Blade Runner 2049 2017 Doblaje Español
Blade Runner 2049 2017 Doblaje Español- final - englisch -WEB-DL- Cómo para ver Blade Runner 2049 en línea - 2019 -año-stream .jpg
Blade Runner 2049 2017 Doblaje Español
Equipo De Filmación
Coordinación Departamento de arte:
Lace Ramona
Coordinador de acrobacias:
tuscany Dezirae
Diseño de guión:
Marely Dedra
Imágenes : Khalen Shrey
Co-Produzent : Makena Zenib
Productor ejecutivo : Anjlee Rafik
Director de arte supervisor:
Hill Hilary
Produce|Producir : Kimiya Aharon
Actriz : Hurst Mindi
7.4
7245
Título de la película | Blade Runner 2049 2017 Doblaje Español |
Hora | 158 minuto |
Lanzamiento | 2017-10-04 |
cantidad | Sonics-DDP 1080p BRRip |
Categoría | Science Fiction, Drama |
habla | English, suomi |
nombre de reparto | Lukas W. Ruttan, ISE EntertainmentDolcie Q. Saiem, Yosif X. Reem |
[HD] Blade Runner 2049 2017 Doblaje Español
"Blade Runner 2049 embraces the enormous shadow cast by Blade Runner 1982 by crafting a vast immersion in scale and vision..."
Read the full review here: http://screen-space.squarespace.com/reviews/2017/10/5/blade-runner-2049.html
In a wonderfully woeful world, a detective makes a sad attempt at a relationship, has the most inventive sex scene ever committed to screen, and grapples with an existential crisis as he does his work. This stuff, which could work as a standalone story, is so strong that this movie must be seen.
Unfortunately, the movie doesn't realise that the protagonist's everyday life is the best part, and instead focuses on a larger-than-life, goofy premise meant to tie 2049 to the original and set up another sequel, thus undermining what would otherwise be a gripping, intimate story.
Hail to the Science Fiction gods as they came to their senses and granted upon the eagerly movie-going masses the long-awaited arrival of a stunning and opulent _Blade Runner_ sequel. Perhaps we should praise the understated genius and visionary mastermind Ridley Scott for his 1982 directorial accomplishment in serving up what appeared to be an underappreciated and overlooked SF thriller in its heyday over three decades ago only for it to emerge now as one of the greatest Science Fiction futuristic capers worthy of its cult classic following?
Maybe the long overdue kudos are reserved for the diehard nostalgic _Blade Runner_ bunch whose committed and fanatical fandom was the key catalyst for this undeniably brilliant, brainy, dazzling and polished presentation to resurface and give new vitalizing breath and striking energy to the Science Fiction genre in conception? Could it be possible that Hollywood simply saw opportunistic and healthy box office receipts to restart another pop cultural juggernaut from yesteryear’s cinematic scene?
Is there a returning Harrison Ford fixation/fetish blossoming courtesy of his past blockbuster film resume that boasts the obvious inclusion of prominent SF/adventure fantasy biggies such as both the _Star Wars_ phenomenon and the _Indiana Jones_ installments with _Blade Runner_ now taking up the matinee mantle?
Regardless of the film-making forces at hand or the key reasoning for this 164 minute visually arresting odyssey updated and packaged for bombastic _Blade Runner_ enthusiasts and dedicated SF connoisseurs the proof is in the proverbial pudding as **Blade Runner 2049** has made its auspicious presence known and succeeds thrillingly as an indelible wonderment in imagination, intrigue and intelligence.
Breathtakingly rich and vibrant in its overlong execution, **Blade Runner 2049** is a lustrous escapist epic that resonates with snappy pop, thought-provoking tendencies and atmospheric grittiness that soundly resonates. And yes…the participation of the aforementioned and omnipresent Ford reprising his role from 35 years ago is indeed the appealing and motivating factor to re-enter the anxiety-driven world of intrusive replicants, societal annihilation and the guessing game of humanity infiltration.
It seems that the intense workmanlike charm and structured suspense in the rebooted **Blade Runner 2049** has not missed a single beat as it colorfully brings its brand of contemplative tension and underlying humorous texture to this sumptuous spectacle. Importantly, the film’s philosophical edginess and saturated cynicism stays true to Scott’s unflinching vision of introspection about the valued properties of life and who are the chief architects of such a unique gift of existence. Consequently, speechless Science Fiction audiences once again are transfixed by the mesmerizing yet old adage about the rivaling ‘have’s and ‘have nots’ especially so vital in the gloomy squalor and doomsday darkness that Scott created so fervently in his vintage edition that set the stage for renegade blade runners in a power struggle with defiant, roguish replicants disastrously flirting with the sacred boundaries of humankind.
Filmmaker Denis Villeneuve (‘Arrival’, ‘Sicario’, ‘Prisoners’) has stepped into some pretty mighty cinematic shoes in dusting of the mothballs of _Blade Runner’s_ haunting and hedonistic past in an accomplished effort to bring forth a percolating potboiler of a challenging and imaginative hue to its succulent successor in 2049 with surging, exquisite aplomb. Screenwriters Michael Green (‘Alien: Covenant’, ‘Logan’) and Hampton Fancher (‘Blade Runner’, ‘The Minus Man’) manage to brilliantly convey the dystopian disillusionment as the caustic yet compelling commentary concerning the decline of humanity and how it is feverishly on the brink of non-existence. The fuzzy lines are crossed for the calculating chaos and corruptible wheels that are turning so aimlessly and shockingly. The sins of sinners, good, bad or indifferent, gloriously are stemmed in moodiness and mystery. Additionally, notably iconic cinematographer Roger Deakins (‘Fargo’) cultivates a dank, hazy-coated landscape where shadowy imagery compliments the dour suspicions of determined man versus durable machine co-existing in a hostile futuristic fantasy world of techno-dismal dimensions. Also, kudos are reserved for Hans Zimmer and Benjamin Wallfisch for their soaring, energetic score that undercuts the tension and turmoil.
In a nutshell, Ryan Goslin (Oscar-nominated for 2016’s ‘La La Land’) is a young blade runner known as ‘K’ whose mission is to track down veteran Rick Deckard (the returning Harrison Ford…also a former Oscar nominee) in the aftermath of a major uncovered secretive revelation that requires the missing senior badge-flashing blade runner’s undivided attention. The problem remains, however, is that Deckard has been out of circulation for three decades and so the search is on for K to hunt down the long-absent Deckard.
Indeed, Officer K’s critical and contemplative police work is, to mildly put it, seek out the about-to-expire, unpredictable and resistant replicants and eradicate them when necessary. The replicants, mechanical menaces with artificial intelligence that are living among the humans incognito, are the main focus of the LAPD and K enthusiastically is immersed in the manhunt for the hidden techno-tyrants with militant mindsets that could strike at any moment among the walking flesh. K strives to put them out of their mechanical misery as his sworn duty to serve and protect but he is handcuffed (no pun intended) by the political politeness and procedural proprieties as pushed by his boss Lt. Joshi (Robin Wright). Basically, K is under surveillance based on his fragile mental state and Joshi is the one to contain this gritty-minded cop’s wandering psyche.
Thankfully, there is undeniable texture and intensity that fortifies **Blade Runner 2049** due to the layered and complex story that effectively taps into the robust realm of man’s possible mercy call at the dominant feet of advanced and sophisticated technology. This observational sentiment certainly rings true in contemporary times as selective human beings feel lost, intimidated, overwhelmed and need to surrender to the mounting shifty pressures of an exposed society seemingly ruled by sinning opportunists on both sides of the shady aisle, mechanisms rendered equally with blood and bolts.
Refreshingly, **Blade Runner 2049** is devoutly cerebral in passion and old school perception. Oddly, Villeneuve’s mixture of science fictional roots and thought-provoking dramatic art house probing works while adding a realistic and somber milieu of existential foreshadowing. Gosling is gloriously geared as the hound dog-faced law enforcer too close for comfort on the fringe of film noir-style burnout as he gets embroiled deep into an abyss of head-scratching discoveries. Ford does not miss a single beat as the gravel-faced, handsome-aged Deckard saddled in adventurous mode despite the matured years since his early 80s heyday in the mundane, ground-breaking _Blade Runner_ blueprint from yesterday. Oscar winner Jared Leto (‘Dallas Buyers Club’) joyously lets it all hang out as the wickedly off-kilter character Niander Wallace. The feminine inclusion of Wright’s top policing babysitter Joshi and Ana de Armas as K’s love interest, Joi, are welcomed personalities. Ex-wrestler/actor Dave Bautista (hot off the ‘Guardians Of The Galaxy’ film series) is a larger-than-life specimen as always in proven popcorn blockbusters.
Convincingly well-structured, profound, purposeful and without a prosaic bone in its bountiful body **Blade Runner 2049** is stunningly sumptuous Science Fiction theater for the thinking man and for the progressive machinery master-blasters as well.
**Blade Runner 2049** (2017)
Warner Bros. Pictures
2 hrs. 44 mins.
Starring: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista and Carla Juri
Directed by: Denis Villeneuve
Written by: Michael Green and Hampton Fancher
MPAA Rating: R
Genre: Science Fiction/Action & Adventure/Fantasy/Drama
Critic’s Rating: ***1/2 stars (out of 4 stars)
(c) **Frank Ochieng** (2017
The film was actually rather disappointing. As a film it was OK, but as a sequel to Blade Runner, it was terrible. There were some nice in-jokes and references, but overall low-brow junk masquerading as high-brow gold (it was directed by Villeneuve, so I really shouldn't have expected better, the only thing he's good at is making stupid people think they are clever). Everything seemed forced and unnatural. The plot was trite and cliched, and everything was very predictable. Totally a wasted opportunity ;^
Strikes a true balance between new and old. Denis Villeneuve has a perfect filmmaking record in my mind, and _Blade Runner 2049_ continues that trend with aplomb.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
As a movie this is a very good movie. The scenery, the acting, the colors etc. are of a very high technical standard. To me personally however, this movie is much too dark and depressing for my taste.
I cannot say that I am surprised that the movie is dark. The first movie was a rather dark one after all and this one is a truly post-apocalyptic one. I quite liked the first movie despite its dark setting though. However this one takes the darkness and melancholy to an entirely new level.
As I said before, technically the movie is great. The scenery is stunning whether it is a dirty little hut out in the badlands or the equally dirty vast cityscapes. The scenes of the abandoned city where Decker is (re)introduced is sad but beautiful.
The acting is more or less great from all the main characters and the special effects are very well done and just right to fit with the rest of the movie.
Unfortunately I cannot bring myself to give it more than 3 out of 5 stars. It has nothing to do with the quality of the film but a lot to do with my personal taste which of course is reflected in my ratings.
I don't understand what people like in this movie. It has some good things, but nothing much to deserve such big rating. Soundtracks & atmosphere are really good & it's well shot, however story is confusing & everything is all over the place. I still didn't understand what was the whole story of movie and it is extremely slow & prolonged. Very small amount of talking & a lot observing moments. Every minor action is prolonged. Like you see man laying in the snow for a few minutes & etc... I didn't like the movie & it took more than 2:30 hours of torture and boredom...
Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
Sylvia Hoeks – Wikipédia a enciclopédia livre ~ Sylvia Hoeks Maarheeze 1 de junho de 1983 é uma atriz e exmodelo holandesa mais conhecida internacionalmente por seus papéis em Blade Runner 2049 2017 e The Girl in the Spiders Web 2018
Blade Runner 2049 – Wikipédia a enciclopédia livre ~ Blade Runner 2049 foi aclamado pelos críticos com alguns considerandoo como uma das melhores sequências cinematográficas já produzidas além de ter sido amplamente elogiado por suas performances direção fotografia efeitos visuais trilha sonora e design de produção
Oscar de melhores efeitos visuais – Wikipédia a ~ O Oscar de melhores efeitos visuais é um dos prêmios cinematográficos entregue anualmente pela Academia de Artes e Ciências Cinematográficas para a melhor realização em efeitos visuais em um filme O primeiro prêmio a reconhecer as contribuições técnicas dos efeitos especiais nos filmes ocorreu na primeira cerimônia do Oscar em 1929 com o nome de Melhor Engenharia de Efeitos
Usuário DiscussãoMwaldeckArquivo 201806 – Wikipédia a ~ Blade Runner 2049 Reciclar Pablo Armero Copa do Brasil de Futebol de 2004 Ubirajara Alcântara Fusão Strip poker Placenta Delairea Atualizar Bruno Henrique Corsini Leônidas da Silva Liberdade de cátedra Traduzir Alexander Imich Regência linguística Instituto de Engenheiros Eletricistas e Eletrônicos
Oscar de melhor mixagem de som – Wikipédia a enciclopédia ~ O Oscar de melhor mixagem de som Brasil ou Óscar de Melhor Mistura de Som Portugal no original em inglês Academy Award for Best Sound Mixing reconhece a melhor mixagemmistura ou gravação de som de um filme e em geral é atribuído aos mixers de som de produção ou aos mixers de regravação dos filmes premiados Este prêmio não equivale ao Oscar de edição de som
Oscar de melhor edição de som – Wikipédia a enciclopédia ~ O Oscar de Melhor Edição de Som Brasil ou Óscar de Melhor Montagem de Som Portugal no original em inglês Academy Award for Best Sound Editing é entregue anualmente pela Academia de Artes e Ciências Cinematográficas para a melhor realização em edição de som e desenho de som em um filme O prêmio é normalmente entregue aos supervisores de edição de som do filme em
Ana de Armas – Wikipédia a enciclopédia livre ~ Ana Celia de Armas Caso Santa Cruz del Norte 30 de abril de 1988 é uma atriz cubana 1 2 3 De Armas estreou como atriz em 2006 no filme espanhol Una rosa de Francia e passou a estrelar o programa de televisão El 2015 ela estrelou seu primeiro filme americano Knock Knock que foi seguido por papéis nos filmes Hands of Stone e War Dogs de 2016
Duna filme de 2020 – Wikipédia a enciclopédia livre ~ Dune no Brasil e em Portugal Duna 2 3 é um futuro filme épico de ficção científica estadunidense de 2020 dirigido por Denis Villeneuve e escrito por Eric Roth Jon Spaihts e Villeneuve baseado no romance de mesmo nome de Frank do pela Legendary Entertainment e distribuído pela Warner Bros Pictures é estrelado por Timothée Chalamet Rebecca Ferguson Oscar
Denis Villeneuve – Wikipédia a enciclopédia livre ~ Denis Villeneuve nascido em 3 de outubro de 1967 é um diretor de cinema e roteirista francocanadense conhecido por dirigir vários filmes aclamados pela crítica como Incendies 2010 Prisoners 2013 Enemy 2014 Sicario 2015 Arrival 2016 e Blade Runner 2049 2017
Blade Runner – Wikipédia a enciclopédia livre ~ Blade Runner 2049 Site oficial Página no IMDb em inglês Blade Runner é um filme de ficção científica neonoir honcongoestadunidense de 1982 dirigido por Ridley Scott e estrelado por Harrison Ford Rutger Hauer Sean Young e Edward James Olmos
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