Blade Runner is one of those rare films that can be a considered a masterpiece by loads of people, and still be ridiculously divisive. Whether it be the multiple cuts/releases, or the as of yet unsettled debate of Deckard’s humanity, the neo-noir tale of cops and robots just rubs everyone a different way. The same will likely be said for Blade Runner 2049, and that’s exactly why This Guy’s so still beaming after seeing it.

Unnecessary, half-cocked sequels have become just a bit of a putrid, decaying growth on Hollywood’s already symptomatic underbelly these past 15 years or so. Granted, sometimes lightning can actually strike twice, and luckily enough, This Guy’s seen it happen again. Denis Villeneuve (Canada’s answer to David Fincher) has seemingly done the impossible. A follow up to a 35 year old sci-fi classic has rolled into theaters, with shiny new CGI, a hot young lead, a returning old timer just a couple decades past his prime, and managed to stand shoulder to shoulder with the original.

Set 30 years after the original, Blade Runner 2049 revisits that dark gritty world of concrete, neon, and near constant rain. Replicants are still a part of daily life, now with extended life spans, and a guarantee of compliance and servitude. But, some of the older models are still unaccounted for, and Blade Runners like K still hunt them down for “retirement.” When K (Ryan Gosling) discovers the bones of a particular replicant, one with a world changing secret, he’s forced to question his allegiance, his history, and his very existence while tracking down the truth.

Villeneuve tasked three filmmakers with producing shorts to bridge the gap between the films. None are “required viewing,” but all are well worth your time. You can watch here, here, and here, chronologically rather than in release order.

“You can’t hold back the tide with a broom.”

First off, a reassurance for film buffs and fans of the original, you find out within five minutes of the film’s opening scene that K is a replicant. No subtle clues with trick lighting, or unicorn dreams. He’s a replicant; move past it. The film also gracefully sidesteps the Deckard discussion. Yes, he is in the film, and central to the plot, but his humanity is actually never even brought up, except for a clever nod to the audience a few minutes after he shows up. Seriously, This Guy smiled. That’s not to say there’s no mystery at all to the film. In solidarity with the original, Blade Runner 2049 maintains the noirish tones, while managing to up the stakes and still keep the same charm.

Villeneuve and his partner in crime, Roger Deakins (cinematographer) use their god-tier visual prowess to both pay homage to Blade Runner, and still manage to throw their own signature flair into this flick. It’s absolutely gorgeous. Every shot is either stunningly beautiful or sickeningly stylish, and all seemingly without effort. The aesthetic of Blade Runner’s weird, neon-soaked LA is maintained and dialed up to 11. Unlike personal wankery like, say, Geroge Lucas, you can honestly believe that if Ridley Scott had today’s resources, this is what he’d have wanted Blade Runner to look like. In fact, certain scenes are reminiscent of concept art for unfilmed scenes from the original. It’s truly a pleasure to see on the big screen, and will definitely be worth the price for a 4k viewing at home. Preferably on some kind of mind-expanding substance.

“Sometimes to love someone, you gotta be a stranger.”

Blade Runner 2049 maintains the same slow burn, deliberate pace of the original. It’s not some high impact, non-stop thrill ride. It’s quiet, meticulous, and demands attention and patience. It takes its time to delve into K’s daily life, including his digital girlfriend, who is just absolutely precious. But when things do kick off, it’s badass. The action is tight, fast, and brutal. There are two particular fight scenes that are among the best in years for sci-fi.

Now, given the existence of Crystal Skull and The Force Awakens, one might find themselves concerned about Harrison Ford’s ability to slipback into Deckard’s skin, and not just be Grumpy Grandpa Ford. Well, Old Deckard is a bit of an amalgamation. He is old and grumpy, but it kind of works, and This Guy didn’t find himself disappointed or wanting when all was said and done. He still manages to bring the cynicism, grit, and heart the role deserves. Gosling continues to be perfect in everything, of course (London boy done good). It’s almost frustrating how easily he fits into this world and carries the film forward. And while Blade Runner 2049 follows him, it still manages to feel like a continuation of Deckard’s story, as it should be.

“I don’t retire my own kind because we don’t run.”

Overall, This Guy went into Blade Runner 2049 with high expectation and even higher hopes. And thankfully, both were met and exceeded. Respect and reverence is paid to the original, while still building on its world, and driving the story to new, exciting places. After a 35 year follow up, it’s strange to say we should embrace the hype for a possible third installment.

No need for a “final cut” here. This is the Blade Runner film we didn’t know we wanted or needed until it was here. 2049 stands side by side with its predecessor, and doesn’t look small, or superfluous. Villeneuve has struck gold again, and proven that he can direct whatever the hell kind of movie he wants, and make it kick ass. If you’re a fan, do yourself a favour and take the time. You might just be so happy you’ll cry. Tears.

In rain.

This Guy Scores: 8.5/10