The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.
Fede Álvarez’s The Girl in the Spider’s Web suffers from a compulsion to be capital-C cool.
Blade Runner 2049 is so terrified of disreputability that it renders itself dead from the waist down.
It ascribes to the falsehood that a rarefied milieu inherently infuses a film with intelligence, as if inept execution can be covered up by pretty lensing.