The music is astoundingly immersive, swarming around the screen with great power. Hans Zimmer and Benjamin Wallfisch have taken the familiar tunes of Vangelis’ original score and transformed it into something that is driving, intense, meditative and atmospheric. It doesn’t just feel as though Zimmer is replicating Vangelis, putting his own unique spin on music we’ve come to associate with Ridley Scott’s original film. It may seem divergent for being so loud and chaotic at times, but such levels are needed in a film that delivers both brutal action and hard science fiction.
I honestly don’t want to spoil the film even if I wasn’t asked to. I usually spoil films if they are so bad to save you the trouble of seeing them or so profound that they need to be talked about. But this film is far too special to ruin with revelation. It is an experience of a movie that takes the viewer on a journey that is far more than a nostalgic retread. Villeneuve wouldn’t waste our time with such fan-gushing and knew that Blade Runner was about more than the flying cars, giant advertisements and rustic tech. It’s not even about the adventures of Deckard or the mysteries of who is or isn’t a Replicant. He has delivered a film that takes us into a future rarely seen, explores philosophies rarely written for the screen and asks questions that may not have answers.
And even though I exited the theater into a cold and rainy parking lot, I still felt as though I’d been somewhere else entirely for the past 160 minutes. Most films people recommend racing back to see because they’re fun or exciting productions. Blade Runner 2049 makes we want to return to both be enveloped in its world and question its themes further. If previous sequels, remakes and reboots have left the mind empty, this film is a buffet of smart entertainment. Considering how long it’s been since I’ve seen one of those, I can’t wait to go back for seconds.