Some questions:
1) Wasn't Joshi's asking K about his memories a little contrived? It stood out as a screenwriters only solution for getting the memory flashback across to the audience without using a dream. He had apparently told Joi many times about it though, so surely that would have been a better method. He's discovered this 'dangerous' coincidence of the date on the horse, knows that the memory could implicate him some how, then as soon as Joshi asks for a random memory he chats about it.
2) How did Wallace know about the child? When K visits regarding Rachael, he says his reasons are because "people sleep better when they know old serial numbers are accounted for". Nothing about a child. Soon after, Wallace has his moment slicing the new replicant and saying 'find the child'. The only way he could have known was if he had known Rachael was able to have children - but if this was the case, surely he'd have been all over it since buying Tyrell? He has no proof she even had a child at this point (this scene is before she steals the bones).
3) Did Wallace/Luv have access to Joi? It seemed like such a great opportunity for a surveillance theme, being that Joi was one of their products. K had told her repeatedly about the horse, she was a goldmine of information. She said her memories were back at K's apartment, but it would make more sense that they were cloud based, surely.
4) Why did the eminator switch on at various times? When Mariette was talking to K, it just randomly dinged, indicating to Mariette that he had a hologram girlfriend. It does it again later at Wallace's HQ (triggering Luv to comment on Joi as being one of their products). Then later Joi switches herself on, just before getting stepped on! How the hell did she switch herself on? If she had this ability, why didn't she do it when K was fighting?
5) If Deckard devoted his life to hiding his daughter, his purpose to stay away, why the hell did he give her a wooden horse with her birthday carved on it? Being that it was so easily traced back to his environment (rather than the furnace/ash where it stayed for decades), having her sneak it around seems insanely careless. Also, when he would have given this to her is a mystery, surely not as a baby.
6) Freysa's strategy seemed a bit weird. She knew that K killed Sapper. Yet when she introduces her three minion hookers to him, one of the girls says "he's a blade runner" and two of them bolt. Surely they'd have known this? How did Freysa know that he was the one who killed Sapper anyway? Wouldn't it have been easier to slip the tracker into his pocket then, to keep an eye on his progress?
7) What's the deal with Joi choosing Mariette for K? Does Joi just walk about interacting with people outside of K's awareness, or did I miss something here?
8) How did K get the spinner to work after visiting the orphanage? Its implied that he walks a distance to find it, and surely his spinner is completely fucked after that crash landing.
9) How did the digital representations of Sinatra, Elvis etc survive the blackout? It was explained that all digital data/drives were destroyed.
10) Why did Deckard go to visit his daughter - surely that's a HUGE risk, after spending 30 years protecting her by remaining a stranger? Wallace could easily have more replicants out looking for K/Deckard, and K's spinner could so easily be tracked like it was before.
Some random thoughts:
11) Joshi (Robin Wright) also sought to fulfill her own desires via K (like K did via Joi/Mariette, same problem, same isolation). She asks him about his memories (soon after Luv suggests that questions indicate desire), then says "we're all just looking for something that feels real. What happens if I finish this drink?"
12) Jared Leto's delivery of the line "nine worlds... a child can count to nine on its fingers, we should own the stars!" is terrible. The character Wallace seems a little too demented and power-mongering to be credible as a genius creator (a bit like Weyland in Alien prequels).
13) Funny that both this and Alien Covenant opened this year with a huge iris as the first shot, are follow ups to early sci-fi masterpieces by Ridley Scott, both have synthetic people in turmoils over purpose, creation and creating lifecycles, and both have soundtracks directly referencing the originals.
14) Also, Minority Report opened with a huge iris, was also written by Philip K Dick, and also featured eyeballs in baggies and characters missing an eyeball.
15) Some reminders of Villeneuve's other films: Coco was the creepy guy in Prisoners, the black flying pebbles were like Arrival, Deckard touching the glass to communicate with his daughter was like Arrival, rain turning to snow at significant junctures was like Prisoners, characters framed in doorways (particularly doors having just opened) was like Polytechnique, shot as a silhoette against sand was like Sicario.
Submitted October 10, 2017 at 02:20AM by XInsects http://ift.tt/2y5IzHv
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