Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
Not too sad, not all humans have souls.
Immersing you in a complete wow, Blade Runner 2049 is the thinking person s sci-fi event of the year.
Super-stylish and deeply human - even with androids and holograms around - the spectacular follow-up takes the detective story of the first film and turns it into a grand mythology of identity, memory, creation and revolution.
I imagine most audiences will like the film ... I thought it was okay.
A visually breathtaking, long-fuse action movie whose unconventional thrills could be described as many things - from tantalizing to tedious - but never "artificially intelligent."
A voluptuous mood bath that s impressively sustained from beginning to end.
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.
Villeneuve s dazzling sequel is on its own march to screen legend. Gosling and Ford are double dynamite in a mesmerizing mindbender that asks new questions meant to tantalize, provoke and keep us up nights. Would you have it any other way?
Will cinematographer Roger Deakins, having been nominated for an Academy Award 13 times, finally receive a damn Oscar? Yes. I hope it s yes. It should be "yes."
As the break between installments would suggest, it s a furthering of not just the original story but the original world, and that s quite an accomplishment.