That being said, the one issue that Blade Runner 2049 does have from a storytelling perspective is that of pacing. Like in both the original Blade Runner and his own previous directorial efforts, Villeneuve prefers to use slow-burn drama in Blade Runner 2049 as a way to build up tension (aided through very precise use of sound and silence) before delivering more intense bursts of action and/or violence. While there are noticeable parallels between certain characters and elements of the story in Blade Runner 2049 and its predecessor, the Blade Runner sequel never feels like a calculated recycling of what has come before, plot-wise, for these reasons. Blade Runner 2049 even has some things in common with Scott's Alien prequel Alien: Covenant, when it comes to its perspective on artificial intelligence and the nature of evolution (something that makes all the more sense, seeing as Green also co-wrote that film). The script written by original Blade Runner screenwriter Hampton Fancher and Michael Green ( Logan) effectively pushes its predecessor's ideas about the nature of emotion, consciousness, and what it even means to be human/alive forward, in a way that makes sense given the pre-established "rules" of the Blade Runner universe. Blade Runner 2049 doesn't manage to break new visual ground for the Blade Runner property the way that, say, Mad Max: Fury Road did for the Mad Max franchise, but it does reaffirm Blade Runner's status as top dog when it comes to depicting a stylishly bleak future on Earth.Īs beautiful-looking as the film is, in some ways Blade Runner 2049's screenplay is more ambitious by comparison. As a result, the futuristic, neon-lit urban landscapes that were first envisioned in the original Blade Runner look just as gorgeous here, even as fresh elements are incorporated as part of the sequel's world-building process (see how the rising ocean levels have impacted Los Angeles in the film). Taking over as director from Scott (who still served as an executive producer), Blade Runner 2049 helmsman Denis Villeneuve delivers the same combination of moody atmosphere, striking visuals and thought-provoking subject matter here as he has with his previous genre efforts, including last year's sci-fi offering Arrival. Reuniting with his Prisoners and Sicario collaborator as well as overall legendary cinematographer Roger Deakins, Villeneuve retains the practical sci-fi meets classic Noir aesthetic of Scott's film (making heavy use of precipitation, fog, smoke and other such elements) and gives it a modern CGI-era polish.
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