From the grayed-out countrysides over which the sky has closed like a lid; to the drizzly neon decadence of Los Angeles; to the Ozymandian wreckage of Las Vegas-the film is a visual splendor of the first order.
A meditative and moving film, sumptuously photographed by legendary cinematographer Roger Deakins in the finest and most astonishing work of his career.
Blade Runner 2049, on the other hand, manages to be prettier but far more prosaic.
The rare sequel that truly merits its existence, updating and expanding the themes of the 1982 original to bring them from the 20th century into the 21st.
Villeneuve and cinematographer Roger Deakins give us staggering new visions of the future, ones that confound and trance and mystify in Blade Runner 2049 even while making rich cinematic senses.
Blade Runner 2049 is heavy with portentous and pretentious hoo-ha.
Despite all the overlaps, this is not a simulacrum of a Ridley Scott film. It is unmistakably a Denis Villeneuve film, inviting us to tumble, tense with anticipation, into his doomy clutches.
There's a frisson in seeing fecundity exalted in a world bent on selling pleasure-sex.
It takes on the themes and universe set forth in the original and builds on them, and manages to live up to the massive expectations that greet it. This is no replicant, it's the real deal.