REVIEW: Blade Runner 2049 (Denis Villeneuve, 2017)

Co-written with Dr R. Lyle Skainsbr3.gif

Blade Runner is a formative SF film for many fans and scholars, inviting endless revisitation – a multi-layered, visually excessive storyworld that prioritises aesthetics over narrative. Its long-awaited sequel, 2049, is equally beautiful and complex, although more narratively accessible than its predecessor. Similarly, 2049 also asks questions about the essence of humanity while lacking depth in its cultural representation.  Continue reading “REVIEW: Blade Runner 2049 (Denis Villeneuve, 2017)”

Science & Future World Building in Westworld’s Credit Sequence

Originally posted: October 2016westworld-sun2.gif

Westworld finally got its UK premier last night. It seemed like an eternity between the US release and our chance to explore, and I successfully navigated the minefield of avoiding spoilers and opinions on the first episode that might interfere with my own initial response (and enjoyment). The first episode wasn’t perfect – I wanted more, but it was necessary to give over time and space for worldbuilding (both the Western theme-park and the futuristic workplace) and introducing the basic concept of the show. It’s based on the 1973 SF-Western movie Westworld written and directed by science fiction writer Michael Crichton (Jurassic ParkAndromeda StrainDisclosure), it was Crichton’s first foray in directing, and it famously stars Yul Brynner as a killer-robot called ‘The Gunslinger’. The film and now the HBO TV series is set in a near-future adult amusement park where the super-rich can pay ($40,000/day) for an immersive storyworld ‘holiday’ where they can do use the robots as they please to act out their wildest Wild West fantasies. Continue reading “Science & Future World Building in Westworld’s Credit Sequence”