The ’82 dream team of Scott and DP Jordan Cronenweth has made way for Canadian director Denis Villeneuve and master cinematographer Roger Deakins, who collaborated to such impressive visual effect on Sicario and Prisoners. Things have changed behind the camera, too. And the Tyrell Corporation - responsible for those renegade “skin jobs” and the remarkable Rachael - has long-since gone bankrupt, bought out and reskinned as the Wallace Corporation, which keeps the Terran underclass sustained with synthetic gruel and titillated by sexy holographic companions. Earth's ecosystem has collapsed, with the world crippled and reliant on replicant-tended protein farms. Much has changed during those three decades, though. Dick by David Peoples and Hampton Fancher (the latter returning for script duties alongside Logan writer Michael Green) and beamed indelibly onto popular culture by Ridley Scott (now executive producing), with the significant input of visual futurist Syd Mead (back on board, too) and synth-soundscape crafter Vangelis - notably absent here, but faithfully channelled by Hans Zimmer and Benjamin Wallfisch. One that was teased from the pages of Philip K. It may be 30 years on from the events of Blade Runner, but we are still very much in the same murky, unsettling and engrossing world.
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