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Everything the original Blade Runner did and everything the original Blade Runner touched upon, Blade Runner 2049 multiplies.

Plus, just as the original Blade Runner (and whichever of its versions), 2049: 1) is infinitely more complex than its first viewing lets you to process; 2) it is revolutionary both thematically and stylistically and 3) it is a film for the ages.

1) When watching 2049 for the first time, it is impossible to grasp every single of its themes to the extent that material requires the viewer to. It is illustrated through (at least) temporal far-fetched settings and concepts that brazenly delve into an anthropological and sentimental exercise of human nature, solitude, feelings, discrimination and perseverance.

2) It is virtually impossible not to feel completely overwhelmed and positively oppressed by the opulence of the settings, the inexplicable beautiful and haunting cinematography of the ever genius, ever graceful and ever superior Roger Deakins and the bleak, heavy and complex eye of Denis Villeneuve.

3) This is a film for the ages, the same way as the original Blade Runner was in the sense that all the aspects pointed out in 1) and 2) are mere allusions of how truly poignant 2049 is.

Despite having its faults (the pacing is, at times, stale and some scenes and plot points are either redundant or unnecessarily overlong) it is a film that defies definitions; that does not invite convincing into liking; that is greater than the sum of its parts. It is a work of art that invites repeated discovery and constant debate and transcends the mere purpose of entertainment and escapism that cinema offers.

To Beguile: "to lead by deception"; "to engage the interest of by or as if by guile"; "to deprive (someone) of something by guile or deceit".

While conjecturing a position and a review for this film I realised that he Beguiled is more than a moniker for its characters: it is one for the film itself. You will find yourself simultaneously marveled by the ravishing cinematography and production design, seduced by its contained and bewildering performances and puzzled by its apparent dull and stale pacing. True to form, Coppola once again deceits the viewers into believing they've watched something rather stale and uneventful, when in fact the unsaid and the hinted upon is more powerful, substantial and engaging than you were aware.

A circumspect approach to a contained setting and a suggestion to a wider reality, for both the historic background and for the characters themselves, the Beguiled urges the viewer not to immediately praise or dismiss it, but rather to delve on it(s) subject matter(s), digest them and talk about them. That is why once again Coppola proves herself to be a singular auteur.

I felt as lost, baffled, confused and astonished as Lawrence's nominal character throughout the film. I tried to hold on to any kind of narrative sense or to any parallelism to previous films in an attempt to get a hint of where this was going. It is by the time the film enters its overblown third and final act where all logic, common sense and rationality seem to go out the window, that I realized that this is a) no ordinary film b) no ordinary narrative and c) its divisive reception is being supported by all the wrong reasons.

I've heard and read the words pompous, pretentious and conceited thrown around senselessly. I don't think mother! is any. The fact that this film is headlined by Lawrence pulls perhaps the wrong audience for this particular piece; but if an audience is pulled to a film expecting a product more akin to the star(s)'s previous work is an error that is all but uncontrollable, the finger of blame though should be pointed at the studio itself for selling a film for something it is not. Make no mistake, mother! is not the traditional horror film nor a suspenseful film. It is yes a scary allegorical and metaphorical film, in a genre of its own that entices - as it well should - split reactions and discussions. It is perhaps more of a discussion piece rather than a wide release audience appealing film. As thought provoking, visual and emotionally violent as it is, the film is a brutal exercise that is getting the attention for that misguidance. I truly hope that Aronofsky's latest gets all the attention, discussion and care it deserves, perhaps in time with a cult following an audience that wants to watch it, debate it and either praise or diminish it with substantiated arguments.