Rating: 4.5 / 5 stars

It has been 35 years since Ridley Scott’s beloved neo-noir sci-fi classic “Blade Runner” first hit theaters. A critical flop upon first release, it took 25 years and four re-cuts before the film truly cemented itself as one of Ridley Scott’s best films. Director Denis Villeneuve’s (“Arrival”) sequel “Blade Runner 2049” gets it right on the first try, delivering a thought-provoking sci-fi film that is easily one of the most beautiful films to hit cinema screens this year.

Taking place 30 years after the original “Blade Runner,” “2049” follows another blade runner. A blade runner is a cop tasked with hunting down and “retiring” older model androids, known as “replicants,” that were used for slave labor in the original film.  This time around, we follow LAPD blade runner and newer-model replicant Officer K (Ryan Gosling, “La La Land”) who discovers a clue during a routine mission that sends him down a path to discover dark secrets about replicants that his supervisor (Robin Wright, “Wonder Woman”) says may “break the world.”

To summarize any further would likely spoil the intricate puzzle that is the plot of “Blade Runner 2049. ” The film clocks in just 15 minutes shy of the three-hour mark, but it rarely drags. The long runtime allows the film to take thematic detours from the main plot, such as a subplot with Gosling and his Wallace Corporation manufactured holographic girlfriend Joi (Ana de Armas, “Overdrive”).  Gosling is perfect in this role. He has always had a robotic quality to him. Behind his effortlessly suave demeanor is often something more cold and calculating. All of the women of “Blade Runner 2049” put on exceptional performances in their time on-screen, with Ana de Armas being the easy standout.

Hans Zimmer and Benjamin Wallfisch, both fresh off their fantastic work on the score for “Dunkirk,” provide the score for this film, which is a drone-heavy mood piece that works so well as a companion to the film’s visuals. “Blade Runner 2049” is hands down the most visually striking film audiences will see in theaters so far this year. Perennial Oscar bridesmaid cinematographer Roger Deakins might have finally locked up his Academy Award win with his work on this film. “Blade Runner 2049” is an absolute master class in lighting. Deakins and director Villeneuve’s use of color throughout all 164 minutes of film is absolutely breathtaking. There is rarely a frame in the film that is anything less than absolutely hypnotizing. It is a shame that it looks to be a box office flop, making only a little over $30 million in its first weekend on a $150 million budget. This is the type of film that demands to be seen on the big screen.

“Blade Runner 2049” is science fiction at its best. It tackles large themes of what it means to be human in new and interesting ways and never feels like a rehash of Ridley Scott’s 1982 original. The sweeping score and hypnotizing visuals are some of the best available in theatres this year.

“Blade Runner 2049” does just about everything right, and while it may have less open ends than the original for viewers to debate and dissect, many will find themselves coming back to the world of “2049” to bask in its neo-noir beauty.

Photo: Warner Bros. Pictures via YouTube.com