Tag Archives: Blade Runner

Rocks In The Attic #788: Hans Zimmer & Benjamin Wallfisch – ‘Blade Runner 2049 (O.S.T.)’ (2017)

RITA#788We saw this on opening night, which is unusual for us. Our babysitter came through and we booked tickets. Packed cinema. Mix of age ranges; young and old. Halfway through the trailers of upcoming films, something didn’t feel right. A trailer for a brainless blockbuster was playing: Skyscraper with Dwayne ‘The Rock’ Johnson.

As is usual with trailers for blockbusters, there was lots of action and excitement. At one point, something exploded on screen; either the Rock’s biceps or a city skyscraper. The lady sat next to my wife lets out a small noise. Kind of like a small murmur of shock. ‘MmMm.’ Like saying ‘oooh’, but with your lips closed. The kind of noise you might make if you bit into a delicious cake.

That’s weird, I thought. I gave her a good once-over with my peripheral vision. She was in her late 50s, possibly early 60s, and was sat next to her husband of a similar age. Something else exciting happened on-screen, and she let out a similar noise. It wasn’t a loud noise – audible only to my wife and I sitting to her left, and to her husband, sitting to her right.

Another action-packed trailer showed, and she let out similar noises at all the mayhem. Maybe she doesn’t get out to the cinema much, I thought. Or maybe she just really likes the Rock. It could even be a food thing; maybe her husband bought her an ice-cream in the lobby and she’s really enjoying it.

RITA#788aDon’t worry about it, I thought. It’s just the trailers. I should just be happy that she’s not talking through them, or flipping through the messages on her phone.

The film started; the much-feared sequel to a classic film both my wife and I love. Based on the history of Hollywood sequels, it didn’t look promising. Indiana Jones & The Kingdom Of The Crystal Skull didn’t seem too long ago, and Harrison Ford was in that turkey too. Ridley Scott’s original Blade Runner was a perfectly put-together sci-fi film. Its source material was a short story, so it wasn’t bogged down with expectations, and the film wasn’t successful enough on initial release to justify a sequel. It eventually appeared over the years in many different versions, but it didn’t need to be expanded with a sequel or a TV series.

But the choice of director for Blade Runner 2049 suggested that this may not be a complete disaster after all. I first noticed Denis Villeneuve when he blasted onto the film festival circuit with 2010’s Incendies, the tale of a pair of Canadian twins who travel to the Middle East to unravel their mother’s past. If you haven’t seen this film, it’s an amazing slow-burner. Just don’t watch it with your parents.

He followed this with two films in 2013 – Prisoners, starring Hugh Jackman and Jake Gyllenhaal as a pair of fathers who take the law into their own hands, and the fantastically trippy Enemy, starring Gyllenhaal as a man who encounters his double living in the same city. Or does he?

Incendies
, Prisoners and Enemy were all relatively small films compared to what came next. 2015’s Sicario pitted Emily Blunt, Josh Brolin and Benicio del Toro against the Mexican drug cartel and was a key collaboration with writer-director Tyler Sheridan who wrote the screenplay. Villeneuve’s next film, 2016’s Arrival, showed that he could do science-fiction, and that he could do it well. Another slow-burner, considering its subject matter, Arrival was Close Encounters Of The Third Kind, redone for the 21st century. Where Spielberg gave us the optimism and wide-eyed excitement of alien contact against a backdrop of bubbling paranoia, Villeneueve’s film offers a tale of caution and trepidation. Why would aliens want to make contact with us when we’re so disconnected?

So things were looking promising for Blade Runner 2049. No, it didn’t need a sequel, but at least it seemed to be in safe hands. At least Ridley Scott wasn’t behind the camera this time (see: Prometheus, Alien: Covenant).

The film starts. It looks amazing good and sounds great. So far, so good. Ryan Gosling’s K lands his spinner on a deserted farm in a desolate landscape. He enters the farmhouse and encounters Dave Bautista’s Sapper Morton, a man he believes is a Nexus-8 replicant.

A fight breaks out between the two men, and somebody is slammed into a wall. The fucking woman sat next to me makes that annoying fucking sound yet again. ‘MmMm.’ Another heavy blow: ‘MmMm.’ K eventually ‘retires’ Morton, to the soundtrack of ‘MmMm’ from my right.

RITA#788b
In recent years, I’ve become a semi-professional at shushing people at the cinema. Director Joe Cornish (from Adam & Joe) calls it torpedoing, and it’s a fine art to get right. I almost got into a fight when the couple in front of me took the title of We Need To Talk About Kevin a little too literally and discussed each scene before the next one started, and took offence to me pointing out that we weren’t sitting in their living room. The couple in front of me watching Brighton Rock continued their discussion well into the opening credits of the film, earning a well-deserved ‘Excuse me, the film as STARTED’ in their ears from me.

One of the last films my wife and I saw at the cinema was last year’s Venom – we don’t get out much, and when we do we’re usually restricted to the dross that happens to be playing that weekend. The young lady sat to my immediate left starting playing on her phone a couple of scenes in. I waited a few minutes to make sure she wasn’t just turning it off, and was indeed scrolling out of boredom, before giving her a blast of ‘Please turn your phone OFF; you’re in a cinema!’ She recoiled at being called out, and then my peripheral vision caught her male companion lean forward and give me a good once-over. Just my luck, I thought. Her boyfriend is probably a bodybuilder, and will wait outside the cinema to extract his revenge. When we walked out after the film, they were waiting outside the cinema. But they were waiting for their parents to pick them up, being about 14-years old. Note to self: your peripheral vision is not the most trustable of sources.

Ten, fifteen minutes into Blade Runner 2049, and the woman sat next to my wife is still making these weird noises. ‘MmMm.’ My wife asks me to swap seats, and being the husband of the year, I oblige. Despite this change in seating right next to her, the lady continues to murmer during the next scene. Do I ask her to stop? What’s the worst case scenario here? Yes, I might get a beating from her war-hero husband who used to stack dead bodies as sandbags, but there’s a fate much worse than physical violence. What if I turn around and ask her to stop, and as the words are leaving my mouth, I notice to my horror that she looks disabled. She could be deaf, or partially deaf. She could have tourettes. It could be an involuntary noise, no fault of her own. Decisions, decisions.

RITA#788cThe cinema is practically full, and there’s nowhere to move to. Maybe she’ll quiet down as she gets used to the violence and explosions. Plus, the noise could be a lot worse, and so I decide to tolerate it for the rest of the film. Better to be tolerant than to be called out for being an intolerant arsehole, I reason with myself. The last thing I need is to be the headline of our sleepy village’s local newspaper.

Despite my neighbour’s additions to the soundtrack, I manage to enjoy the film. It’s a wonderfully realised sequel to a film that nobody asked for. The world-building feels like an extension of Ridley Scott’s film, and the whole project doesn’t ever come close to exploiting the power of the original’s legacy. The music score, a collaboration between Hans Zimmer and Benjamin Wallfisch, is right on the money – both a homage to Vangelis and a bass-heavy synth update for the 21st century.

I missed out on the original soundtrack release in 2017. I was going to pick it up, but didn’t get around to it for some reason. So I was happy to see this 2019 repress by Mondo Records, featuring new spot-varnish artwork depicting one of my favourite scenes in the film: K’s Nabokovian realisation that his desires are artificial and ultimately a fallacy. The double LP is presented on one pink and one teal disc.

My only criticism is the film’s handling of the character of Deckard. Ridley Scott’s 1992 Director’s Cut of the original film suggests he’s a replicant employed to track down his contemporaries. While Villeneuve’s film doesn’t explicitly state that he isn’t a replicant, it neither confirms that he is. Yet, the thirty-year gap between the setting of the two films belies the original film’s oft-repeated claim that replicants have a short life-expectancy. A second sequel is still a possibility, so maybe we’ll find out then. Here’s to Blade Runner 2079.

Hit: 2049

Hidden Gem: Sea Wall

RITA#788d

Rocks In The Attic #645: John Lennon & Yoko Ono – ‘Double Fantasy’ (1980)

RITA#645I enjoyed the recent Blade Runner sequel, Blade Runner 2049. When it was first mooted, I, like many others, expressed anger at why Hollywood was daring to mess with something so sacred. This type of revisionism generally ends poorly, but director Denis Villeneuve had a good track record, and the resulting film felt more like a genuine follow up to the 1982 original than I could possibly have imagined.

One thing I read online around the time of the film’s release was somebody claiming that Ryan Gosling is the new Nicolas Cage. Not in looks or acting style, but in his scene-stealing buffoonery that shines through in every film. I used to love Nic Cage – his turn as H.I. McDunnough in Raising Arizona is one of my favourite cinematic performances of all time – and while he occasionally redeems himself with a great role (Big Daddy in Kick Ass, for example), his performances are generally as woeful as the films he chooses.

But in no way is Ryan Gosling the new Nicolas Cage. Gosling may suffer sometimes from the same level of screen charisma as a vase of flowers, but at least he’s watchable, particularly when he turns his best attribute – moody silence – to brilliant effect in films such as Drive and the aforementioned Blade Runner 2049.

I posit another theory – that the new Nicolas Cage is none other than Gosling’s Blade Runner 2049 co-star, Jared Leto. To take the mantle of the silver screen’s new Nic Cage, his successor must be a recidivist over-actor. Luckily for us, Leto has this in spades.

Not only does he chew the scenery as Blade Runner 2049’s blind villain, Niander Wallace, but he comes across as so self-absorbed that one gets the feeling he’d be more at home performing the film as a one-man stage-play.

RITA#645aLast week I also watched Chapter 27, the film about the murder of John Lennon. Inspired by Won’t You Take Me Down, Jack Jones’ book of interviews with Lennon’s assassin, Mark David Chapman, the film is a tough watch, as tough as Jones’ book is to read.

I’m not sure if it glamorises Chapman, but it definitely doesn’t seek to explain why he did what he did – something that he himself was so conflicted about (if Jones’ interviews are to be believed). As a result, the film has a horrible foreboding sense of resignation to it.

Of course, Chapter 27 gives Jared Leto the opportunity to pull out all the stops in his portrayal of Chapman, putting on a great deal of weight for the role and changing his voice to mimic the killer’s childlike whisper. I’m on the fence about whether it’s a great performance, as we really only have Leto’s interpretation to go by. Let’s just say that he definitely earned his salary. Chapman does come across as a creepy motherfucker, and I was quite happy when the film ended as I genuinely couldn’t bear any more time in his company.

It’s so heartbreaking to listen to this record when you consider what happened to Lennon just three weeks after its release. There’s a strong sense of optimism throughout both John and Yoko’s songs, as the couple looked ahead into the new decade.

Hit: Woman

Hidden Gem: I’m Losing You

Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton

Rocks In The Attic #334: Vangelis – ‘Chariots Of Fire (O.S.T.)’ (1981)

RITA#334I haven’t seen Chariots Of Fire, or at least I don’t think I have. If I did, it must have been when it was first on television, which would have been when I was about five years old. It hardly seems the sort of film that would excite a five year-old though.

Almost everything on this soundtrack sounds like Blade Runner. I know the score – and the soundscape – of that film so well, that you can hear certain sections in this soundtrack that he’s rehashed for the later Ridley Scott film. When I finally get to see Chariots Of Fire, I’ll be disappointed if there are no Voight-Kampff empathy tests as part of their University education.

Before I bought this record – for no more than a dollar, from one of my local charity shops – I hadn’t heard anything from the soundtrack except for the main theme (Titles). The rest of the album is just as good, with a lovely electric piano on Abraham’s Theme showing where Zero 7 got some of their inspiration from.

After the excellent opening ceremony to the 2012 Olympic Games in London, the main titles of Chariots Of Fire will forever be linked to that great little sketch by Rowan Atkinson. I need to see the film, otherwise I’ll start to think that I have seen it, and that I really enjoyed its humour, especially in that scene when Rowan Atkinson outran everybody on the beach.

That’s the good thing about living in this decade – films at your fingertips. All though growing up, adolescence, and into my twenties, I would wait patiently for certain films to show on television. In the UK, there was a good chance for classic films to turn up from time to time on a BBC2 retrospective. Unfortunately New Zealand television doesn’t have the same mandate to educate viewers – they just show the same action films and rom-coms over and over. There was also that time that TVNZ played Thunderball the week after they had played Never Say Never Again. Idiots!

Hit: Titles

Hidden Gem: Abraham’s Theme