Yours Truly / tma_sierrahills - Review: ‘Blade Runner 2049' (2017, Villeneuve).
One critic: “visually stunning.” Yes, darkly so of course. Lacks original film’s (set in 2019) more glittery city lights and lush green final forest flyover, which, by contrast, further underlined the overall noir, but somehow provided glimmerings of hope. To be honest, the younger version of Deckard seems somewhat lackluster. 2049 Los Angeles has become even more dystopian, yet less than today’s real life LA? Me as director: “Give me more rats, garbage piles, sewage, discarded needles, disease, homelessness, lawlessness and political CORRUPTION!”
In 2049 typical Angelenos on the street have become less overwhelmingly Asian, movie makers caving to 1982 charges of “racism”? This reviewer, an admitted fan of: ‘Rachel,’ Ford’s rough-hewn hero characters, Bradbury Building, hovercars, and brooding haunting hypnotic nourish soundtracks and visuals that make you want to be a hard-boiled knight in dented armor risking your life to save a damsel fair in distress and all else that you grudgingly hold most dear. Another plus: Comparative lack of Hollywood ‘Magic Negroes’ popping up at every turn to save witless whites.
Which brings us to ‘White Man’s Disease’: Hover-carring your way above and through the City of Angels in 2049 is now such a dystopian experience that you might as well be in a submersible grimly pushing your way through a sea of horse urine. And yet, with all this, with Western Man finally having been pulled down into the vibrant Orwellian multicultural abyss by an all-powerful technocratic elite, what, you may ask, is the greatest burning need for these few remaining white characters? That’s easy, you silly, what else? Extending human rights to robots! (Because, you see, they can get preggers.)
In other words, Hollywood continues to utilize its technical brilliance to relentlessly push global multi-Marxism on whites as it perverts and re-purposes Western art to bring down Western civilization and its peoples. Grade: B+.
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