécsi
Birthday Girl: Kincsö Sánta
Memory Child: André Lukács Molnár
Scavenger #1: István Göz
Scavenger #2: Pál Nyári
Scavenger #3: Joshua Tersoo Allagh
Scavenger #4: Zoltán Béres
Scavenger #5: Konstantin Pál
Scavenger #6: Ferenc Györgyi
Orphanage Boy: Samuel Brown
Hologram Joi (voice) (uncredited): Mary Lukasiewicz
(archive footage) (uncredited): Frank Sinatra

Crew:

Story: Hampton Fancher
Director of Photography: Roger Deakins
Concept Artist: Gabor Szabo
Screenplay: Michael Green
Co-Producer: Carl Rogers
Second Assistant Director: Joel Kramer
Visual Effects Producer: Karen M. Murphy
Executive Producer: Bill Carraro
Location Manager: Emma Pill
Executive Producer: Tim Gamble
Conceptual Design: George Hull
Co-Producer: Dana Belcastro
Producer: Broderick Johnson
Producer: Cynthia Sikes
Producer: Bud Yorkin
Production Supervisor: Gavin J. Behrman
Stunts: Adam Hart
Executive Producer: Frank Giustra
Co-Producer: Steven P. Wegner
Casting: Francine Maisler
Editorial Staff: Daniel Czinkota
Editorial Staff: Ken Lebre
Location Manager: Zsolt Molnar
Production Controller: Joshua Ravetch
Visual Effects Supervisor: John Nelson
Producer: Andrew A. Kosove
Makeup Department Head: Donald Mowat
Conceptual Design: Scott Lukowski
Pyrotechnic Supervisor: Marcus Preussing
Special Effects Supervisor: Bernd Rautenberg
Special Effects Supervisor: Gerd Nefzer
Casting: Lucinda Syson
Visual Effects Supervisor: Huseyin Caner
Color Timer: Matt Wallach
Location Manager: Rudolf András
Conceptual Design: Emmanuel Shiu
Supervising Technical Director: Carsten Woithe
Conceptual Design: Peter Popken
Set Costumer: Mark Avery
Set Supervisor: Isabel Bloor
Visual Development: Nikul Patel
Conceptual Design: Ed Natividad
Conceptual Design: Victor James Martinez
Production Office Assistant: Rachel Amanda Alterman
In Memory Of: Klaus Mielich
Editor: Joe Walker
Hairstylist: Jaime Leigh McIntosh
Set Decoration: Alessandra Querzola
Makeup Artist: Anna Törjék
Production Sound Mixer: Mac Ruth
Art Direction: David Doran
Supervising Art Director: Paul Inglis
Hair Supervisor: Lizzie Lawson
Art Direction: Tibor Lázár
Art Direction: Stefan Speth
Makeup Supervisor: Csilla Blake-Horváth
Assistant Director: Gábor Hegedüs Hege
Production Design: Dennis Gassner
First Assistant Director: Donald Sparks
Sound Effects Editor: Christopher S. Aud
Art Direction: Lydia Fry
Costume Design: Renée April
Assistant Editor: Zach Marshall
Assistant Editor: Balázs Budai
Casting: Zsolt Csutak
Art Direction: Bence Erdélyi
Executive Producer: Ridley Scott
Sound Re-Recording Mixer: Doug Hemphill
Sound Re-Recording Mixer: Ron Bartlett
Sound Designer: Theo Green
Sound Effects Editor: Lee Gilmore
Supervising Sound Editor: Mark Mangini
Sound Effects Editor: Greg ten Bosch
Original Music Composer: Benjamin Wallfisch
Original Music Composer: Hans Zimmer
Camera Operator: László Bille
Steadicam Operator: Pete Cavaciuti
Aerial Director of Photography: Dylan Goss
Gaffer: Bill O’Leary
Camera Operator: Imre Juhász
Key Grip: Attila Szücs
Techno Crane Operator: Zoltán Schrammel
Rigging Gaffer: Patrick Bramucci
Second Unit Director of Photography: Pierre Gill
Additional Still Photographer: Kata Vermes
Rigging Grip: Charley Gilleran
Pilot: Marc Wolff
Gaffer: Krisztián Paluch
Camera Operator: Gusztáv Kirsch
Key Grip: Mitchell Andrew Lillian
Rigging Gaffer: Antal Berger
Camera Operator: Ádám Fillenz
Key Makeup Artist: Ruth Haney
Animation Supervisor: Eric Bates
Pre-Visualization Supervisor: Duane Floch
3D Generalist: Erik Lehmann
Hair Designer: Kerry Warn
Construction Coordinator: Colin H. Fraser
3D Artist: Tibor Dajko
Lead Animator: Jakub Pazera
VFX Editor: Leo-Patrick Houde
Animation Supervisor: Wesley Chandler
CG Supervisor: Chris McLaughlin
VFX Editor: Sasha Leigh Izadpanah
Art Department Coordinator: Veronika Szücs
3D Coordinator: Michael Anders
Visual Effects Editor: Xinyi Puah
Key Hair Stylist: Jon Henry Gordon
Sequence Supervisor: Miles Lauridsen
Matchmove Supervisor: Etienne Poulin St-Laurent
Key Makeup Artist: Jo-Ann MacNeil
ADR Voice Casting: Caitlin McKenna
Visual Effects Producer: Annie Normandin
Assistant Costume Designer: Bea Merkovits
Prop Maker: Istvan Muranyi
Visual Effects Coordinator: Yogesh Chautel
Aerial Coordinator: Cliff Fleming
Assistant Costume Designer: Martine Gagnon
Set Costumer: Dóra Papp
Assistant Art Director: Orsolya Maza
Visual Effects Coordinator: Paul Docherty
Visual Effects Coordinator: Lorie Bussières
Assistant Costume Designer: Margaret Robbs
Special Effects Supervisor: Gábor Kiszelly
Set Designer: Joseph Hiura
Visual Effects Editor: Bianca Cuffaro
Visual Effects Coordinator: Heather Martini
Visual Effects Producer: Michelle Eisenreich
Visual Effects Coordinator: Cindy O’Hare
Visual Effects Producer: Kim Menaster
Visual Effects Editor: Kelly Noordermeer
Visual Effects Producer: Sabrina Gagnon
Casting Associate: Natasha Vincent
Assistant Art Director: Abby J. Smith
Prop Maker: Tamas Gelei
Visual Effects Producer: Chad Nixon
First Assistant Editor: Mary Lukasiewicz
Armorer: Zsolt Gonda
Visual Effects Editor: Céline Zapater
Visual Effects Coordinator: Ryan Basaraba
Visual Effects Coordinator: Gabriel Jalbert
Visual Effects Coordinator: Christ Ohoueu
Script Supervisor: Jessica Clothier
Visual Effects Coordinator: André Geoffroy
Visual Effects Producer: Julien Cimino
Visual Effects Coordinator: Philippe Lépine
Visual Effects Coordinator: Annabelle Zoellin
Pilot: Cory Fleming
Ager/Dyer: Lilla Kleininger
Property Master: Doug Harlocker
Visual Effects Coordinator: Lucas John Ng
Visual Effects Producer: Adam O’Brien-Locke
Construction Coordinator: Máté Herjeczki
Prop Maker: Torma Zoltán
Visual Effects Coordinator: Fanny Bissonnette
Special Effects Coordinator: Linda Mester
Script Supervisor: Dóra Simkó
Casting Associate: Kathy Driscoll-Mohler
Digital Intermediate: Robert E. Phillips
Prop Maker: Vilmos Törköly
Assistant Property Master: Bradley Good
Assistant Art Director: Elicia Scales
Visual Effects Supervisor: Paul Lambert
Visual Effects Supervisor: Richard R. Hoover
Sequence Supervisor: Mitul Patel
Thanks: Ryota Nakanishi
Musician: Rio Mangini
Location Scout: Pier Laurenza
Location Manager: Bill Twiston-Davies
Supervising Music Editor: Clint Bennett
Production Coordinator: Jason Habelow
Thanks: Syd Mead
Musician: Nico Abondolo
Seamstress: Laszlo Tahy
Grip: Gabor Schmidt
Stunts: István Draco Markolt
Stunts: Levente Tamási
Animation: Adam Klein
Grip: Róbert Nagy
Stunts: Csaba Komondi
Stunts: Zoltán Hódi
Stunts: Eniko Fulop
Stunts: Dénes Bálind
Stunts: Milan Bartha
Executive Music Producer: Ashley Culp
Accountant: Maria Gerencser
Production Coordinator: Jordi Roca Agut
Pilot: Desiderio Vite
Title Designer: Nicolas Girard
Production Coordinator: Laurie Wright
Costume Supervisor: Lilla Vasvári
Seamstress: Klarissza Kis
Choreographer: Viktória Jaross
Thanks: Aaron Haye
Animation: Ben Hurand
Stunts: Gáspár Szabó
Music Supervisor: Deva Anderson
Location Manager: Robin Citrin
Costume Supervisor: Cori Burchell
Animation: Chris Sokalofsky
Grip: Csaba Pápai
Grip: Vilmos Keszler
Best Boy Grip: Gábor Balda
Stunts: Gyula Tóth
Stunts: Gábor Szemán
Stunts: Gábor Pesta
Stunts: Joel Michael Kramer
Line Producer: Jessica Sharp
Digital Compositor: Sean Coonce
Thanks: Dennis McCarthy
Stunts: Martin De Boer
Unit Publicist: Larry Garrison
Seamstress: Rita Jakab
Grip: Tamás Kollár
Grip: Róbert Jász
Stunts: Zoltan Szanto
Stunts: Viktor Sokorai
Musician: Avi Kaplan
Musician: Tristan Schulze
Health and Safety: Altus Health
Thanks: Andrew G. Vajna
Extras Casting: Veronika Varjasi
Electrician: Andras Rudasy
Stunts: Akos Lenkei
Stunts: Tamás Hagyó
Stunt Double: Rob de Groot
Stunts: Krisztián Botka
Digital Compositor: Tomas Ariño Sobotkiewicz
Digital Compositor: Abhishek Chaturvedi
Digital Compositor: Liudmyla Chorna
Digital Compositor: Martin Cicmanec
Dialect Coach: Rick Lipton
Executive Music Producer: Alcon Sleeping Giant
Musician: Owen Gurry
Extras Casting: Zsolt Ferenc Maier
Casting Assistant: Kristi Lugo
Casting Assistant: David Bush
Electrician: Istvan Banga
Production Coordinator: Nathalie Rodriguez Martinez
Thanks: Dan Spellman
Executive Music Producer: Michael Hodges
Musician: Simone Vitucci
Stunts: Laszlo Utvari
Unit Manager: Gábor Ujházy
Executive Music Producer: Kayla Morrison
Animation: Leonardo Bonisolli
Animation Supervisor: Bernd Angerer
Grip: Antal Kató
Best Boy Grip: Paul Candrilli
Stunts: Vanda Mocár
Casting Assistant: Molly Rose
Electrician: András Zsák
Electrician: Béla Rácz
Electrician: David Rondzik
Stunts: Ádám Bertalan
Stunts: Géza Kovács
Stunts: Alex Kingi
Line Producer: Ravi Mahapatro
Digital Compositor: Jaroslav Cízek
Animation: Evan Clover
Stunts: Gergo Szekér
Stunts: Németh Tamás
Stunts: Richárd Nagy
Stunts: Balázs Farkas
Stunts: Kristóf Belovai
Stunts: Cody Banta
Stunts: Balázs Szigethy
Digital Compositor: Francesco Capone
Title Designer: Danny Yount
Music Editor: Ryan Rubin
Grip: Jack Lillian
Stunts: Narantsogt Tsogtsaikhan
Stunt Double: Mike Massa
Stunts: Zalan Szabo
Stunts: Péter Sokorai
Stunts: Miklós Danka
Stunts: Ferenc Berecz
Digital Compositor: Romain Bouvard
Still Photographer: Stephen Vaughan
Electrician: Péter Bognár
Stunts: Micos Sventary Lucacs
Stunts: Jason Chu
Stunts: Nick Carraro
Stunt Double: Chloé Bruce
Digital Compositor: Kathryn Jane Black
Stunts: Kinga Kosá-Gavalda
Stunts: József Fodor
Digital Compositor: Edward Andrews
Grip: Gergo Vasari
Electrician: Gábor Inczédy
Grip: Ádám Balogh
Stunts: Tamás Farkas
Stunt Coordinator: Domonkos Párdányi
Stunts: Béla Orsányi
Stunts: Balázs Lengyel
Stunts: Gaspar Adam
Animation: Bassem Hawili
Stunts: György Szántó
Stunts: László Kósa
Stunts: Abel Kocsis
Stunts: Gergö Horpácsi
Digital Compositor: Daniel Batt
Digital Compositor: Kamelia Chabane
Digital Compositor: Julian Chong
Stunts: Norbert Kovács
Stunts: Egyed Ferenc
Digital Compositor: Philippe Bienvenue
Stunts: Altamiro Junior Jubilee
Stunts: Iván Orsányi
Stunts: Szilvia Fuzessy
Digital Compositor: Christiane Caya
Stunts: Andras Seregi
Characters: Philip K. Dick
Animation: Patrick Kalyn
CG Artist: Alyson Lamontagne
Art Department Coordinator: Fern Hodgson
3D Sequence Supervisor: Rhys Salcombe
Animation: Adam Slater
Animation: Yadav Shridhar
3D Sequence Supervisor: Frederik Lillelund
Animation: Philip Melancon
CG Artist: Austin Baerg
Digital Compositor: Adrian Nurse
CG Artist: Vincent Vezina
Compositing Supervisor: Tristan Myles
Concept Artist: David Tilton
Digital Compositor: Eduardo Villarreal
Compositor: Salima Needham
Digital Compositor: Carlos Guillén
Animation: Marilyn Marcotte
CG Artist: Andrée-Anne Bouffard-Verreault
CG Artist: Bradleigh McKay
Compositing Supervisor: Robert Pik
Compositor: Andrew Barry
Compositor: Jiri Kilevnik
Concept Artist: Seungjin Woo
Digital Compositor: Charles Labbé
CG Artist: Marie Soleil Chabot
Stereoscopic Supervisor: Brad Darrow
Compositor: Maciej Skoluba
Compositor: Romane Landrieux
VFX Artist: Berenice Antoine
Digital Compositor: Angelica Perez Anzures
Digital Compositor: Chris Dawson
Digital Compositor: Daniel Veszely
CG Artist: Sarah Mesmacre
Compositor: Vincent Chang
Compositor: Yasemin Hepguler
Visual Effects Coordinator: Jean-Louis Darville
Digital Compositor: Cindy Perez
Creature Technical Director: Charlotte Roberts
Digital Compositor: Chaehyeon Lee Julie
CG Artist: Emmanuelle Morin
Stereoscopic Supervisor: Jeremy Nicolaides
Compositing Lead: Jedediah Smith
Digital Compositor: Aélis Héraud
Digital Compositor: Csaba Pépp
CG Artist: Hideki Okano
CG Artist: Christine Leclerc
Data Wrangler: Gergely Galisz
Digital Compositor: Andrea Dutti
Digital Compositor: Antoine Wibaut
CG Artist: Samuel Jacques
Stereoscopic Coordinator: Zayn Jinah
Creature Technical Director: Abhisek Chatterjee
3D Generalist: Andrii Zavolokin
Art Direction: Deak Ferrand
CG Artist: David Bishop Noriega
Compositing Supervisor: Laurent Spillemaecker
I/O Manager: Martin Hromadko
Stereoscopic Technical Director: Andrew Kennedy
Compositor: Mateusz Krzastek
Creature Technical Director: Steven Bills
Data Wrangler: Joe Wehmeyer
Compositor: Marco Bordignon
Compositing Supervisor: Filip Sustek
Compositor: Benjamin Jean
Compositor: Melissa Goddard
Digital Compositor: Alexandra Zyrina
Digital Compositor: Antoine Goethals
Digital Compositor: Leo Pean de Ponfilly
Digital Compositor: Mélanie Le Bloa
Digital Compositor: Michael Rouayroux
Digital Compositor: Tracie Donais
Digital Compositor: Jonny Gu
Digital Compositor: Melanie Dorn Carter
Digital Compositor: Nathan Hurlburt
Digital Compositor: Gudjon Kristjansson
Digital Compositor: Leo Pritchard
Digital Compositor: Lies Veldeman
Digital Compositor: Marco Leone
Digital Compositor: Rakesh Pusuluri
Digital Compositor: Tanya Kular
Digital Compositor: Jonathon Sumner
Digital Compositor: Lionel Jacobs
Digital Compositor: Lisa Funkel
Digital Compositor: Michel Frenette
Digital Compositor: Patrick Hall
Digital Compositor: Petr Hastík
Digital Compositor: Oded Granot
Digital Compositor: Simon Lehembre
Digital Compositor: Felix Lafontaine
Digital Compositor: Foram Pardiwala
Digital Compositor: Nguon Vissal Ong
Digital Compositor: Rodions Jepejevs
Digital Compositor: Sharon Marcussen
Digital Compositor: Thomas Salama
Digital Compositor: Katya Ruslanova
Digital Compositor: Nicolas Guyon
Digital Compositor: Nicolas Laprise Pellicelli
Digital Compositor: Philippe Pelletier
Digital Compositor: Yascine Harmali
Digital Compositor: Erik Werlin
Digital Compositor: Kyle Greenberg
Digital Compositor: Laurent Srey
Digital Compositor: Elfar Sverrisson
Digital Compositor: Hemant Parshuram Sawant
Digital Compositor: Marco Fiorani Parenzi
Digital Compositor: Tibor Szentkuti
Digital Compositor: Luke Drummond
Digital Compositor: Oliver Fergusson-Taylor
Digital Compositor: Philippe Soeiro
Digital Compositor: Steven O’Connor
Digital Compositor: Fangfei Li
Digital Compositor: Jorge Sanchez Fresno
Digital Compositor: Nicolas Desmet
Digital Compositor: Jeremy Meltzer
Digital Compositor: Péter Farkas
Digital Compositor: Rob Garner
Digital Compositor: Yohann Hays
Head of Animation: Marco Foglia
Executive Visual Effects Producer: Marc Sadeghi
VFX Artist: Julien Mercier
Compositing Lead: Andreas Bravin Karlsson
3D Editor: Emily Wallin
Head of Animation: Omar Morsy
Pipeline Technical Director: Cameron Billingham
Pipeline Technical Director: Declan McGuire
Generalist: Sara Hansen
Lighting Artist: Chris Archinet
Matchmove Supervisor: Amit Narwani
Matchmove Supervisor: Virender Dass
Visual Effects: Wai Sun Cheng
Production Coordinator: Kisholay Ray
Rotoscoping Artist: Jonathan Moulin
VFX Artist: Basile Durieux
VFX Artist: Brittany Piacente
Digital Compositor: Zofie Olsson
Digital Compositor: Yoon See Ng
Head of Production: Grant Bensley
Compositing Lead: Joel Delle-Vergin
Matchmove Supervisor: Jin Yong Kim
Digital Compositor: Tiago Santos
Digital Compositor: Pierre D’Oncieu
Compositing Lead: Francesco Dell’Anna
VFX Artist: William Banti
Visual Effects: Daniel Thron
Matte Painter: Arnaud Brisebois
Matte Painter: Maeva Pierre
Production Coordinator: Jessica Pearce
Matte Painter: Arnaud Havart
VFX Artist: Dominique Zenon
VFX Artist: Félix Pirritano
Matte Painter: Adrian Dudak
Matte Painter: Florence Durante
Matte Painter: Frederic Dupere
Matte Painter: Rene Morel
Matte Painter: Sarah Neveu
Pipeline Technical Director: Carl Berube
Production Coordinator: Cathrine Mitchell
Rotoscoping Artist: Geneviève Gareau
VFX Artist: Carlos Quijada
Pipeline Technical Director: Jonathan Niquet
Rotoscoping Artist: Marc-André Roy
Senior Animator: Makoto Koyama
Supervising Art Director: Ben Milsom
VFX Artist: Effandi Mohamed
VFX Artist: Genevieve Trottier
Matte Painter: Simona Ceci
Matte Painter: Stéphane Keller
Modeling: Stuart Turnbull
Rotoscoping Artist: Akmal Mlahaili
Rotoscoping Artist: Ève Giordani
Head of Production: Nicolas Bonnell
Head of Production: Donna Langston
Human Resources: Cécile Freyther
Compositing Lead: Xavier Fourmond
Compositing Lead: Viviane Lévesque Bouchard
Lighting Artist: Francois Madere
Matte Painter: Marie Tricart
Rotoscoping Artist: Juliette Compignie
Matte Painter: Eric Aubry
Matte Painter: Mark Orme
Pipeline Technical Director: Marc-Olivier Rouleau
VFX Artist: Natalianne Boucher
Visual Effects: Carlos E. Flores
Visual Effects: Chris Hardman
Matte Painter: Jérémie Touzery
Rotoscoping Artist: David Monfette
VFX Artist: B. Kalyan Chakravarthy
Compositing Lead: Farhad Mohasseb
Compositing Lead: Jeremie Ducrocq
VFX Artist: Anand V. Jadhav
Matte Painter: Antoine Rouleau
Production Coordinator: Elliesse Cuniff
Sequence Lead: Prashant Dhotre
VFX Artist: Ankur Mishra
VFX Artist: Eduardo Bivar
Visual Effects: Ian Cooke-Grimes
Visual Effects: Samy Lamouti
Visual Effects Supervisor: Viktor Müller
VFX Artist: Marion Eloy
VFX Artist: Simon Leclair
VFX Artist: Yan Caspar Hirschbuehl
Visual Effects: Pascal Clement
Visual Effects Supervisor: Peter Bowmar
Pipeline Technical Director: Sehwi Park
VFX Artist: Balthazar Sahel
VFX Artist: Guillaume Dureux
VFX Artist: Irshad Patel
VFX Artist: Katie Hamberger
VFX Artist: Pierre-Yves Marin
VFX Artist: Emanuele Goffredo
VFX Artist: Nicolas Bouf
Visual Effects: Rohit Agarwal
Visual Effects Supervisor: Scott Mitchell
Visual Effects Coordinator: Michael Legato
Visual Effects Production Assistant: Jared Keesing
VFX Artist: David Uystpruyst
VFX Artist: Jean Bennamias
VFX Artist: Julien Barbault
VFX Artist: Pierre Masseron
VFX Artist: Sotiris Georghiou
VFX Artist: Souvik Dey
Visual Effects: Stefano Carta
Visual Effects Designer: Russell Sadeghpour
VFX Artist: Gretchen Bangs
VFX Artist: Marc-Antoine Bressand
VFX Artist: Vikas Chandel
Visual Effects: Baptiste Lebouc
Visual Effects Supervisor: Eric Horton
Visual Effects Technical Director: Brian N. Bentley
VFX Artist: William Perreault
Visual Effects: Danilo Ivanisevic
Executive Visual Effects Producer: Fay McConkey
Visual Effects Supervisor: Olivier Cauwet
VFX Artist: Juan Carlos Huerta
VFX Artist: Lianne Forbes
VFX Artist: Thibault Plancq
VFX Artist: Tomas Langevin-Côté
VFX Artist: Troy Summersett
Visual Effects: Robin De Lillo
VFX Artist: Francois Cote-Paquet
VFX Artist: Keith Acheson
Visual Effects Production Manager: Alexandra Gunter
VFX Artist: Charles Christoforou
VFX Artist: Jacob Yorke
VFX Artist: Martin Pélissier
Visual Effects Coordinator: Anton Schefter
Visual Effects Editor: Dhuha Isa
VFX Artist: Kindra McCall
Visual Effects Supervisor: Nicolas Maillard
Matte Painter: Olivier Martin
Pipeline Technical Director: Akila Lakshminarayanan
Production Accountant: Andrea Biklian
Rotoscoping Artist: Alexandra Torelli
VFX Artist: Juan Sebastian Perez
VFX Artist: Martin Chabannes
Visual Effects Coordinator: Marc Faladeau
Visual Effects Production Assistant: Marilou Marchand
Visual Effects Technical Director: Christine Liu
Visual Effects Technical Director: Marco van der Merwe
Executive Visual Effects Producer: Laura Fitzpatrick
Visual Effects Supervisor: Ryan Tudhope
VFX Artist: Cem Olcer
VFX Artist: Pierre Rousseau
VFX Artist: Renaud Louvet
VFX Artist: Sébastien Nebout
Visual Effects Editor: Shawn Broes
Visual Effects Production Assistant: Emilie Gagnon
Visual Effects Technical Director: Phoenix Woung-Bi Lee
Visual Effects Technical Director: Elisa Valenzisi
Visual Effects Technical Director: Xian Guan
Visual Effects Technical Director: Gawade Dipti
Visual Effects Supervisor: Jeremy Robert
Visual Effects Technical Director: Cody Stoof
Visual Effects Technical Director: Romain Sunier
Executive Visual Effects Producer: Robert Schajer
Visual Effects Supervisor: Richard Clegg
Visual Effects Supervisor: Sébastien Moreau
Visual Effects Technical Director: Benoit Gadreau
Visual Effects Technical Director: Damiano Moltisanti
Visual Effects Technical Director: Jiayin Wang
Visual Effects Technical Director: Miguel Angel Ortiz Rivera
Visual Effects Technical Director: Valerio Tarricone
Visual Effects Technical Director: Lionel Mullot
Visual Effects Technical Director: Tangi Vaillant
Executive Visual Effects Producer: Melissa Taylor
Visual Effects Production Manager: Sarah Essam
Visual Effects Supervisor: Pierre Buffin
Visual Effects Technical Director: Jonny Wang
Visual Effects Technical Director: Florent Falipou
Special Effects Makeup Artist: Jason Collins
Makeup Artist: Nóra Koltai
Executive Producer: Yale Badik
Executive Producer: Val Hill
Makeup Artist: Nóra Kapás
Hairstylist: Karen Asano-Myers
Prosthetic Makeup Artist: Sven Granlund
Co-Executive Producer: Ian McGloin
Art Direction: Rod McLean
Makeup Artist: Bill Corso
Co-Executive Producer: Asa Greenberg
Hairstylist: Krisztina Fehér
Makeup Artist: Szandra Bíró
Makeup Artist: Szilvia Dobrovitz
Makeup Artist: Ancsa Kriskó
Assistant Production Manager: Dániel Jakab
First Assistant Director: Susan M. Elmore
First Assistant Director: Charlie Watson
Set Production Assistant: Hajós Péter
Production Assistant: Árpád Görögh
Assistant Production Manager: Teodora Ilie
First Assistant Director: Albert Cho
Production Assistant: Gergely Török
Unit Production Manager: Anna Cassina
Concept Artist: Jeremy Paillotin
Unit Production Manager: Arni Hansson
Production Manager: Miklós Tóth
Post Production Supervisor: Brad Arensman
Production Manager: India Osborne
Assistant Art Director: László Szirmai
Concept Artist: Dan Walker
Concept Artist: Kamen Anev
Third Assistant Director: Vera Janisch
Third Assistant Director: Gergely Apjok
Second Assistant Director: Karen Davis
Second Assistant Director: Alejandro Mora
Draughtsman: Bence Kalmár
Production Supervisor: Demelza Cronin
Assistant Production Manager: Gergely Balazs
Head of Production: Gergö Balika
Second Second Assistant Director: Brian Niemczyk
Third Assistant Director: Levente Kölcsey-Gyurkó
First Assistant Director: Brandon Lambdin
Unit Manager: Daniel Dallos
Concept Artist: Kim Frederiksen
Construction Manager: József Kiss
Draughtsman: Róbert Taller
Draughtsman: Petra Balogh
On Set Dresser: Ferenc Brandenburg
First Assistant Sound Editor: György Mihályi
Set Decoration Buyer: Valeria Paoloni
Foley Mixer: Kevin Schultz
Third Assistant Director: Attila Veres
Draughtsman: Levente Sulyok
Props: Robin Lawrence
Second Unit: Nick Fulton
Art Department Assistant: Adam Berces
Concept Artist: Kouji Tajima
Construction Manager: Gyula Herjeczki
Props: Jack Cave
Props: Scott A. Riley
Standby Art Director: Annamária Orosz
First Assistant Sound Editor: Balázs Varga
Concept Artist: Jon McCoy
Unit Production Manager: Pamela Harvey-White
Concept Artist: Carlos Huante
Standby Art Director: Alina Papp
Foley Mixer: Jack Heeren
Props: Philip O’Connell
On Set Dresser: Gergely Schummer
Props: Gena Vazquez
First Assistant Sound Editor: Mark Coffey
Production Assistant: Rita Maxim
Special Effects Technician: Andre Emme
Second Assistant Camera: Ákos Gulyás
Set Dresser: Dávid Szekeres
Set Dresser: Oscar Krupiczer
Storyboard Artist: Darryl Henley
Foley Recordist: Davi Aquino
Foley Recordist: Jenna Dalla Riva
Swing: Haraszti Balazs
Swing: Norbert Alte Fieszl
ADR Supervisor: Byron Wilson
Foley Mixer: Don White
Draughtsman: Zita Galántai
Conceptual Design: Sam Hudecki
Swing: Federico Vianelli
ADR Recordist: Seva Solntsev
Foley Editor: Ezra Dweck
Sound Effects Editor: Charlie Campagna
Special Effects: Joel Savage
Special Effects Technician: Adam Szlávy
Special Effects Technician: Andreas Herberg
Special Effects Technician: Bence Füredi
Aerial Camera: Paul Maletich
Assistant Camera: Attila Kárpáti
Draughtsman: Dominique Pace
Scenic Artist: Nigel Hughes
ADR Mixer: Michael Miller
Special Effects Technician: Gergely Laszlo
Special Effects Technician: Tamas Uzoni
Dolly Grip: Bruce Hamme
Extras Casting Assistant: Tibor Gadácsi
Second Assistant Director: Tamás Péter Chipie
Assistant Property Master: Andras Pal Szabo
Concept Artist: Steve Jung
Construction Manager: Balázs Kovács
Construction Manager: Zoltán Tóth
Draughtsman: Peter Várdai
Leadman: Marton Szalay
Sculptor: Balazs Pelcz
Set Decoration Buyer: Szilvia Szisza Toth
Special Effects Technician: Daniel Godec
Digital Imaging Technician: Jason Naran
Drone Cinematographer: Tamás Hévizi
Second Assistant Camera: István Djuroska
Graphic Designer: Enci Bognar
Set Decorating Coordinator: Vivien Dömötör
ADR Recordist: Tom Hambleton
Foley Artist: Andy Malcolm
Sound Mixer: János Csáki Jr.
Special Effects Technician: Swen Luppino
Painter: Lauren Stewart
Props: Charlotte Runagall
Boom Operator: Norbert Szekeres
Special Effects Supervisor: Jens Schmiedel
Still Photographer: Steve Unwin
Second Assistant Camera: Szabolcs Sitkei
Sound Mix Technician: Tom Burns
Temp Music Editor: Del Spiva
Digital Imaging Technician: Joshua Gollish
Drone Pilot: Adam Varadi
Lighting Technician: Keri Manuel
Second Assistant Camera: Balázs Várszegi
First Assistant “B” Camera: Chris Summers
Special Effects Technician: Monty Ploch
Aerial Camera: Atli Kristófer Pétursson
First Assistant Camera: Péter Faludi
First Assistant Camera: Michael Rathgeber
Boom Operator: Bálint Csáki
Foley Artist: Goro Koyama
Special Effects Technician: Andreas Schiller
Digital Imaging Technician: Pablo Montesinos
First Assistant Camera: Virgil Tatu
Second Assistant Camera: Ákos Szathmáry
Special Effects Technician: Furedi Csaba
Second Assistant “A” Camera: Gergely Hajba
Second Assistant “A” Camera: Kristóf Párdányi
Second Assistant Sound: Áron Havasi
Concept Artist: Michael Broom
Special Effects Technician: Jan Luppino
Special Effects Technician: Ruan Liebenberg
Second Unit: Nándor Gulyás
Sound Mix Technician: Jeremy B. Davis
Sound Mix Technician: Brian Tarlecki
Digital Imaging Technician: Dávid Vécsey
Second Assistant Camera: Ambrus Hernádi
Special Effects Technician: Rene Barthel
Assistant Editor: Taylor Mason
Production Assistant: Márton Vojnits
Production Assistant: Mirjam Takács
Production Accountant: Kolos Trimmel
Second Assistant Accountant: Joe Petényi
Second Assistant Accountant: Kristof Trimmel
Post Production Assistant: John Sylva
Location Manager: Félix Rosell
Driver: Csaba Vida
Production Assistant: Dylan Beck
Production Assistant: Ainara Sánchez de Toro
Production Secretary: Zsuzsanna Kurucz
Set Production Assistant: Gábor Bakos
Assistant Editor: Mercédesz Czanka
Post Production Assistant: Emma Escamilla
Transportation Coordinator: Claudia Kossik
First Assistant Accountant: Erika Tamás
In Memory Of: Gábor Egyed
Driver: István Bognár
Driver: Zsolt Bécsi
Transportation Captain: Viktor Lehoczki
Construction Coordinator: Daniel Besnyo
Production Consultant: Des Carey
Set Production Assistant: Gergely Riba
Stand In: Peter Cseri
Assistant Editor: André Léger
Second Assistant Accountant: April Marie Mabry
Production Accountant: Tish Johnson
Production Secretary: Russell Blanchard
Set Production Assistant: Bence Csörnyei
Post Production Assistant: Mayleen Vega
Pilot: Jon Kjartan Bjornsson
Production Assistant: Gábor Bukai
Set Production Assistant: Sándor Csali
Post Production Assistant: Amy Geist
Assistant Location Manager: István Papp
Driver: Tibor Bodor
Driver: Dániel Zima
Transportation Coordinator: Jr. Sandor Paradi
Production Assistant: Anna Lilli Garai
Production Assistant: Gergely Orbán
Payroll Accountant: Felicia Craggs
Production Assistant: Kitty Bich Thuy Ta
Second Assistant Accountant: Kinga Trimmel
Payroll Accountant: Péter Danó
Production Assistant: Gábor Csépai
Second Assistant Accountant: Gyorgy Dejtari
Assistant Accountant: Chad Clark
First Assistant Accountant: Greg Highsmith
Art Direction: Gergely Rieger
VFX Editor: Guillaume Poulin
Director: Denis Villeneuve
Art Direction: Steven Saunders
Sculptor: Christopher Alex Menges

Catogories:
Science Fiction,Drama
My dad says this plugin is beautiful.

The key to the future is finally unearthed.
Language:
English,suomi,Magyar,日本語,Pусский,Somali,Español
Production:
Canada,United Kingdom,United States of America
Company:
Alcon Entertainment,Columbia Pictures,Scott Free Productions,Bud Yorkin Productions,Torridon Films,16:14 Entertainment,Thunderbird Entertainment
Popularity:
179.241
Date:
2017-10-04
Year:
2017

Simon Foster: “Blade Runner 2049 embraces the enormous shadow cast by Blade Runner 1982 by crafting a vast immersion in scale and vision…”
Read the full review here: http://screen-space.squarespace.com/reviews/2017/10/5/blade-runner-2049.html
tmdb15214618: In a wonderfully woeful world, a detective makes a sad attempt at a relationship, has the most inventive sex scene ever committed to screen, and grapples with an existential crisis as he does his work. This stuff, which could work as a standalone story, is so strong that this movie must be seen.
Unfortunately, the movie doesn’t realise that the protagonist’s everyday life is the best part, and instead focuses on a larger-than-life, goofy premise meant to tie 2049 to the original and set up another sequel, thus undermining what would otherwise be a gripping, intimate story.
Frank Ochieng: Hail to the Science Fiction gods as they came to their senses and granted upon the eagerly movie-going masses the long-awaited arrival of a stunning and opulent _Blade Runner_ sequel. Perhaps we should praise the understated genius and visionary mastermind Ridley Scott for his 1982 directorial accomplishment in serving up what appeared to be an underappreciated and overlooked SF thriller in its heyday over three decades ago only for it to emerge now as one of the greatest Science Fiction futuristic capers worthy of its cult classic following?
Maybe the long overdue kudos are reserved for the diehard nostalgic _Blade Runner_ bunch whose committed and fanatical fandom was the key catalyst for this undeniably brilliant, brainy, dazzling and polished presentation to resurface and give new vitalizing breath and striking energy to the Science Fiction genre in conception? Could it be possible that Hollywood simply saw opportunistic and healthy box office receipts to restart another pop cultural juggernaut from yesteryear’s cinematic scene?

Is there a returning Harrison Ford fixation/fetish blossoming courtesy of his past blockbuster film resume that boasts the obvious inclusion of prominent SF/adventure fantasy biggies such as both the _Star Wars_ phenomenon and the _Indiana Jones_ installments with _Blade Runner_ now taking up the matinee mantle?

Regardless of the film-making forces at hand or the key reasoning for this 164 minute visually arresting odyssey updated and packaged for bombastic _Blade Runner_ enthusiasts and dedicated SF connoisseurs the proof is in the proverbial pudding as **Blade Runner 2049** has made its auspicious presence known and succeeds thrillingly as an indelible wonderment in imagination, intrigue and intelligence.

Breathtakingly rich and vibrant in its overlong execution, **Blade Runner 2049** is a lustrous escapist epic that resonates with snappy pop, thought-provoking tendencies and atmospheric grittiness that soundly resonates. And yes…the participation of the aforementioned and omnipresent Ford reprising his role from 35 years ago is indeed the appealing and motivating factor to re-enter the anxiety-driven world of intrusive replicants, societal annihilation and the guessing game of humanity infiltration.

It seems that the intense workmanlike charm and structured suspense in the rebooted **Blade Runner 2049** has not missed a single beat as it colorfully brings its brand of contemplative tension and underlying humorous texture to this sumptuous spectacle. Importantly, the film’s philosophical edginess and saturated cynicism stays true to Scott’s unflinching vision of introspection about the valued properties of life and who are the chief architects of such a unique gift of existence. Consequently, speechless Science Fiction audiences once again are transfixed by the mesmerizing yet old adage about the rivaling ‘have’s and ‘have nots’ especially so vital in the gloomy squalor and doomsday darkness that Scott created so fervently in his vintage edition that set the stage for renegade blade runners in a power struggle with defiant, roguish replicants disastrously flirting with the sacred boundaries of humankind.

Filmmaker Denis Villeneuve (‘Arrival’, ‘Sicario’, ‘Prisoners’) has stepped into some pretty mighty cinematic shoes in dusting of the mothballs of _Blade Runner’s_ haunting and hedonistic past in an accomplished effort to bring forth a percolating potboiler of a challenging and imaginative hue to its succulent successor in 2049 with surging, exquisite aplomb. Screenwriters Michael Green (‘Alien: Covenant’, ‘Logan’) and Hampton Fancher (‘Blade Runner’, ‘The Minus Man’) manage to brilliantly convey the dystopian disillusionment as the caustic yet compelling commentary concerning the decline of humanity and how it is feverishly on the brink of non-existence. The fuzzy lines are crossed for the calculating chaos and corruptible wheels that are turning so aimlessly and shockingly. The sins of sinners, good, bad or indifferent, gloriously are stemmed in moodiness and mystery. Additionally, notably iconic cinematographer Roger Deakins (‘Fargo’) cultivates a dank, hazy-coated landscape where shadowy imagery compliments the dour suspicions of determined man versus durable machine co-existing in a hostile futuristic fantasy world of techno-dismal dimensions. Also, kudos are reserved for Hans Zimmer and Benjamin Wallfisch for their soaring, energetic score that undercuts the tension and turmoil.

In a nutshell, Ryan Goslin (Oscar-nominated for 2016’s ‘La La Land’) is a young blade runner known as ‘K’ whose mission is to track down veteran Rick Deckard (the returning Harrison Ford…also a former Oscar nominee) in the aftermath of a major uncovered secretive revelation that requires the missing senior badge-flashing blade runner’s undivided attention. The problem remains, however, is that Deckard has been out of circulation for three decades and so the search is on for K to hunt down the long-absent Deckard.

Indeed, Officer K’s critical and contemplative police work is, to mildly put it, seek out the about-to-expire, unpredictable and resistant replicants and eradicate them when necessary. The replicants, mechanical menaces with artificial intelligence that are living among the humans incognito, are the main focus of the LAPD and K enthusiastically is immersed in the manhunt for the hidden techno-tyrants with militant mindsets that could strike at any moment among the walking flesh. K strives to put them out of their mechanical misery as his sworn duty to serve and protect but he is handcuffed (no pun intended) by the political politeness and procedural proprieties as pushed by his boss Lt. Joshi (Robin Wright). Basically, K is under surveillance based on his fragile mental state and Joshi is the one to contain this gritty-minded cop’s wandering psyche.

Thankfully, there is undeniable texture and intensity that fortifies **Blade Runner 2049** due to the layered and complex story that effectively taps into the robust realm of man’s possible mercy call at the dominant feet of advanced and sophisticated technology. This observational sentiment certainly rings true in contemporary times as selective human beings feel lost, intimidated, overwhelmed and need to surrender to the mounting shifty pressures of an exposed society seemingly ruled by sinning opportunists on both sides of the shady aisle, mechanisms rendered equally with blood and bolts.

Refreshingly, **Blade Runner 2049** is devoutly cerebral in passion and old school perception. Oddly, Villeneuve’s mixture of science fictional roots and thought-provoking dramatic art house probing works while adding a realistic and somber milieu of existential foreshadowing. Gosling is gloriously geared as the hound dog-faced law enforcer too close for comfort on the fringe of film noir-style burnout as he gets embroiled deep into an abyss of head-scratching discoveries. Ford does not miss a single beat as the gravel-faced, handsome-aged Deckard saddled in adventurous mode despite the matured years since his early 80s heyday in the mundane, ground-breaking _Blade Runner_ blueprint from yesterday. Oscar winner Jared Leto (‘Dallas Buyers Club’) joyously lets it all hang out as the wickedly off-kilter character Niander Wallace. The feminine inclusion of Wright’s top policing babysitter Joshi and Ana de Armas as K’s love interest, Joi, are welcomed personalities. Ex-wrestler/actor Dave Bautista (hot off the ‘Guardians Of The Galaxy’ film series) is a larger-than-life specimen as always in proven popcorn blockbusters.

Convincingly well-structured, profound, purposeful and without a prosaic bone in its bountiful body **Blade Runner 2049** is stunningly sumptuous Science Fiction theater for the thinking man and for the progressive machinery master-blasters as well.

**Blade Runner 2049** (2017)

Warner Bros. Pictures

2 hrs. 44 mins.

Starring: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista and Carla Juri

Directed by: Denis Villeneuve

Written by: Michael Green and Hampton Fancher

MPAA Rating: R

Genre: Science Fiction/Action & Adventure/Fantasy/Drama

Critic’s Rating: ***1/2 stars (out of 4 stars)

(c) **Frank Ochieng** (2017
Mex5150: The film was actually rather disappointing. As a film it was OK, but as a sequel to Blade Runner, it was terrible. There were some nice in-jokes and references, but overall low-brow junk masquerading as high-brow gold (it was directed by Villeneuve, so I really shouldn’t have expected better, the only thing he’s good at is making stupid people think they are clever). Everything seemed forced and unnatural. The plot was trite and cliched, and everything was very predictable. Totally a wasted opportunity ;^<
Gimly: Strikes a true balance between new and old. Denis Villeneuve has a perfect filmmaking record in my mind, and _Blade Runner 2049_ continues that trend with aplomb.
_Final rating:★★★★ – Very strong appeal. A personal favourite._
Per Gunnar Jonsson: As a movie this is a very good movie. The scenery, the acting, the colors etc. are of a very high technical standard. To me personally however, this movie is much too dark and depressing for my taste.
I cannot say that I am surprised that the movie is dark. The first movie was a rather dark one after all and this one is a truly post-apocalyptic one. I quite liked the first movie despite its dark setting though. However this one takes the darkness and melancholy to an entirely new level.

As I said before, technically the movie is great. The scenery is stunning whether it is a dirty little hut out in the badlands or the equally dirty vast cityscapes. The scenes of the abandoned city where Decker is (re)introduced is sad but beautiful.

The acting is more or less great from all the main characters and the special effects are very well done and just right to fit with the rest of the movie.

Unfortunately I cannot bring myself to give it more than 3 out of 5 stars. It has nothing to do with the quality of the film but a lot to do with my personal taste which of course is reflected in my ratings.
Dean: I don’t understand what people like in this movie. It has some good things, but nothing much to deserve such big rating. Soundtracks & atmosphere are really good & it’s well shot, however story is confusing & everything is all over the place. I still didn’t understand what was the whole story of movie and it is extremely slow & prolonged. Very small amount of talking & a lot observing moments. Every minor action is prolonged. Like you see man laying in the snow for a few minutes & etc… I didn’t like the movie & it took more than 2:30 hours of torture and boredom…
renzo-benzo: The only thing _great_ about Blade Runner 2049 is the cinematography and the Atari sign, but it was just trying to copy Blade Runner instead of a new story. Outside of that it’s dog dung. The music is a poor knock off Vangelis score. The story is basically fan-service and pandering by the studio with the tons of plot holes. It includes of biblical references, and aspects from the books _Fahrenheit 451_ by Ray Bradbury, that also takes place in 2049, mixed with _1984_ by George Orwell to try to come off as intellectual, but utterly fails and is poorly done. It practically ignored _Do Androids Dream of Electric Sheep_ by Phillip K. Dick. The original Blade Runner film did too, but at least that film was interesting. This film doesn’t introduce anything new or anything that could be considered an original idea. The editing is awful. Dragging out scenes for no reason other than an attempt to appear “intelligent and serious” or to try to mimic ‘Blade Runner’ doesn’t work since there’s no reason for it story wise. It’s kind of like a Zack Snyder movie, in that regards. The acting is subpar and wooden. Harrison Ford was phoning it in. It’s a shallow film that misses the point. Here’s a neat idea, why not try to actually adapt _Do Androids Dream of Electric Sheep_ into a film.
I don’t understand why people think this shallow movie is an intellectual and intelligent movie.
The Movie Mob: **Overall : One of the most visually spectacular, stunning, and beautiful films I have ever seen!**
Now I need to be honest; I am a simple man, and the complexities of the philosophical questions presented by the Blade Runner movies are lost on me. What makes someone truly human or real is a profound question with which an escapist like myself doesn’t want to grapple. But with all that being said, Blade Runner 2049 is a masterpiece regardless of your movie taste. The beauty of the bright neon colors splashing across the cold, dismal, muted city of Los Angeles in 2049 is breathtaking. Every scene and moment is a visual feast filled with practical effects despite being a sci-fi film with flying cars and futuristic technology. While parts of the story and action were a little slow, Blade Runner 2049 captivates and intrigues from start to finish.
CinemaSerf: Ryan Gosling is great in this update of the Ridley Scott story from 1982. He is “K” – working for the new but still all-powerful “Tyrell Corporation” tasked with eliminating the last of the “Nexus” generation of replicants. It’s on one such mission that he, quite literally, unearths a terrible secret that could spell doom for the already crippled society of mankind. “K” sets out to gather as much information as he can to prevent this collapse, and gradually comes to realise that the answer might lie with the long disappeared “Deckard” (Harrison Ford); his water ego from times gone by. Thing is, though, as his search nears it’s conclusion, will he be permitted to discover and act upon the truth? This enhances and augments the original, rather than try to replace it. The story is well held together by a Gosling who makes his presence felt, but who allows the story to develop using imagery and a sparing dialogue. Robin Wright is maybe not the best as his boss “Joshi” but it does feature one of the better efforts from Ana de Armas (“Joi”) as we head towards a denouement that really does look at life as we know it! The photography is dark and gritty, there is a distinct and effective sense of the claustrophobic and the score from Hans Zimmer is one of his best – it really does assist in focussing the attention on the detail of this cleverly constructed and compelling adventure with a conscience. Big screen if you can – the lighting and effects are better appreciated that way.
madmonk: Visually stunning. That’s it. It felt cold as the acting of the main character. Also it made so many assumptions on the original movie that it felt banal. Such a shame, because the concept behind could have been good, but the delivery is just not there, I’m afraid.
GenerationofSwine: Did it really need a sequel?
It was beautiful. I mean, it looked beautiful…even if there was one part that made me motion sick, but even that part was beautiful. And that, I think, was really more of a lighting thing than a set design thing or a special effects thing.

Honestly, you remember the lighting in this. You remember it the way people remember the lighting in an Edward Hopper painting.

But did it need a sequel?

The acting was great, it really was.

There was honestly no real flaw as to how the movie looked, how it was directed, or how it was acted. It was pleasing…

…but it was also kind of empty. So, did it need a sequel? Questions were answered, but those questions were best left as questions weren’t they? The little mysteries that fueled debate that made the first film so…talked about, even if it was initially hated.

Why did those questions need to be answered? They were better left as little mysteries to ponder.

And the result is the empty feeling you get when a really fun problem is finally solved. There is that A-HA moment of adulation…and than that little depression when you realize the mystery is finally over and you can move on.

From now on the questions will be officially answered and as it doesn’t hurt this movie, it doesn’t take away from the film as a singular entity, it kind of kills the first film.

Now we know it all and because of that, the first Blade Runner will never have the same feeling when you watch it.

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