question of the weekend: what movie would you delete the dialogue from so you could just enjoy the visuals and music?
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This weekend’s question comes via reader danielm80, who wants to know:
What movie would you delete the dialogue from so you could just enjoy the visuals and music?
This might be a movie you love and want to experience on a different level. Or it might be one that would only be improved if you could delete the dialogue.
My choice is one of the latter: Blade Runner 2049. As I said in my review, the film is “immersively hellish” and “looks fantastic; legendary cinematographer Roger Deakins confirms his legend once more.” And the score, by Hans Zimmer and Benjamin Wallfisch, captures the dreamy feel of Vangelis’s music for Ridley Scott’s 1982 Blade Runner. But the story wants to have a science-fictional conversation that completely ignores the lively one that has been going on, both onscreen and in the literature, in the interim since the first movie. If we could get rid of the tedious irrelevancy of that, 2049 would be a far more intriguing film.
question of the weekend: what movie would you delete the dialogue from so you could just enjoy the visuals and music?
question of the weekend: what movie would you delete the dialogue from so you could just enjoy the visuals and music?
question of the weekend: what movie would you delete the dialogue from so you could just enjoy the visuals and music?
This weekend’s question comes via reader danielm80, who wants to know:
What movie would you delete the dialogue from so you could just enjoy the visuals and music?
This might be a movie you love and want to experience on a different level. Or it might be one that would only be improved if you could delete the dialogue.
My choice is one of the latter: Blade Runner 2049. As I said in my review, the film is “immersively hellish” and “looks fantastic; legendary cinematographer Roger Deakins confirms his legend once more.” And the score, by Hans Zimmer and Benjamin Wallfisch, captures the dreamy feel of Vangelis’s music for Ridley Scott’s 1982 Blade Runner. But the story wants to have a science-fictional conversation that completely ignores the lively one that has been going on, both onscreen and in the literature, in the interim since the first movie. If we could get rid of the tedious irrelevancy of that, 2049 would be a far more intriguing film.
(You can also discuss this at FlickFilosopher.com, if you prefer.)