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.
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Blade Runner 2049 isn’t about what happens; it’s about what this terrifying and beautiful world — how could it not be, with Roger Deakins behind the camera — tells us about life and perception and reality.
As bold as the original Blade Runner and even more beautiful (especially if you see it in IMAX). Visually immaculate, swirling with themes as heart-rending as they are mind-twisting, 2049 is, without doubt, a good year. And one of 2017’s best.
Director Denis Villeneuve goes beyond the call of duty, with a lush, often mind-blowing refurbishing of the original sci-fi aesthetic that delves into its complex epistemological themes just as much as it resurrects an enduring spectacle.
Arrival director Denis Villeneuve pulls off the dare of the decade, hatching a thoughtful, expansive sequel to a sci-fi classic.
Even when its emotions risk running as cool as its palette, 2049 reaches for, and finds, something remarkable: the elevation of mainstream moviemaking to high art.
Ford’s memorable performance is just one of the many ways Blade Runner 2049 surpasses the original film. Its clever and compelling storyline is another. And then of course there are Deakins’ incredible images.
Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic.
For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir – from the release print to the Director's Cut and the Final Cut (the last two minus that voiceover Scott and Ford hated) – every minute of this mesmerizing mindbender is a visual feast to gorge on.
As a contrast to Gosling's deliberately deadened, emotionally zoned-out turn, Ford almost single-handedly amps up a film otherwise intentionally drained of character vitality.