Denis Villeneuve's Blade Runner 2049 isn't so much a sequel to Ridley Scott's original film, released in 1982; it's more of a hazy memory. Gone are the neo-1940s noir stylings and the drifting melancholy of that great Vangelis score. In their place we have a more dialed-down costume design: fleece-collar coats and simple straight skirts, t-shirts and dusty boots. (There's also a subtle nod to Joanna Cassidy's runaway stripper in the original Blade Runner when we meet a woman in a see-through vinyl raincoat.) As for the wild electro score, by Benjamin Wallfisch (It) and Hans Zimmer (every movie now being made), it's a new impetus for the phrase "Jesus Christ that's loud!"
In other words, Villeneuve (Arrival) has made a Blade Runner that's very much his own. The music radically alters the mood of this film, naturally; and most of the dressing effort has been applied to the spectacular sets, captured with customary artistry by the many-times-Oscar-robbed cinematographer Roger Deakins, writes Kurt Loder.