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Does ‘Blade Runner 2049’ live up to the original? The critics weigh in

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Don’t look so skeptical, Ryan. Your new movie’s great!

Image: Warner Bros.

Believe the buzz: Blade Runner 2049 really is that good.

Mashable‘s own Josh Dickey was over the moon about it, gushing that it’s “as good as sci-fi gets in this world.”

And he wasn’t the only one bowled over by the Denis Villeneuve-directed sci-fi sequel. Often, early hype for a movie turns out not to be much more than that – hype. But in the case of Blade Runner 2049, critics can’t seem to stop falling all over themselves to sing its praises. Well, most of them, anyway.

No one’s serving up spoilers

Brian Raftery, Wired:

Before a recent press screening of Blade Runner 2049, a representative from Warner Bros. read a note from Denis Villeneuve, in which the director politely asked those assembled to preserve the film’s many secrets. It’s a reasonable request, but a difficult one, as any discussion of 2049 is bound to involve spoiler-spilling queries, many of them existential.

Leah Greenblatt, Entertainment Weekly:

Three-plus decades later, its sequel arrives in a cone of secrecy so fiercely guarded that unwise reviewers could meet a bottle of chloroform in a dark alley just for disclosing what happens in the first five minutes.

Matt Singer, ScreenCrush:

… I’m not supposed to talk about the film’s actual story yet. My screening of Blade Runner 2049 began with a publicist reading a statement from Villeneuve imploring the critics in attendance to “preserve the magic” of the film by not spoiling any of its twists. I’m going to do my best to honor his request, mostly because Blade Runner 2049’s plot does have a little magic in it, and it is fun to discover things at the same time as its hero, an LAPD detective named K, played by Ryan Gosling.

Look at how pretty that is.

Image: Warner Bros.

It’s bloody beautiful

Matt Singer, ScreenCrush:

My God, what a beautiful movie this is. Blade Runner 2049 looks like someone dared director Denis Villeneuve and cinematographer Roger Deakins to make the most visually spectacular science-fiction film of the century — and then they actually did it.

Leah Greenblatt, Entertainment Weekly:

… nearly every impeccably composed shot — a surreal six-handed love scene; a shimmering hologram of Elvis, hip-swiveling into eternity; a “newborn” replicant, slick with amniotic goo — feels like such a ravishing visual feast

Rodrigo Perez, The Playlist:

One should give venerable cinematographer Roger Deakins all the awards, as his work supports the existential anxiety seething through the film. His atmospheric gaze is breathtaking, and in fairness to his competitors, the category of best DP at the Oscars might as well be closed.

Harrison Ford, though

New Movie Reviews

‘The OA’ season 2 will break your brain

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<img ” src=”https://www.dailydot.com/wp-content/uploads/2019/03/netflix-oa-season-2-review.jpg” alt=”” style=”display:none”/>

Warning: This review contains spoilers for seasons 1 and 2 of The OA.

“Trying to describe TheOA to a person who hasnt watched the Netflix series is difficult. It’s got supernatural elements. It’s got science fiction elements. It’s got cultish elements. The main characters obsessively follow a theory about multiple dimensions, which includes choreographed movements to send people to these other dimensions. Nothing about TheOAseason 2, which debuted on Netflix last Friday, is clichd or predictable. Watching it feelslike being immersed in an interactive experience while taking psychedelics.

The OA season 2

RELEASE DATE: 3/22/2019
DIRECTOR: Brit Marling, Zal Batmanglij
STREAMING: Netflix
Brit Marling jumps into another dimension in this wonderfully bizarre series.

If you havent yet watched , which was released in December 2016, stop reading this review and go watch it now. To recap: Prairie Johnson (Brit Marling), a blind woman in her late 20s, mysteriously appears after being missing for seven years. But as her adoptive parents discover, her vision has been completely restored. Prairie was kidnapped by a scientist named Hunter Aloysius “Hap” Percy (Jason Isaacs), who is studying people whove had a near-death experience (NDE)……………………………………………………………..”

Read more: https://www.dailydot.com/upstream/netflix-oa-season-2-review/

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New Movie Reviews

‘What We Do in the Shadows’ is about to become your new favorite TV show

Charmaine Blake

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“The last decade was saturated with TV shows and movies about vampires. From Twilight to True Blood to the Vampire Diaries, blood-sucking romances dominated our screens. Then it appeared as if the entertainment industrys fascination with the (usually, very attractive) immortal beings, and their werewolf foes had dissipated. But one film, made in 2014 on a shoestring budget, remained a part of the cultural conversation long after it left theaters: What We Do in the Shadows, a New Zealand mockumentary that follows the lives of a group of vampires living under one household in present day. Over the course of the 85-minute-long film, the vampires fight over chore wheels, cleaning up blood stains in the house, and not luring humans who want to kill them back to their home. So, you know, normal roommate problems.

What We Do In the Shadows

RELEASE DATE: 3/27/2019
CREATORS: Jemaine Clement, Taika Waititi
STREAMING: FX
The 2014 cult comedy arrives on the small screen with the side-splittingly funny series adaptation we’ve been waiting for.

What We Do in the Shadows simple premise and wry humor made it a hit. Theres also the fact that it was written and directed by Jemaine Clement (half of the Flight of the Conchords musical duo) and Taika Waititi (director of 2017s Thor: Ragnarok)who star as main characters in the film……………………………………………………….”

Read more: https://www.dailydot.com/upstream/what-we-do-in-the-shadows-tv-review/

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Dumbo Review: Tim Burton remake lands with elephantine thud

Charmaine Blake

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All the charm and heartbreak of Disneys classic animation is missing in this retro-futurist, live-action clunker

“Tim Burtons new Dumbo lands in the multiplex big top with a dull thud. It is a flightless pachyderm of a film that saddles itself with 21st-century shame at the idea of circus animals, overcomplicating the first movie, losing the directness, abandoning the lethal pathos, mislaying the songs and finally getting marooned in some sort of steampunk Jurassic Park, jam-packed with retro-futurist boredom that had the kids at the performance I attended talking among themselves.

Screenwriter Ehren Krugers new version is taken from the 1941 Disney classic and the original 1939 illustrated tale by Helen Aberson and Harold Pearl, about a baby circus elephant named Jumbo Junior whose outsized ears cause him to be cruelly nicknamed Dumbo but which allow him to fly: the ugly duckling that becomes a swan in flight. But this film live-action, with a CGI Dumbo winds up burdening the whole thing with a dismayingly pointless, over-long, under-interesting third act about Dumbo getting sold on to a heartless, glitzy amusement centre. The performances from Colin Farrell, Eva Green and Michael Keaton are stuck on the autopilot factory setting of grinning, mugging, frowning and smirking………………………………………………………………..”

Read more: https://www.theguardian.com/film/2019/mar/26/dumbo-review-tim-burton-elephant-disney-thud

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