document_title: Life Is Strange: Before the Storm

question_text: who do you play as in life is strange before the storm

root

text: Life Is Strange: Before the Storm

text: Gameplay[edit]

text: Life Is Strange: Before the Storm is a graphic adventure played from a third-person view. The player assumes control of sixteen-year-old Chloe Price, three years before Life Is Strange. Unlike its predecessor, the game does not include time travel. Instead, Before the Storm features the ability "Backtalk", which the player can use to call upon Chloe to get out of certain precarious situations; "Backtalk" may also make a situation worse. A dialogue tree is used when a conversation or commentary is prompted. Occasional decisions will temporarily or permanently change outcomes. The environment can be interacted with and altered, including marking walls with graffiti.[3][4]

tag: p

text: Plot[edit]

text: In her Oregon hometown of Arcadia Bay, sixteen-year-old Chloe Price sneaks into a house concert at an old mill. Conflict arises with two men inside, but she evades them when schoolmate Rachel Amber causes a distraction. The next day, Chloe and Rachel reunite at Blackwell Academy and decide to ditch class, stowing away on a cargo train and ending up at a lookout point. They people-watch through a viewfinder and see a man and woman kiss in the park, which upsets Rachel. They steal wine from local campers and take a walk to a scrapyard. Chloe confronts Rachel about her change in mood, but she refuses to answer. When Chloe meets Rachel later, she discloses that  she witnessed her father, James, through the viewfinder, cheating on her mother. Rachel destroys a family photo in a burning trash bin, and in a fit of rage kicks it over, igniting a wildfire.[5]

text: The next day, Chloe and Rachel are reprimanded by Principal Wells for ditching school. Chloe hides out at the scrapyard where she finds an old truck in need of repair. She then receives a call from local drug dealer Frank Bowers, who arranges a meeting to discuss settling her debt with him. Chloe agrees to repay him by helping him steal money from her classmate Drew, who owes Frank a large sum. However, Chloe learns that Drew is being violently extorted by another drug dealer, Damon Merrick, and she must decide whether to pay off the dealer with the stolen money to protect Drew or keep it. Later, when a student is unable to participate in the school's theater production of The Tempest due to road closures caused by the wildfire, Chloe reluctantly takes on the role opposite Rachel. After the play, they decide to leave Arcadia Bay with the truck from the scrapyard, and return to Rachel's house to pack. There, following a confrontation, James reveals that the woman they saw him kissing was Rachel's biological mother.[6]

text: Rachel is told that her biological mother, Sera, is a drug addict, and that on the day her father kissed her, he had rejected Sera's plea to reunite with Rachel, after she adopted her away years before. Chloe vows to find Sera, against James' wishes. Chloe contacts Frank, who agrees to meet her at the scrapyard. She repairs the truck there before Rachel arrives. They are ambushed by Frank and Damon, who stabs Rachel after he realises she is the district attorney's daughter. Surviving the wound, Rachel recovers at the hospital. Chloe continues the search by investigating James' office for clues about Sera, instead revealing that James has been in contact with Damon; Chloe uses James' phone to convince Damon to disclose where Sera is located, and finds out that Damon has kidnapped her for ransom. She races to Damon to pay him off, but learns, when she reaches him, that James wanted him to kill Sera. Frank appears and fights Damon, after which Sera entreats Chloe to never tell Rachel about James' actions. Back at the hospital, Chloe is faced with a choice: tell Rachel everything or protect her from the truth.[7]

text: Bonus episode[edit]

text: In the bonus episode "Farewell", a 13-year old Max Caulfield struggles to break the news to Chloe that her family is moving to Seattle in three days. The two find a recording of their 8-year old selves speaking of a buried treasure. After finding the map and an amulet in the attic, Max and Chloe discover the treasure's spot, only to find that Chloe's dad, William, had put their time capsule in a keg, along with his own recording, for safekeeping. Max can choose to either tell Chloe the truth, or hide it; regardless of her decision, their plans for the rest of the day are cut short when Chloe's mother, Joyce, returns home with the news of William's death. Max attends William's funeral days later and leaves for Seattle with her parents immediately after, leaving Chloe in grief.[8]

text: Development and release[edit]

text: Publisher Square Enix chose Deck Nine to develop the prequel to Life Is Strange after the developer's proprietary StoryForge tools, made up of a screenwriting software and cinematic engine, had made an impression.[9] Development began in 2016 with assistance from Square Enix London Studios, employing the Unity game engine.[10] Rhianna DeVries, who initially did the game's motion capture for Chloe Price, voiced the character, while the original voice actress Ashly Burch served as writing consultant.[3][11][12] Burch did not reprise her role due to the SAG-AFTRA strike.[13] With the strike over, Burch and Hannah Telle, who voiced Max Caulfield in Life Is Strange, returned for the bonus episode.[14] The game went under different working titles during casting,[15] according to Kylie Brown, who was cast as Rachel Amber (then codenamed Rebecca) in February 2017.[16] The music was written and performed by the British indie folk band Daughter, and released as an official soundtrack by Glassnote Records on 1 September 2017.[17] Instrumentation was employed to represent different sides of the lead character: piano for isolation, electric guitar for rebelliousness, and layered vocals for friendship.[18] Daughter took the script and concept artwork as inspiration.[19] The writers researched memoirs and psychology to understand Chloe's grieving process.[20] The script was composed of 1,500 pages, written by lead writer Zak Garriss and a writers' room.[21] The first pitch for the bonus episode revolved around its ending and how to build from that.[22]

text: Prior to its official announcement, images had leaked online indicating that a prequel to Life Is Strange was in development.[23] Square Enix revealed Life Is Strange: Before the Storm on 11 June during E3 2017, saying it would be released over three chapters starting on 31 August for Microsoft Windows, PlayStation 4, and Xbox One.[3] The Deluxe Edition includes the bonus chapter "Farewell" – featuring Max Caulfield of the original game as a playable character – three additional outfits, and Mixtape Mode, allowing players to customise playlists using the game's soundtrack.[4] The bonus episode launched on 6 March 2018, the same day as the physical releases of the Limited and Vinyl Edition; the Limited Edition contains an art book and the soundtrack on CD, while the Vinyl Edition includes the latter on phonograph record, and if pre-ordered, figures of Chloe and Rachel – both have content found in the Deluxe Edition, but add episode 1 of Life Is Strange.[24] Feral Interactive, who published Life Is Strange for macOS and Linux in 2016, is also porting Before the Storm for the same platforms.[25]

text: Reception[edit]

text:
Aggregate review scores

Game

Metacritic

Episode 1: Awake

(PC) 80/100[26]  (PS4) 78/100[27]  (XONE) 79/100[28]

Episode 2: Brave New World

(PC) 76/100[29]  (PS4) 79/100[30]  (XONE) 76/100[31]

Episode 3: Hell Is Empty

(PC) 75/100[32]  (PS4) 77/100[33]  (XONE) 81/100[34]

text: Following E3 2017, Life Is Strange: Before the Storm received one of GamesRadar's Best of E3 awards[35] and was nominated for Hardcore Gamer's Adventure Game award.[36]  It was also nominated for "Best Simulation Game" and "Best Family Game" at the Gamescom 2017 Awards.[37] The game was met with generally favourable reviews, according to Metacritic.[38][39] Critics praised the characters, themes, and story, but criticised plotholes, the main relationship, and the impact of players' decisions near the end of the game.[40][41][42][43]

text: Critics mostly praised Episode 1: Awake for the character development of Chloe Price and Rachel Amber.[44][45][46] Jeremy Peeples of Hardcore Gamer found Chloe's behaviour "endearing" and noted that her personality was portrayed with multiple layers. Sam Loveridge at GamesRadar wrote that Rachel was the more authentic character  because of her more "grounded" dialogue. Despite disparaging Chloe for being "her same tiresomely combative self" early on, Metro saw her fleshed out by enduring the loss of her father. Game Informer's Kimberley Wallace thought the younger version of Chloe brought a "naivety and vulnerability" worthy of sympathy. Conversely, the relationship between the leads was said to have formed "at unnatural speed." Peeples and Loveridge favoured the "Backtalk" gameplay feature, while Metro and Wallace cared little for it.[47][48][49][50]

text: Reviewers found Episode 2: Brave New World to either be better than the first instalment or one of the series' greatest.[51][52] Metro praised how choices made a difference with a "profound effect" on character arc, while Ozzie Mejia of Shacknews relished in Chloe's "genuine growth" contrasting her "fiery spirit". Game Informer's Joe Juba declared the continued comprehension of the character "its biggest strength". However, Juba's biggest complaint echoed Wallace's derision of the "forced" manner with which Chloe and Rachel become friends. Brett Makedonski, writing for Destructoid, thought the character exposition was done "to great effect." Most noted was The Tempest school play sequence, which Metro said was their favorite, Mejia called "one of the funniest" in Before the Storm, and Juba observed as the culmination of all past choices. Metro criticised the script for being "uneven" and disapproved of the voice acting. Mejia felt the ending could have been done away with, saying it was "a bit drawn out," though he was impressed with "Backtalk".[51][52][53][54]

text: Metro and Peeples agreed that Episode 3: Hell Is Empty was the most emotional of the season. The writing was lauded as authentic and genuine, with Wallace noting that it showed new sides to minor characters; conversely, Makedonski criticised that an ancillary character with little development became a primary antagonist. Although Metro observed some inconsistent dialogue and voice acting, Peeples said the cast showed "incredible chemistry". Metro saw the relationship between Rachel and Chloe as "the least compelling" aspect, Wallace thought their "tender moments" were the best parts of the episode, and Makedonski said "their struggles, their mutual escapism, and their sacrifices" provided more than enough investment. Reviewers generally approved of how the game concluded. Wallace declared it "gripping and satisfying" and Metro called it "every bit as earth-shattering as the first game."[55][56][57][58]

text: It was nominated in the Games for Impact category at The Game Awards 2017.[59] At the 2017 Golden Joystick Awards, it was nominated for Best Audio and Best Performer for Kylie Brown.[60] It won the award for Best Soundtrack and Most Touching Moment (The Tempest school play with Chloe and Rachel) in Game Informer's 2017 Adventure Game of the Year Awards, while it took the lead for Best Adventure Game in their Reader's Choice Best of 2017 Awards.[61][62] Eurogamer ranked the game 16th on their list of the Top 50 Games of 2017.[63] It was also nominated for the "Matthew Crump Cultural Innovation Award" at the 2018 SXSW Gaming Awards,[64][65] and for "Game Beyond Entertainment" at the 14th British Academy Games Awards;[66][67] it won the award for "Song Collection" at the 2018 National Academy of Video Game Trade Reviewers Awards, whereas its other nominations were for "Game, Franchise Adventure" and "Writing in a Drama".[68][69] At the 2018 Webby Awards, the game won the People's Voice Award for "Best Writing", and also won the award for "Public Service & Activism", while it was nominated for "Strategy/Simulation".[70] It received the "Game of the Year" and "Most Significant Impact" awards at the 2018 Games for Change Awards, with a nomination for "Best Gameplay".[71][72]


document_title: The Santa Clause 3: The Escape Clause

question_text: who played mother nature in the santa clause 3

text: The Santa Clause 3: The Escape Clause

text: Plot

text: Carol/Mrs. Claus is teaching a class of young elves and begins telling them a story of her life with Scott Calvin/Santa Claus. The couple are expecting their first child as Christmas Eve approached. Scott invites his in-laws, Sylvia and Bud Newman, to the North Pole, along with Scott's former wife, Laura, her husband, Neil, and their daughter, Lucy. Meanwhile, he is summoned to a meeting of the Council of Legendary Figures, consisting of Mother Nature, Father Time, the Easter Bunny, Cupid, the Tooth Fairy, and the Sandman. Jack Frost also arrives, jealous that he has no holiday or special occasion in his honor. Because he has been promoting himself during the Christmas season, Mother Nature suggests sanctions against him. When Santa says he is dealing with how to get the in-laws to come without revealing that he is Santa, Jack Frost negotiates a light sentence of community service at the North Pole, helping Santa and the elves put up various Canadian-themed paraphernalia, as Carol's parents believe Scott is a toymaker in Canada.

text: However, Frost's ultimate goal is to trick Santa into renouncing his position. When elf Curtis inadvertently reveals the Escape Clause, Frost sneaks into Santa's hall of snow globes and steals one containing Scott as Santa. If Scott holds the globe and says, "I wish I'd never been Santa at all," he will go back in time and undo his career as Santa. When Lucy discovers this, Frost freezes her parents and locks her in a closet. He then orchestrates situations that make Scott think he must resign to make things better.

text: Frost tricks Scott into invoking the Escape Clause and both are sent to Scott's front yard in 1994, when Scott caused the original Santa to fall off of his roof and had to replace him. Frost causes the original Santa to fall off the roof and grabs Santa's coat before Scott can, making Frost the new Santa. Scott is sent back to the present day, where he has been CEO of his old company for the last 12 years and business takes priority over family. He also discovers that the new timeline has affected other people as well. Scott also learns he and Carol never married and Carol moved away years ago.

text: Scott goes to find Lucy and Neil, who are vacationing at the North Pole, which Frost has turned into a tourist resort. Christmas is now "Frostmas", the elves are miserable, and the reindeer are confined to a petting zoo. When Scott finds Lucy and Neil, Neil expresses his resentment for Scott's causing the separation between him and Laura. Scott confronts Frost as Santa Claus and tricks Jack Frost into recording his voice stating the Escape Clause. Scott has Lucy steal Frost's snow globe and bring it to him; when Frost finds out and takes the globe back, Scott plays the recording of Frost saying, "I wish I'd never been Santa at all", invoking the Escape Clause and causing Scott and Frost to be sent back again to 1994. Scott restrains Jack long enough to let the Scott Calvin of 1994 get the coat, making him Santa Claus again and taking him back to the North Pole in the present and the family where no time has passed.

text: Scott as Santa reconciles with his family and Jack is arrested by elf police. He reveals he cannot unfreeze his victims unless he is unfrozen himself. Scott convinces Lucy via a snow globe he had given her earlier of her warmly hugging a snowman, to give Frost a "magic hug" to unfreeze and reform him. The "Canada" ruse is dropped and Scott appears as Santa to Carol's parents. With two hours remaining before Santa must leave for his Christmas deliveries, Carol goes into labor.

text: Back to the present time, while Carol is telling the tale to her students, Scott walks in to reveal his baby boy, Buddy Claus.

text: Cast

text:
Tim Allen as Santa Claus / Scott Calvin
Martin Short as Jack Frost
Elizabeth Mitchell as Mrs. Claus / Carol Calvin
Judge Reinhold as Neil Miller
Wendy Crewson as Laura Miller
Liliana Mumy as Lucy Miller
Alan Arkin as Bud Newman
Ann-Margret as Sylvia Newman
Spencer Breslin as Curtis the Elf
Eric Lloyd as Charlie Calvin
Aisha Tyler as Mother Nature
Peter Boyle as Father Time
Michael Dorn as the Sandman
Jay Thomas as the Easter Bunny
Kevin Pollak as Cupid
Art LaFleur as the Tooth Fairy

tag: ul

text: Reception

text: Critical response

text: On Rotten Tomatoes, the film holds an approval rating of 15% based on 65 reviews, with an average rating of 3.7/10. The site's critical consensus reads, "Playing Jack Frost as an evil cross between Liza Minnelli and Liberace, Martin Short is a welcome presence, but this tired series continues drawing from its bag of bland gags and dumb slapstick." On Metacritic, the film has a weighted average score of 32 out of 100, based on 17 critics, indicating "generally unfavorable reviews".[3] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[4]

text: Erid D. Snider, a reviewer wrote that Allen did The Santa Clause "The first time with enthusiasm, the second time with affection and the third time for a paycheck". Kyle Smith wrote, "We're getting a turkey and a ham for the holidays. Santa is so dumb he should be demoted to cleaning up after Geoffrey the Giraffe at Toys 'R' Us." Manohla Dargis dismissed the film as "Squeaky clean, but you might die of boredom." Finally, Mark Kermode described it on BBC Radio Five Live as "the cinematic equivalent of tertiary syphilis".[citation needed]

text: Awards and nominations

text:
Award
Category
Subject
Result

Golden Raspberry Award
Worst Actor
Tim Allen
Nominated

Worst Screen Couple
Nominated

Martin Short
Nominated

Worst Supporting Actor
Nominated

Worst Prequel or Sequel
Nominated

Worst Excuse for Family Entertainment
Nominated

tag: table

text: Box office

text: The first two films had become box-office successes during their opening weekends, but The Santa Clause 3 was beaten by Borat for the #1 spot.

text: The Santa Clause 3 made $84,500,122 in North America and a worldwide gross of $110,768,122.[5] The first film made $189,833,357 worldwide at the box-office while the second film made $172,855,065.

text: DVD & Blu-ray Disc release

text: The film was released on both standard DVD and high-definition Blu-ray Disc on November 20, 2007.

text: Video game

text: A tie-in video game was released on November 1st, 2006 for the Game Boy Advance, developed by 1st Playable Productions and published by Buena Vista Games.[6]


document_title: Field goal

question_text: who holds the record for longest field goal in nfl history

text: Field goal

text: Strategy[edit]

text: As a field goal is worth only three points, while a touchdown scores at least six (which usually becomes seven with a successful conversion, and potentially 8 with a two-point conversion), teams will generally attempt a field goal only in the following situations:

text:
It is fourth down (third down in Canadian rules), especially if the offense is more than a yard or two from a new first down, and within about 45 yards of the goal posts.
In the first half, there is enough time remaining to execute only one more play.
In the second half, there is enough time remaining to execute only one more play, and the team on offense needs three points to win or tie (four points in a few leagues given special circumstances).
The game is in overtime, and a FG is the quickest, easiest, and least risky way to end the match.

text: Except in desperate situations, a team will generally attempt field goals only when keeping a drive alive is unlikely, and its kicker has a significant chance of success, as a missed field goal results in a turnover at the spot of the kick (in the NFL) or at the line of scrimmage (in the NCAA). In American high school rules and Canadian football, where a missed field goal is treated the same as a punt, most teams still opt not to attempt field goals from very long range since field goal formations are not conducive to covering kick returns. Even under ideal conditions, the best professional kickers historically had difficulty making kicks longer than 50 yards consistently (the NFL record is 64 yards and the CFL record, 62 yards).[2] If a team chooses not to attempt a field goal on their last down, they can punt to the other team. A punt cannot score any points in American football unless the receiving team touches the ball first and the kicking team recovers it (though it can result in a single in Canadian football), but it may push the other team back toward its own end.

text: The longest field goal kick in NFL history is 64 yards, a record set by Matt Prater on December 8, 2013. The previous record was 63, originally set by Tom Dempsey and then matched by Jason Elam, Sebastian Janikowski, and David Akers. High school, college and most professional football leagues offer only a three-point field goal; however, some professional leagues have encouraged more rare kicks through four-point field goals. NFL Europe encouraged long field goals of 50 yards or more by making those worth four points instead of three (much like Australian rules' Super Goal or basketball's three-point line), a rule since adopted by the Stars Football League. Similarly, the sport of arena football sought (unsuccessfully) to repopularize the drop kick by making that worth four points; it failed, since only one kicker (Brian Mitchell) was able to do it with any semblance of proficiency. (In six-man football, where there is no offensive line, all field goals are worth four points instead of the usual three.)

text: The overall field goal percentage during the 2010 NFL season was 82.3. In comparison, Jan Stenerud, one of only two pure kickers in the Pro Football Hall of Fame (along with Ray Guy), had a career field goal percentage of 66.8 from 1967 to 1985.[2]

text: How field goals are kicked[edit]

text: When a team decides to attempt a field goal, it will generally line up in a very tight formation, with all but two players lined up along or near the line of scrimmage: the placekicker and the holder. The holder is usually the team's punter or backup quarterback.[citation needed] Instead of the regular center, a team may have a dedicated long snapper trained especially to snap the ball on placekick attempts and punts.

text: The holder usually lines up seven to eight yards behind the line of scrimmage, with the kicker a few yards behind him. Upon receiving the snap, the holder holds the ball against the ground vertically, with the stitches away from the kicker. The kicker begins his approach during the snap, so the snapper and holder have little margin for error. A split-second mistake can disrupt the entire attempt.

text: The measurement of a field goal's distance is from the goalpost to the point where the ball was positioned for the kick by the holder. In American football, where the goalpost is located at the back of the end zone (above the end line), the ten yards of the end zone are added to the yard line distance at the spot of the hold.

text: Until the 1960s, placekickers approached the ball straight on, with the toe making first contact with the ball. The technique of kicking the ball "soccer-style", by approaching the ball at an angle and kicking it with the instep, was introduced by Hungarian-born kicker Pete Gogolak in the 1960s.[3] Reflecting his roots in European soccer, Gogolak observed that kicking the ball at an angle could cover more distance than kicking straight-on; he played college football at Cornell and made his pro debut in 1964 with the Buffalo Bills of the AFL; his younger brother Charlie was also an NFL kicker. The soccer-style kick gained popularity and was nearly universal by the late 1970s; the last straight-on kicker in the NFL was Mark Moseley, who retired 32 years ago in 1986.

text: Successful field goals[edit]

text: If there is any time left in the half, the method of resuming play after a successful field goal varies between leagues.

text: Missed field goals[edit]

text: A missed field goal is said to be "no good" if the kicked ball does not cross between the uprights and/or over the crossbar of the goal posts. If it misses to the posts' left it may be called "wide left" and "wide right" if it misses to the posts' right. A field goal attempt may be described as "short" if it does not have sufficient distance to go over the cross bar. Some commentators will only describe a field goal attempt as being short if it appears to have been aimed correctly while others will describe an attempt appearing to lack both accuracy and distance as being both wide and short.

text: If a field goal attempt is missed and does not go out of bounds, a defensive player may catch the ball and return it, like a punt or kickoff. This type of play usually occurs during an extremely long field goal attempt due to the distance the defense must travel to reach the returner. If there is a significant likelihood of a miss and the strategic game situation warrants it, the defense places a player downfield, in or near their end zone, to catch the ball. The risk in this is that the return man may be tackled deep in his own territory, at a considerably worse position than he could have gotten by letting the ball go dead (see below); furthermore, should the returner fumble the ball, the kicking team can recover it and gain a new set of downs (the advantage is that the kicking team is lined up very close together to stop kick blockers, and not spread across the field like a kickoff or punt team, and is therefore in poor position to defend the return). Thus, teams will usually return a kick only towards the end of a half (when the kick will be the final play) or in a particularly desperate situation.

text: If a ball caroms off one of the goal posts or the crossbar, but lands in the field of play, the ball is considered dead and cannot be returned. (This is not the case in arena football, where large "rebound nets" surround the goal posts for the explicit purpose of keeping the ball in play.) However, if the ball caroms off one of the goal posts or the crossbar and continues into the goal, the score counts.

text: Situations where the defense does not return a missed field goal vary between leagues and levels of play:

text: Blocked field goals[edit]

text: Occasionally, the defense will succeed in blocking a field goal. If a blocked field goal is in or behind the neutral zone, it is treated like a fumble and can be advanced by either team. Beyond the neutral zone, a blocked kick is treated like a punt and can be advanced only by the defense, unless a defensive player fumbles the ball, after which an offensive player can advance it.

text: History[edit]

text: In the early days of football, kicking was highly emphasized. In 1883, the scoring system was devised, with field goals counting for 5 points, and touchdowns and conversions worth 4 apiece. In 1897, the touchdown was raised to 5 points while the conversion was lowered to 1 point. Field goals were devalued to 4 points in 1904, and then to the modern 3 points in 1909. The touchdown was changed to 6 points in 1912 in American football; the Canadian game followed suit in 1956.

text: The spot of the conversion has also changed through the years. In 1924, NCAA rules spotted the conversion at the 3-yard line, before moving it back to the 5-yard line in 1925. In 1929, the spot was moved up to the 2-yard line, which the NFL had done until 2014. In 1968, the NCAA diverged from the NFL rules in moving the spot back to the original 3-yard line. Canadian rules originally spotted the conversion at the 5-yard line, which remains closer than in the American code as the goalposts are at the front of the end zone. In 2015, to make conversion kicks harder, the NFL and CFL moved the spot of the kick to the 15 and 25-yard lines, respectively. In addition, the CFL moved the spot for a two-point conversion up to the 3-yard line to entice more teams to go for 2 points as opposed to one.

text: The goalposts were originally located on the goal line; this led to many injuries and sometimes interfered with play. The NCAA moved the goal posts to the rear of the end zone in 1927. The NFL (still following NCAA rules at the time) followed suit, but moved the posts back to the goal line starting in the 1932 NFL Playoff Game, a change made necessary by the size of the indoor Chicago Stadium and kept when the NFL rules stopped mirroring the NCAA rules in 1933. The NFL kept the post at the goal line until 1974, when they were moved back to the rear of the end zone. This was partly a result of the narrowed hashmark distance made in 1972, which had made for easier field-goal angles. The Canadian game still has posts on the goal line.

text: The width of the goalposts and the hashmarks have also varied throughout the years. In 1959, the NCAA goalposts were widened to 23 feet 4 inches (7.11 m), the standard width for high school posts today. In 1991, the college goalposts were reduced in width to 18 ft 6 in (5.64 m), matching the NFL. For the 1991 and 1992 seasons, this meant potentially severe angles for short field goal attempts, since the hashmark width remained at 53 ft 4 in (16.26 m). In 1993, the NCAA narrowed the distance between the hashmarks to 40 ft (12.19 m), matching what was the width of hashmarks in the NFL from 1945 through 1971; the NFL narrowed the hashmarks in 1972 to goalpost width at 18.5 feet (5.64 m). In the CFL, the hashmarks are 51 feet (16 m), but the field is 195 feet (59 m) in width, 35 feet (11 m) wider than the American field.

text: The NFL increased the height of the uprights above the crossbar to 20 feet (6.10 m) in 1966 and 30 feet (9.14 m) in 1974. In 2014, they were raised five feet to 35 feet (10.67 m) after the adoption of a proposal by New England Patriots head coach Bill Belichick.[7]

text: The "slingshot" goalpost, with a single post curving to support the crossbar, was invented by Jim Trimble and Joel Rottman in Montreal, Quebec, Canada.[8] The first were built by Alcan and displayed at Expo 67,[8][9] the World's fair in Montreal. The NFL had standardized the goalposts in 1966 and adopted the slingshot for the 1967 season;[8] the NCAA later adopted the same rule, but later allowed the use of "offset" goalposts, with two posts rather than one (which were the norm prior to the invention of the "slingshot" goalposts). The CFL was the first league to use the new goalposts; they made their debut in the 2nd game of the CFL's Eastern Conference final in 1966 (which was played at Montreal's Autostade as Landsdowne Park [now TD Place Stadium], the home of Ottawa Rough Riders, was undergoing renovations), and were used in the Grey Cup the next week at Vancouver's Empire Stadium. Three schools in Division I FBS currently use dual-support posts: Florida State, LSU, and Washington State. A special exemption was allowed by the NFL for the New Orleans Saints to use the offset goalposts during the 2005 season, when they used LSU's stadium for home games after Hurricane Katrina.

text: Goalposts at the professional level today are sometimes equipped with a camera mounted to the stanchion immediately behind the center of the crossbar. Since these cameras are both above and slightly behind the crossbar, a field goal attempt will be judged good if it strikes this equipment.

text: In 1989, the NCAA banned the kicking tee for field goals and extra points, requiring kicks from the ground.[10][11]

text: During the 2011 NFL season, a record 90 field goals of 50 yards or longer were made.[12] In 2012, this record was increased to 92 field goals of 50 yards or longer.[12]

text: Longest field goal records[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

text: As recorded in Guinness World Records:

text: The record for a field goal at any level is 69 yards. It was kicked by Ove Johansson of the Abilene Christian University Wildcats in the 1976 game against East Texas State University Lions (now Texas A&M University–Commerce) in Shotwell Stadium, Abilene, Texas.[13]

text: NFL[edit]

text: The longest field goal made was 64 yards by Matt Prater of the Denver Broncos on December 8, 2013.[14] The longest field goal attempt in an NFL game was 76 yards by Sebastian Janikowski on September 28, 2008.[15]

text: In the history of the NFL regular season, only 18 field goals have been made from at least 60 yards:[16]

text:
Distance
Kicker
Team
Result
Opposition
Date
Notes
Location
Elevation
Weather

64 yards
Matt Prater
Denver Broncos
51–28
Tennessee Titans
December 8, 2013
End of 1st half
Sports Authority Field at Mile High
5,280 ft (1,610 m)
13 °F; Sunny; Wind: S at 3 mph; Humidity: 72%

63 yards
Tom Dempsey
New Orleans Saints
19–17
Detroit Lions
November 8, 1970
Born with a stub for a right foot. Game-winning kick as time expired. Detroit kicker Errol Mann had kicked a field goal with :08 remaining to give Lions the lead.
Tulane Stadium
16 ft (4.9 m)

63 yards
Jason Elam
Denver Broncos
37–24
Jacksonville Jaguars
October 25, 1998
First field goal to tie record; soccer-style kicker
Mile High Stadium
5,280 ft (1,610 m)

63 yards
Sebastian Janikowski
Oakland Raiders
23–20
Denver Broncos
September 12, 2011
Left-footed
Sports Authority Field at Mile High
5,280 ft (1,610 m)
Light rain early

63 yards
David Akers
San Francisco 49ers
30–22
Green Bay Packers
September 9, 2012
Left-footed; end of first half; ball bounced off crossbar before crossing the plane
Lambeau Field
640 ft (200 m)
70 °F; Mostly Cloudy; Wind: N at 7 mph; Humidity: 43%

62 yards
Matt Bryant
Tampa Bay Buccaneers
23–21
Philadelphia Eagles
October 22, 2006
Game-winning kick as time expired
Raymond James Stadium
35 ft (11 m)

62 yards
Stephen Gostkowski
New England Patriots
33–8
Oakland Raiders
November 19, 2017
Right-footed; kicked as time expired at the end of the first half
Azteca Stadium
7,280 ft (2,220 m)
63 °F; Mostly Cloudy

61 yards
Sebastian Janikowski
Oakland Raiders
9–23
Cleveland Browns
December 27, 2009
Left-footed
FirstEnergy Stadium
580 ft (180 m)

61 yards
Jay Feely
Arizona Cardinals
16–19 (OT)
Buffalo Bills
October 14, 2012
Right-footed; longest game-tying field goal with 1:09 remaining in the 4th quarter, missed a 38-yard field goal that would have won the game at the end of regulation
University of Phoenix Stadium
1,150 ft (350 m)
Retractable roof closed

61 yards
Justin Tucker
Baltimore Ravens
18–16
Detroit Lions
December 16, 2013
Right-footed; game-winning field goal with 43 seconds remaining; sixth field goal of the game
Ford Field
601 ft (183 m)[17]
Dome

61 yards
Greg Zuerlein
St. Louis Rams
18–21 (OT)
Minnesota Vikings
November 8, 2015
Right-footed
TCF Bank Stadium
869 ft (265 m)
58 °F (14 °C); sunny

61 yards
Jake Elliott
Philadelphia Eagles
27–24
New York Giants
September 24, 2017
Right-footed; game winning kick as time expired. Second game of NFL career. NFL rookie record for longest made field goal.
Lincoln Financial Field
39 ft (12 m)
91 °F (33 °C); sunny

60 yards
Steve Cox
Cleveland Browns
9–12
Cincinnati Bengals
October 21, 1984
Straight-ahead kick; on AstroTurf
Riverfront Stadium
490 ft (150 m)

60 yards
Morten Andersen
New Orleans Saints
17–20
Chicago Bears
October 27, 1991
Left-footed; on AstroTurf; first 60-yard kick done indoors
Louisiana Superdome
Sea level
Dome

60 yards
Rob Bironas
Tennessee Titans
20–17
Indianapolis Colts
December 3, 2006
Right-footed; game winner with six seconds remaining
LP Field
400 ft (120 m)

60 yards
Dan Carpenter
Miami Dolphins
10–13
Cleveland Browns
December 5, 2010
End of 1st half
Sun Life Stadium
5 ft (1.5 m)
77 °F (25 °C), wind SW at 14 mph (23 km/h)

60 yards
Greg Zuerlein
St. Louis Rams
19–13
Seattle Seahawks
September 30, 2012
In his rookie season; longest field goal in third quarter; also kicked a 58-yard field goal in the first quarter
Edward Jones Dome
466 ft (142 m)
Dome

60 yards
Chandler Catanzaro
Arizona Cardinals
18–33
Buffalo Bills
September 25, 2016
Longest field goal in career
New Era Field
600 ft (180 m)

text: Prior to Dempsey's 1970 kick, the longest field goal in NFL history was a 56-yard field goal by Bert Rechichar in 1953. A 55-yard field goal, achieved by a drop kick, was recorded by Paddy Driscoll in 1924, and stood as the unofficial record until that point; some sources indicate a 54-yarder by Glenn Presnell in 1934 as the record, due to the inability to precisely verify Driscoll's 55-yarder.

text: In a pre-season NFL game between the Denver Broncos and the Seattle Seahawks on August 29, 2002, Ola Kimrin kicked a 65-yard field goal.[18] However, because pre-season games are not counted toward official records, this accomplishment is not the official record.

text: CFL[edit]

text:
62 yards, Paul McCallum, Saskatchewan Roughriders vs. Edmonton Eskimos, October 27, 2001[19]
60 yards, Dave Ridgway, Saskatchewan Roughriders vs. Winnipeg Blue Bombers, September 6, 1987[19]

text: College football[edit]

text:
69 yards, Ove Johansson, Abilene Christian vs. East Texas State on October 16, 1976. (NAIA)
67 yards, Tom Odle, Fort Hays State vs. Washburn, 1988. (NCAA)
67 yards, Joe Williams, Wichita State vs. Southern Illinois, 1978. (NCAA Division I)
67 yards, Russell Erxleben, Texas vs. Rice, 1977. (NCAA Division I)
67 yards, Steve Little, Arkansas vs. Texas, 1977.[20] (NCAA Division I)
65 yards, J. T. Haxall, Princeton vs. Yale, 1882.

text: All of the above kicks were successful with the use of a kicking tee, which was banned by the NCAA after the 1988 season.

text: 65 yards, Martin Gramatica, Kansas State vs. Northern Illinois, 1998 - without a tee [21]

text: The longest known drop-kicked field goal in college football was a 62-yard kick from Pat O'Dea, an Australian kicker who played on the Wisconsin Badgers football team. O'Dea's kick took place in a blizzard against Northwestern on November 15, 1898.[22]

text: U Sports[edit]

text: The longest field goal in U Sports football history is 59 yards, by Niko Difonte of Calgary Dinos, playing against the UBC Thunderbirds on November 11, 2017. The field goal was the final and winning play of the 81st Hardy Cup.[23][24]

text: High school[edit]

text:
68 yards, Dirk Borgognone, Reno High School vs. Sparks High School (Nevada), September 27, 1985[25][26]
67 yards, Austin Rehkow, Central Valley High School (Spokane Valley, Washington) vs. Shadle Park High School (Spokane, Washington), October 18, 2012, game-tying FG with :02 left in 4th quarter (CV would go on to win 62-55). [27][28] (tied with two others)
62 yards, David Rosenbaum, Woodrow Wilson High School (Washington, D.C.) vs. Spingarn High School, October 3, 2003. While no records are kept, considered to be the longest extra point scored. Penalties due to excessive celebration, unsportsmanlike conduct, and taunting.[29]

text: Independent amateur[edit]

text: 68 yards, Fabrizio Scaccia, Treasure Coast Bobcats (FL), March 29, 2009[30] (world record for a kick without the aid of a tee, which was banned for field goal and extra point attempts in the NCAA in 1989)

text: Independent Women's Football League[edit]

text: 44 yards, Sarah Oliver, California Quake vs. New Mexico Menace, April 26, 2008.[31]

text: Longest missed field goal return records[edit]

text: NFL[edit]

text: Field goal returns are rare in the NFL, since an attempt with sufficient distance that misses the uprights will automatically be dead. Returns are possible when a field goal is short, but in that case returners will usually down the ball so as to scrimmage from the spot of the kick. Normally, a return will only be attempted when there is not enough time left in the half to run a play from scrimmage. Nevertheless, four field goals have been returned for at least 107 yards in the 21st century:

text:
Distance returned
Returner
Team
Opposing kicker
Opposing team
Distance attempted
Date
Location

109 yards[32]
Antonio Cromartie
San Diego Chargers
Ryan Longwell
Minnesota Vikings
58 yards
November 4, 2007
Metrodome

108 yards[33]
Devin Hester
Chicago Bears
Jay Feely
New York Giants
52 yards
November 12, 2006
Giants Stadium

108 yards[34]
Nathan Vasher
Chicago Bears
Joe Nedney
San Francisco 49ers
52 yards
November 13, 2005
Soldier Field

107 yards[35]
Chris McAlister
Baltimore Ravens
Jason Elam
Denver Broncos
57 yards
September 30, 2002
Ravens Stadium

text: CFL[edit]

text: Because the goalposts in Canadian football are on the goal line, and because downing the ball in the end zone results in the kicking team scoring a single point, field goal returns are much more common. The longest missed field goal return in the CFL is 131 total yards. Against the Montreal Alouettes on August 22, 1958, the Toronto Argonauts' Boyd Carter ran 15 yards, then threw a lateral to Dave Mann, who then returned it for the final 116 yards.[36] This return, which started 21 yards behind the goal line, was during the era of 25-yard end zones (which made the maximum theoretical missed field return distance 134 yards in those days) and therefore cannot be met or exceeded on the modern field with 20-yard end zones. Since the shortening of the end zones in the CFL in 1986, a field goal has been returned for the maximum 129 yards on two occasions: by Tristan Jackson of the Saskatchewan Roughriders on July 14, 2012 [37] and by Trent Guy of the Montreal Alouettes on September 23, 2012.[38]

text: NCAA[edit]

text: In NCAA college football, only five missed field goals returns for touchdowns have ever been returned 100 yards or more:[39]

text:
September 17, 1966: Don Guest (California Golden Bears), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Washington State.[39]
September 28, 1968: Richie Luzzi (Clemson Tigers), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Georgia.[40]
September 7, 2013: Odell Beckham Jr. (LSU Tigers), 109-yard return for a touchdown after a failed 59-yard field goal attempt by UAB.[39]
November 30, 2013: Chris Davis, Jr. (Auburn Tigers), 109-yard return for a touchdown after what would have been a tie-breaking 57-yard field goal attempt by Alabama fell short as time expired, what some writers and fans call the greatest play in college football history.[41][42][43][44]
September 3, 2016: Brandon Wilson (Houston Cougars), 109-yard return for a touchdown after a failed 53-yard field goal attempt by Oklahoma.[45]

text: U Sports[edit]

text: In U Sports football, like in the CFL, the longest possible missed field goal return is 129 yards, and this has occurred three times.[24]

text:
Jeremy Botelho of the Manitoba Bisons playing against the Simon Fraser Clansmen on September 11, 2009
Jedd Gardner of the Guelph Gryphons playing against the McMaster Marauders on October 8, 2010
Tunde Adeleke of the Carleton Ravens playing against the Ottawa Gee-Gees on October 5, 2013


document_title: Blade Runner 2049

question_text: who did the music for the new blade runner film

text: Blade Runner 2049

text: Plot[edit]

text: In 2049, replicants (bioengineered humans) have been integrated into society as servants and slaves. One replicant known as "K" works for the LAPD as a "Blade Runner", an agent who hunts down and "retires" (eliminates) rogue replicants. He lives with his holographic girlfriend Joi, an artificial intelligence product of the replicant manufacturer Wallace Corporation.

text: After K retires the rogue replicant Sapper Morton, he finds a box buried on Morton's farm containing bodily remains; forensic analysis reveals they are the remains of a female replicant who died during an emergency caesarean section, contradicting the belief that replicants are sterile. Fearful that this knowledge could lead to war between humans and replicants, K's superior Lieutenant Joshi orders K to destroy the evidence and retire the replicant child.

text: K visits the Wallace Corporation headquarters, where the deceased female is identified from DNA archives as Rachael, an experimental replicant designed by Dr. Tyrell. K learns of Rachael's romantic ties with former blade runner Rick Deckard. The CEO, Niander Wallace, wants to discover the secret to replicant reproduction to expand interstellar colonization, and sends his replicant enforcer Luv to steal Rachael's remains from LAPD headquarters and follow K to Rachael's child.

text: Returning to Morton's farm, K finds the date 6-10-21 carved into a dead tree trunk over Rachael's burial place, and recognizes it from a childhood memory of a wooden toy horse. As replicants' memories are implanted, Joi believes this is evidence that K was born and not created as a replicant. Searching records, K discovers twins born on that date with identical DNA except for the sex chromosome, but only the boy is listed as alive. K tracks the child to an orphanage in ruined San Diego, but discovers the records from that year have been removed. K recognizes the orphanage from his memories, and finds the toy horse where he remembers hiding it.

text: K seeks out Dr. Ana Stelline, a designer of replicant memories, who confirms that his memory of the orphanage is real. K concludes that he is Rachael's son. After K fails a LAPD replicant baseline test, he decides to flee, and transfers Joi to a mobile emitter on her request. He has the toy horse analyzed, revealing traces of radiation that lead him to the ruins of Las Vegas. There he finds Deckard, who reveals that he is the father of Rachael's child and that he scrambled the birth records to protect the child's identity; Deckard left the child in the custody of the replicant freedom movement.

text: After killing Joshi, Luv and her men track K to Deckard's location. They kidnap Deckard, destroy Joi and leave K to die. K is rescued by the replicant freedom movement, whose leader Freysa informs him that Rachael's child is female and he is not Rachael's son. To prevent Deckard from leading Wallace to the child or the freedom movement, Freysa asks K to kill Deckard for the greater good of all replicants. Deckard is brought before Wallace, who offers him a clone of Rachael as a reward for revealing what he knows. When Deckard refuses, Luv kills the Rachael clone, and escorts Deckard off-world to be interrogated.

text: K intercepts Deckard's captors and kills Luv, but is severely injured in the fight. He stages Deckard's death to protect him from Wallace and the rogue replicants, and leads Deckard to Stelline's office, having deduced that she is his daughter and that the memory of the toy horse is hers. K lies down and looks up into the sky, dying peacefully from his injuries, while Deckard approaches Stelline.[8]

text: Cast[edit]

text:
Ryan Gosling as Officer KD6-3.7 ("K")
Harrison Ford as Rick Deckard
Ana de Armas as Joi
Sylvia Hoeks as Luv
Robin Wright as Lt. Joshi
Mackenzie Davis as Mariette
Carla Juri as Dr. Ana Stelline
Lennie James as Mister Cotton
Dave Bautista as Sapper Morton
Jared Leto as Niander Wallace
David Dastmalchian as Coco
Barkhad Abdi as Doc Badger
Hiam Abbass as Freysa
Wood Harris as Nandez
Edward James Olmos as Gaff

text: Cast notes

text: Production[edit]

text: Development[edit]

text: On March 3, 2011, it was reported that Alcon Entertainment, a production company financed by Warner Bros., was "in final discussions to secure film, television and ancillary franchise rights to produce prequels and sequels to the iconic 1982 science-fiction thriller Blade Runner."[11] It was also reported that month that Christopher Nolan was desired as director.[12]

text: On August 18, 2011, it was announced that Ridley Scott would lead the production of a new Blade Runner film, although work would not begin until at least 2013. Producer Andrew A. Kosove suggested that Harrison Ford, who had starred in the original film, was unlikely to be involved.[13][14] Scott said that the film was "liable to be a sequel" but without the previous cast, and that he was close to finding a writer who "might be able to help [him] deliver".[15] On February 6, 2012, Kosove stated: "It is absolutely, patently false that there has been any discussion about Harrison Ford being in Blade Runner. To be clear, what we are trying to do with Ridley now is go through the painstaking process of trying to break the back of the story ... The casting of the movie could not be further from our minds at this moment."[16] When Scott was asked about the possibility of a sequel in October 2012, he said, "It's not a rumor—it's happening. With Harrison Ford? I don't know yet. Is he too old? Well, he was a Nexus-6 so we don't know how long he can live. And that's all I'm going to say at this stage."[17]

text: Scott said in November 2014 that he would not direct the film and would instead produce; that filming would begin in late 2014 or 2015, and that Ford's character would only appear in "the third act" of the sequel.[18] On February 26, 2015, the sequel was confirmed, with Denis Villeneuve as its director. Ford was confirmed to be returning as Deckard; so too Hampton Fancher, one of the two writers of the original film. The film was expected to enter production in mid-2016.[19]

text: Pre-production[edit]

text: On April 16, 2015, Ryan Gosling entered negotiations for a role.[20] Gosling confirmed in November 2015 that he had been cast, citing the involvement of Villeneuve and the cinematographer Roger Deakins as factors for his decision;[21] Deakins was hired as director of photography on May 20, 2016.[22] Principal photography was set to begin in July, with Warner Bros. distributing the film domestically, and Sony Pictures Releasing distributing internationally.[23] On February 18, 2016, an official release date of January 12, 2018 was announced.[24]

text: On March 31, 2016, Robin Wright entered final negotiations for a role in the film,[25] and on April 2, Dave Bautista posted a picture of himself with an origami unicorn, hinting at a role in the film.[26] Bautista and Wright were confirmed to be joining the cast on April 4, and a filming start date of July was established.[27] In late April 2016, the film's release date was moved up to October 6, 2017,[28] as well as Ana de Armas and Sylvia Hoeks being added to the cast.[29][30] Carla Juri was cast in May 2016.[31] In June, Mackenzie Davis and Barkhad Abdi were cast,[32][33] with David Dastmalchian, Hiam Abbass and Lennie James joining in July.[34][35] Jared Leto was cast in the film in August; Villeneuve had hoped to cast David Bowie, but Bowie died before production began.[36][37] In March 2017, Edward James Olmos confirmed he was in the film in a sequence playing his original character, Gaff.[38]

text: When interviewed at the 2015 Toronto International Film Festival, Villeneuve had noted that the plot would be ambiguous as to the question of Deckard being a human or a replicant.[39] In an interview, Villeneuve mentioned that the film is set a few decades after the original. It would again take place in Los Angeles, and the Earth's atmosphere would be different, he said: "The climate has gone berserk – the ocean, the rain, the snow is all toxic."[40] It was announced that Scott would be executive producer.[40]

text: Filming[edit]

text: Principal photography took place between July and November 2016,[41][42] mainly at Korda Studios and Origo Studios in Budapest, Hungary.[43] For the casino scenes, the old Stock Exchange Palace in Budapest's Liberty Square (Budapest) served as a filming location.[44]

text: On August 25, 2016, a construction worker was killed while dismantling one of the film's sets at Origo Studios.[45]

text: Post-production[edit]

text: Warner Bros. announced in early October 2016 that the film would be titled Blade Runner 2049.[46] Editing commenced in December in Los Angeles, with the intention of having the film being rated R.[47] At the 2017 San Diego Comic-Con, Villeneuve said that the film would run for approximately two-and-a-half hours.[48]

text: Soundtrack[edit]

text: Rapper-producer El-P was asked to compose music for the first Blade Runner 2049 trailer, but his score was "rejected or ignored".[49] Jóhann Jóhannsson, who had worked with Villeneuve on Prisoners, Sicario and Arrival, was initially announced as composer for the film.[50] However, Villeneuve and Jóhannsson decided to end the collaboration because Villeneuve considered the film "needed something different, and I needed to go back to something closer to Vangelis's soundtrack".[51] New composers Hans Zimmer and Benjamin Wallfisch joined in July 2017. In September, Jóhannsson's agent confirmed that he was no longer involved and that he was contractually forbidden from commenting on the situation.[52]

text: Release[edit]

text: Blade Runner 2049 premiered on October 3, 2017 at the Dolby Theatre in Los Angeles, although following the 2017 Las Vegas Strip shooting, the red carpet events were cancelled prior to the screening.[53] It was the opening feature at the Festival du nouveau cinéma in Montreal the following day.[54] It also was premiered in Switzerland at the Zurich Film Festival on October 4, 2017.[55]

text: Sony Pictures Releasing, who had obtained rights to release the film in overseas territories,[56] was the first to release Blade Runner 2049 in theaters, first in France and Belgium on October 4, 2017,[55] then in other countries on the two following days.[55] The film was released by Warner Bros. domestically in the United States on October 6, 2017.[55] In addition to standard 2D and 3D formats, Blade Runner 2049 was released in IMAX theaters.[57] Also, Alcon Entertainment partnered with Oculus VR to create and distribute content for the film exclusively for its virtual reality format and launched it alongside the theatrical release of October 6, 2017.[58]

text: Due to the popularity and preference of IMAX in 2D (as opposed to 3D) among filmgoers in North America, the film was shown in IMAX theaters in only 2D domestically, but was screened in 3D formats internationally.[59]

text: The film is rated R by the Motion Picture Association of America for "violence, some sexuality, nudity, and language".[60] Leading into the film's release, Villeneuve told Europa Plus the theatrical version would be his only version, unlike the original, and any potential alternate versions would be made by someone else.[61]

text: Marketing[edit]

text: Warner Bros. and Columbia Pictures jointly released an announcement teaser on December 19, 2016.[62][63] A selection of excerpts (lasting 15 seconds) were released as a trailer tease on May 5, 2017 in the lead up to the full trailer, which was released on May 8, 2017.[64] A second trailer was released on July 17, 2017.[65]

text: Three short films have been made to explore events that occur in the 30-year period between Blade Runner and Blade Runner 2049:

text:
2036: Nexus Dawn is directed by Luke Scott, and follows Niander Wallace as he presents a new Nexus-9 replicant to lawmakers in an attempt to have a prohibition on replicants lifted. The short film also stars Benedict Wong as one of the lawmakers.[66][67]
2048: Nowhere to Run, also directed by Scott, follows Sapper Morton as he protects a mother and daughter from thugs.[68]
Blade Runner Black Out 2022, is an anime directed by Shinichirō Watanabe[69] wherein a rogue replicant named Iggy carries out an operation to detonate a nuclear warhead over Los Angeles, triggering an electromagnetic pulse that erases the Tyrell Corporation's database of registered replicants. Edward James Olmos reprises his role as Gaff in this film. Flying Lotus composed the soundtrack; Watanabe had used his music as a temp score in making a rough cut of the short.[70]

text: Spirit distiller Johnnie Walker made a limited edition Scotch Whisky called Black Label The Director's Cut, created by Master Blender Jim Beveridge in collaboration with Denis Villeneuve. The experimental blend comes in a futuristic bottle.[71]

text: Home release[edit]

text: The DVD and Blu-ray release for the film is scheduled for January 16, 2018. Netflix and Redbox distribution is set for January 23, 2018.[72]

text: Reception[edit]

text: Box office[edit]

text: As of December 13, 2017[update], Blade Runner 2049 had grossed $91.4 million in the United States and Canada, and $166.4 million in other territories, for a worldwide total of $257.8 million.[7]

text: In the United States and Canada, the film was initially projected to gross $43–47 million in its opening weekend.[73] In September 2017, a survey from Fandango indicated that the film was one of the most anticipated releases of the season.[73] It made $4 million from Thursday night previews, including $800,000 from IMAX, but just $12.6 million on its first day, lowering weekend estimates to $32–35 million.[74] It made $11.4 million on Saturday and went on to debut to $32.8 million, well below initial projections but still finishing first at the box office and marking the biggest openings of Villeneuve and Gosling's careers. Regarding the opening weekend, director Villeneuve said, "It's a mystery. All the indexes and marketing tools they were using predicted that it would be a success. The film was acclaimed by critics. So everyone expected the first weekend’s results to be impressive, and they were shocked. They still don't understand."[75]

text: Deadline.com attributed the film's performance to the 163-minute runtime limiting the number of showtimes theaters could have, lack of appeal to mainstream audiences, and the marketing being vague and relying on nostalgia and established fanbase to carry it.[76] In its second weekend, the film dropped 52.7% to $15.5 million, finishing second behind newcomer Happy Death Day ($26 million)[77] and dropped another 54% in its third weekend to $7.2 million, finishing in 4th behind Boo 2! A Madea Halloween, Geostorm and Happy Death Day.[78]

text: Overseas, it was expected to debut to an additional $60 million, for a worldwide opening of around $100 million.[5] The debut ended up making $50.2 million internationally, finishing number one in 45 markets, for a global opening of $81.7 million. It made $8 million in the United Kingdom, $4.9 million in Russia, $1.8 million in Brazil and $3.6 million in Australia.[79] It debuted in China on October 27, and made $7.7 million in its opening weekend.[80][81]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 87% based on 333 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Visually stunning and narratively satisfying, Blade Runner 2049 deepens and expands its predecessor's story while standing as an impressive filmmaking achievement in its own right."[82] Metacritic, another review aggregator, assigned the film a weighted average score of 81 out of 100, based on 53 critics, indicating "universal acclaim".[83] Critics who saw the film before its release were asked by Villeneuve not to reveal certain characters and plot points.[84] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[74]

text: Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four, calling it an instant classic and writing: "For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir, [...] every minute of this mesmerizing mindbender is a visual feast to gorge on."[85] Peter Bradshaw of The Guardian gave the film five out of five stars, praising the production design, cinematography and score, and calling the CGI some of the best he had ever seen, writing: "It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic."[86] A. O. Scott of The New York Times described the film as "a carefully engineered narrative puzzle" that "tries both to honor the original and to slip free of its considerable shadow", and mostly succeeds. He found it, though, ultimately unequal to the original, describing Blade Runner 2049 as "a more docile, less rebellious 'improvement'". He also lauded Villeneuve's direction to which he attributed an "unnerving calm, as if he were exploring and trying to synthesize the human and mechanical sides of his own sensibility", as well as the cinematography and visual effects, which he describes as "zones of strangeness that occasionally rise to the level of sublimity".[87]

text: Eric Kohn of IndieWire gave the film an A- rating, saying: "Blade Runner 2049 may not reinvent the rules for blockbuster storytelling, but it manages to inject the form with the ambitions of high art, maintaining a thrilling intensity along the way."[88] Scott Collura of IGN awarded the film a score of 9.7 out of 10 and called it one of the best sequels ever, saying: "2049 plays off of the themes, plot, and characters of the 1982 movie without cannibalizing it or negating or retroactively ruining any of those elements. Rather, it organically expands and grows what came before. It's a deep, rich, smart film that's visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait."[89] Mick LaSalle of San Francisco Chronicle rated the film 3.5 out of 4 stars, labeling the film as a "quiet, thoughtful science fiction" while drawing a similarity on its tone to Villeneuve's recent film, Arrival and praising the performances, particularly Gosling and Ford.[90]

text: Christopher Orr writing for The Atlantic found the sequel to be a faithful and worthwhile continuation of the original film stating: "This is in part because, like its predecessor, Blade Runner 2049 is a decidedly cool artifact, and not primarily an actors' film. Villeneuve's most important collaborators are the cinematographer Roger Deakins and the production designer Dennis Gassner, who between them conjure a future world breathtaking in its decrepitude, a gorgeous ruin. From the grayed-out countrysides over which the sky has closed like a lid; to the drizzly neon decadence of Los Angeles; to a San Diego refashioned as a waste dump worthy of WALL-E; to the Ozymandian wreckage of Las Vegas—the film is a splendor of the first order."[91] Graeme Virtue, in The Guardian stated that the film's "impact is never at the expense of visual comprehension. Characters may crash through walls but it is never unclear where those walls are in relation to the mayhem. These occasional jolts of intensity do not snap us out of the film's hypnotic spell, which remains persuasive enough to make the 163-minute duration feel like something to luxuriate in rather than an endurance test."[92]

text: John Serba in his review for Mlive also saw the film as a worthy successor and continuation of the original film and capable of standing next to other strong films in this genre such as the 1927 Metropolis, stating: "Blade Runner 2049 is a feast for the eyes and intellect, and for more patient audiences. It broods so intently and for so long, its occasional bursts of violent action break the film's exquisitely meditative constitution. A key atmospheric component is the thrumming synthesizer score, by Hans Zimmer and Benjamin Wallfisch, emulating Vangelis' masterful original."[93]

text: Michael O'Sullivan of The Washington Post put emphasis on the depiction of the villain-aspects of the industrialist played by Jared Leto stating: "In the world of 2049, there are now two kinds of replicants, in addition to people: the old, rogue versions, and a newer, more subservient variety designed by a godlike industrialist (Jared Leto portraying Wallace), who refers to his products, tellingly, as good and bad 'angels.'"[94]

text: The Economist was more critical of the film, calling it a "bombastic sequel" and noting its "thin and threadbare" storyline, which was "riddled with holes", and the "little more than a cameo" appearance of Ford, despite his being used heavily in the film's promotion.[95] Kevin Maher of The Times gave it three of five stars, claiming "a more devastatingly beautiful blockbuster has yet to be made", but concluding that the plot was lackluster.[96]

text: Portrayal of women[edit]

text: Reviewing the film for Vice.com, Charlotte Gush was critical of the film's portrayal of women, who she said were "either prostitutes, holographic housewives" or victims dying brutal deaths. While acknowledging that "misogyny was part of the dystopia" in Scott's 1982 original, she stated that the sequel was "flat, emotionless, nonsensical, and eye-gougingly sexist".[97] Writing in one of the reviews of the film in The Guardian, Anna Smith expressed similar concerns, stating that "sexualised images of women dominate the stunning futuristic cityscapes" and questioned whether the film heavily catered toward heterosexual men, but also said that "While some women are questioning whether or not they should see the new film, I would not suggest boycotting it for its depiction of women. That audiences today are alert to discussing depictions of female characters in film is progress in itself. But it is worth thinking about whether this is the future we want for women in film. I hope Blade Runner 2049 gets its own sequel: there is the raw material for a much more nuanced depiction of gender relations. And perhaps a woman could write or direct the next one, too."[98] Rachael Kaines of Moviepilot however commented that "The gender politics in Blade Runner 2049 are intentional. The movie is about secondary citizens. Replicants. Orphans. Women. Slaves. Just by depicting these secondary citizens in subjugation doesn't mean that it is supportive of these depictions — they are a condemnation. The future in Blade Runner 2049 is not now the future we are heading to, but the future we were heading to when Phillip K Dick wrote Do Androids Dream of Electric Sheep, and Ridley Scott made the original movie. Blade Runner 2049 is the perfect place to examine the out of date portrayal of women, because, whilst we like to think we have completely moved on, that attitude is still prevalent in society."[99]

text: Helen Lewis of the New Statesman suggested that "Blade Runner 2049 is an uneasy feminist parable about controlling the means of reproduction" and that "Its villain, Niander Wallace, is consumed by rage that women can do something he cannot" and concluded that "Fertility is the perfect theme for the dystopia of Blade Runner 2049, because of the western elite anxiety that over-educated, over-liberated women are having fewer children, or choosing to opt out of childbearing altogether. (One in five women is now childless by the age of 45; the rates are higher among women who have been to university.) Feminism is one potential solution to this problem: removing the barriers which make women feel that motherhood is a closing of doors. Another is to take flight, and find another exploitable class to replace human females ... Maybe androids don't dream of electric sheep, but some human men certainly dream of electric wombs."[100]

text: In response, director Villeneuve stated: "I am very sensitive to how I portray women in movies. This is my ninth feature film and six of them have women in the lead role. The first Blade Runner was quite rough on the women; something about the film noir aesthetic. But I tried to bring depth to all the characters. For Joi, the holographic character, you see how she evolves ... Cinema is a mirror on society. Blade Runner is not about tomorrow; it’s about today. And I’m sorry, but the world is not kind on women."[101][102]

text: Quoting from the Variety magazine breakdown of demographics representing viewers of the film, Donald Clarke for The Irish Times indicated that women audiences seemed alienated from the film stating: "Variety explains: 'Males over 25 represented 50 per cent of the audience and females over 25 were 27 per cent, while males under 25 represented 15 per cent of moviegoers and females under 25 were 8 per cent.' Hang on. Eight per cent? Cinema audiences are skewed towards the young and if such a tiny proportion of younger woman are interested in your picture then trouble awaits. Let’s call it Bro’ Runner 2049."[103]

text: Esquire magazine commented on the controversial aspects of the sex scene in the film and compared it to other contemporary films such as those featuring Scarlett Johansson stating: "And this theme (of Joi's physical limitations) reaches its emotional peak during a strange and compelling sex scene that's essentially a robo-ménage à trois. In an effort to consummate their relationship physically, Joi hires Mackenzie Davis's Mariette, a "pleasure model" replicant, to act as a physical stand-in. Their bodies merge into one as Joi's hologram envelops Mariette's body—their faces melding, flickering from one to the other. They move in a sort of ghostly dance that's often a little out of sync, creating a mesmerizing four-armed tangle of limbs. From a pure visual and technical perspective, it's absolutely beautiful. And it's even rather poetic considering the themes director Denis Villeneuve explores throughout this weighty, nearly three-hour-long movie. But like the sex scene in the original film, this one will most definitely be controversial. For one thing, it's exactly the same concept as the sex scene between Joaquin Phoenix and Scarlett Johansson (her voice, at least) in 2013's Her."[104]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Blade Runner 2049
Won
[105]

Golden Trailer Awards
June 6, 2017
Best Teaser
Won
[106]

Hollywood Film Awards
November 5, 2017
Hollywood Producer Award
Andrew A. Kosove, Broderick Johnson and Cynthia Sikes Yorkin
Won
[107]

Hollywood Cinematography Award
Roger Deakins
Won

Hollywood Production Design Award
Dennis Gassner
Won

Hollywood Music in Media Awards
November 16, 2017
Best Original Score – Sci-Fi/Fantasy/Horror Film
Hans Zimmer and Benjamin Wallfisch
Nominated
[108]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Adapted Screenplay
Michael Green and Hampton Fancher
Nominated
[109]

Best Production Design
Dennis Gassner and Alessandra Querzola
Won

Best Cinematography
Roger Deakins
Won

Best Editing
Joe Walker
Nominated

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Won

Chicago Film Critics Association
December 12, 2017
Best Adapted Screenplay
Michael Green and Hampton Fancher
Nominated
[110]

Best Art Direction
Blade Runner 2049
Won

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Nominated

Best Cinematography
Roger Deakins
Won

St. Louis Film Critics Association
December 17, 2017
Best Director
Denis Villeneuve
Nominated
[111]

Best Cinematography
Roger Deakins
Won

Best Production Design
Dennis Gassner
Nominated

Best Visual Effects
Blade Runner 2049
Won

Best Score
Hans Zimmer and Benjamin Wallfisch
Nominated

Seattle Film Critics Society
December 18, 2017
Best Picture of the Year
Blade Runner 2049
Pending
[112]

Best Director
Denis Villeneuve
Pending

Best Cinematography
Roger Deakins
Pending

Best Costume Design
Renée April
Pending

Best Film Editing
Joe Walker
Pending

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Pending

Best Production Design
Dennis Gassner and Alessandra Querzola
Pending

Best Visual Effects
John Nelson, Paul Lambert, Richard R. Hoover and Gerd Nefzer
Pending

Online Film Critics Society
December 28, 2017
Best Cinematography
Roger Deakins
Pending
[113]

Critics Choice Awards
January 11, 2018
Best Cinematography
Roger Deakins
Pending
[114]

Best Production Design
Dennis Gassner and Alessandra Querzola
Pending

Best Editing
Joe Walker
Pending

Best Costume Design
Renée April
Pending

Best Visual Effects
Blade Runner 2049
Pending

Best Sci-Fi/Horror Movie
Pending

Best Score
Hans Zimmer and Benjamin Wallfisch
Pending

Los Angeles Film Critics Association Awards
January 12, 2018
Best Production Design
Dennis Gassner
Won
[115]

Best Cinematography
Roger Deakins
Runner-up

Satellite Awards
February 10, 2018
Best Art Direction and Production Design
Blade Runner 2049
Pending
[116]

Best Sound
Pending

Best Visual Effects
Pending

Best Cinematography
Roger Deakins
Pending

text: Possible sequel[edit]

text: During the promotional tour for the 2015 film The Martian, Scott expressed interest in making additional Blade Runner films.[117] In October 2017, Villeneuve said that he expected a third film would be made if 2049 was successful.[118] Fancher, who wrote both films, said he was considering reviving an old story idea involving Deckard travelling to another country.[118] Ford said that he would be open to returning if he liked the script.[118]