35 years after the original Blade Runner changed the landscape of big screen science fiction, Blade Runner 2049 (2017) dared build on the dystopian portrait of the ecologically devastated urban imaged on screen by director Ridley Scott and his team of designers and artists. Just as in the original, this film is as much about the texture of the world on screen as it is the story of the Replicants (artificially manufactured humans created as slave labor) decades after Deckard first strolled the mean streets of L.A.
Ryan Gosling is K, the Blade Runner of this story, a next generation Replicant whose job it is to “retire” the last of the old models, the ones created with a more flexible will that led to rebellion. His new assignment unearths artifacts that leads directly back to the story of Deckard (Harrison Ford) and Rachel (Sean Young) and the legend of a Replicant child, a messiah myth for the Replicant underclass not unlike the Christian virgin birth: the first non-virgin birth of a race genetically designed in a lab. It’s a story that Niander Wallace (Jared Leto), the techno-industrialist who took over the collapsed Tyrell Corporation, will do anything to bury and he sends his own Replicant enforcer, Luv (Dutch actress Sylvia Hoeks), to eradicate the evidence.
This is science fiction spectacle and futuristic detective story as art movie tone poem, a conspiracy thriller with flying cars, blaster handguns, and big brawling fights that defies the breathless pace of the action genre.
The live-action Ghost in the Shell (2017) is both a big-screen adaptation of the long-running Japanese manga (comic book) by Shirow Masume and a remake of the landmark animated 1995 feature from Mamoru Oshii. No matter how you split the difference, the film had a high bar to clear even before the controversy over the casting of Scarlett Johansson as Major Motoko Kusanagi, who is simply Major in this adaptation. A veritable weapon—her body is almost entirely artificial, a sophisticated cyborg with a human brain who isn’t sure where the person ends and the technology begins—Major is the leader of the Section 9 strike team, an anti-terrorist division of the government that, at times, battles rival sections as well as external threats. Their biggest nemesis, however, is a cybercriminal named Kuze (Michael Pitt) who hacks into human minds and turns ordinary people into terrorist weapons.
Johansson is remarkably effective in the role, impassive but not blank, both physically fierce and ethereal, morphing in action as the technology flickers into chameleon mode or sends her senses into 360 degree awareness. She is graceful and powerful, still and sudden, woman and machine, and her sense of identity is wrapped up in this alien physicality. Her relationship with Dr. Ouelet (Juliette Binoche), the scientist who created her cybernetic shell and ostensibly saved her life after a terrorist bombing, is somewhere between filial respect and professional collaboration, and for all the maternal care that Ouelet tries to push down, there’s something else creating the emotional distance between them. Major is most at ease with Batou (Pilou Asbæk), her trusted and fiercely loyal number two, and she is completely loyal to their section head Aramaki (‘Beat’ Takeshi Kitano), whose impassive expressions (Takeshi’s eternal hint of a smile makes him all the more enigmatic) covers his protective nature. As she has no memory of her past before the accident, they are the closest thing she has to family. At least until Kuze starts dropping hints about her origins and questions the identity she has taken for granted since her cybernetic rebirth.