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Tag Archive: Hans Zimmer


Review by C.J. Bunce

Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story.  Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film.  The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch.  The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.

From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences.  The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation.  More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world.  What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck.  But none of these flashbacks to sci-fi’s past really take anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story.  To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.

Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original.  Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right.  One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene.  But the biggest misfire is Villeneuve’s use of sound and score.  Thankfully for the reputation of Vangelis, which scored the original film, Villeneuve turned to Benjamin Wallfisch and Hans Zimmer this time, creating a dreadful use of sound in a film.  Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams lens flares.  The poor sound really takes away from a visual work that could have benefitted by a closer reflection of the use of sound in the original.  I.e. take at least one earplug along, especially in an IMAX or other digital theater.

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Review by C.J. Bunce

Every bit like a crazy and dark Sam Raimi production, Hansel and Gretel: Witch Hunters takes an already creepy Grimm fairy tale and amplifies it into a bloody Rated R monster movie.  It is as true as you could probably hope to get to the spirit of the original story of two kids who outwit a witch in a house made of candy.  We even get to see the original tale laid out nearly verbatim to the centuries-old story, including the triumph of the kids who foil the witch and throw her into the oven.

H and G

But that is only the beginning of the tale, and this is the story after the story, a sequel where Hansel and Gretel become mercenaries who hire themselves out to small forest towns to rid them of the plague of witches who have stolen nearly a dozen children.  Witch Hunters never takes itself seriously.  Images of the missing children end up on printed broadsides on the 1800 version of a milk bottle.  And after decades of consuming candy, Hansel is diabetic (he has the “sugar” disease) and must take an early form of insulin to prevent him from dying.

Famke Janssen in Witch Hunters

Harkening back to the German origins of the fairy tale, Witch Hunters is a German production with lots of German design influences.  Like the original Grimm tales this is a violent and gory story.  Witches are instantly the unsympathetic villains who are bad for bad’s sake.  Led by the beautiful Famke Janssen, who for most of the film dons some impressive prosthetics, these witches are the stuff of the Wicked Witch of the West from The Wizard of Oz.  A motley assemblage of Halloween-esque witches with brooms don dark garb on their own evil sabbath day and congregate in a spot in the woods in something strangely similar to an annual rally in Sturgis.

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