Often, we think of an artwork as absolute. Picasso’s work, for example, is simply Picasso’s work — unchanged over time. We’re aware that a digital JPEG of a painting will lose all of its tangible resonance, such as its finer brushstrokes. Yet, we still consider it to be a fair representation of an essential absolute. Those with a passing interest in art may even have some peripheral sense that a long life would naturally degrade the brilliance of a piece. But, outside of the exclusive world of art criticism and appreciation, it’s rare for us to consider the ways that an individual expression can evolve.… [continue reading]
This report features no plot details.
I wrote about Blade Runner 2049‘s first trailer here. Because the original film still stands as my favourite of all time (and has since I was fourteen-years-old), I was vitriolic in my ensuing cynicism. I thought a sequel would be ineffective in a number of ways. Firstly, Blade Runner itself is an enigma of spiralling complexity; all anchored by a simple central premise. Expanding on it, even faithfully, seemed a vacuous exercise in contrivance. More importantly, and of great concern, was the potential for a follow-up to dilute its parent. Trailers, and other promotional material, did nothing to quell my worries.… [continue reading]
I eventually saw Blade Runner 2049, and subsequently wrote about it here.
I am absolutely the right person at Secret Cave to write this. That’s something I believe both Bens would yield to, well aware of my lifelong love for Ridley Scott’s Blade Runner. It’s been my favourite film since I was around sixteen years old. Even before that it was ever-present in my upbringing. A favourite of both my Dad and Brother, I knew its opening crawl well from a young age. The very idea of a sequel to that masterpiece was frightening, but it’s now something I can’t deny or avoid. … [continue reading]