35 years after the original Blade Runner changed the landscape of big screen science fiction, Blade Runner 2049 (2017) dared build on the dystopian portrait of the ecologically devastated urban imaged on screen by director Ridley Scott and his team of designers and artists. Just as in the original, this film is as much about the texture of the world on screen as it is the story of the Replicants (artificially manufactured humans created as slave labor) decades after Deckard first strolled the mean streets of L.A.
Ryan Gosling is K, the Blade Runner of this story, a next generation Replicant whose job it is to “retire” the last of the old models, the ones created with a more flexible will that led to rebellion. His new assignment unearths artifacts that leads directly back to the story of Deckard (Harrison Ford) and Rachel (Sean Young) and the legend of a Replicant child, a messiah myth for the Replicant underclass not unlike the Christian virgin birth: the first non-virgin birth of a race genetically designed in a lab. It’s a story that Niander Wallace (Jared Leto), the techno-industrialist who took over the collapsed Tyrell Corporation, will do anything to bury and he sends his own Replicant enforcer, Luv (Dutch actress Sylvia Hoeks), to eradicate the evidence.
This is science fiction spectacle and futuristic detective story as art movie tone poem, a conspiracy thriller with flying cars, blaster handguns, and big brawling fights that defies the breathless pace of the action genre.
