The moment I first saw Blade Runner (1982) is forever etched in my memory. The deeply arresting visuals, thought-provoking narrative, symbolism and moody atmosphere, even though sometimes beyond the understanding of my young brain, were delectable nonetheless. I never knew science-fiction could offer so much.

Over the years, I re-watched the highly revered Ridley Scott cult classic dozens of times, including the various cuts, all the while in a love-hate relationship with the idea of a sequel. Could a follow-up truly do justice to one of the most mesmerising and multilayered sci-fi films ever made?

Enter Blade Runner 2049 with an emphatic ‘yes’.

Like its predecessor, this is a noir detective story set in a bleak world with multiple layers of commentary that serve as a painful reminder of what awaits us, in particular with regards to climate change. Taking place 30 years after Blade Runner, the film begins in 2049 where only the most advanced bioengineered replicants are integrated into society, though not without racial discrimination.

Detective K/Joe (Ryan Gosling), who is engineered to follow orders works for the LAPD as a blade runner — agents tasked to hunt other replicants who have gone rogue. On a mission to eliminate replicant Sapper Morton (Dave Bautista), K makes the startling discovery that has the potential to revolutionise the replicants’ position in the world.

Fearing this news will set off a racial war, he is ordered by his superior Lt. Joshi (Robin Wright) to carry out another elimination. K’s mission soon puts him on the path of the mysterious former blade runner, Rick Deckard (Harrison Ford), who is the key to unraveling the mystery.

I’ve only had a single viewing so far and it is too early to say if it is a better film than The Final Cut (2007) of Blade Runner, but it is certainly a near masterpiece. Brilliantly crafted by Denis Villeneuve, who with Arrival (2016) established that he had the chops for an intelligent, deliberately-paced sci-fi film, this is at once a modern take on a classic as well as a spectacular film in its own right. An intensely moving neo-noir, it is a philosophical drama with powerful performances by Gosling, Ford and the awesome Ana de Armas (Joi), as well as some haunting production values.

The star of the latter is legendary cinematographer Roger Deakins, who has earned 13 Oscar nominations over the span of his career without winning. Well, he’s certainly a shoe-in this time. Blade Runner 2049 is easily the best and most fascinating-looking film in years. For those with 4K TV sets, get ready to pre-order the Blu-ray for this is a meticulously detailed piece of cinema.

The strikingly poignant looking scenes of a dystopian world where iconic cities such as Las Vegas lie in dusty ruins while others still with some resources are left teeming with citizens who inhabit enormous dead skyscrapers are worth the ticket price alone. Moreover, the busy streets fused with Asian/Western culture, technological advancements, and drenched in never-ending rain are something to behold.

While I liked the grounded nature of the action sequences in general, the biggest weakness of Blade Runner 2049 is the bit at the end, which lacks the creativity of the rest of the film and is devoid of any tension or flair. The rest is more enjoyable, thanks to cleverly employed shocking displays of violence and an intense score by Hans Zimmer.

I’ve never rated Gosling highly as an actor, but his performance here as a tragic being trying to come to terms with what it means to be human is superb. Ford, who rarely comes across as vulnerable in his roles, delivers one of his best as a veteran who has lived a life of isolation in order to protect the ones he loves. But the best comes from little-known Cuban actress de Armas who humanises an AI in love and will no doubt find herself on the road to stardom. Alongside the characterisation, these nuanced performances are the heart of Blade Runner 2049. They leave us with dozens of uncomfortable questions about morality and the human soul, in a way few films outside of Japanese animations have.

Rated R for violence, some sexuality, nudity and language

Published in Dawn, ICON, October 15th, 2017