I goofed up by not watching this one in the theaters.
The visuals were spectacular but what also really resonated for me with the theater experience was the booming soundtrack and ambient noise.
A few of those scenes I can still picture: the endless landscape of solar collectors at the beginning, the massive shield wall along the ocean, the orange tint of Las Vegas.
I loved the melancholy beauty of this scene (1:13):
I think Villeneuve really succeeded in creating an homage to the "feel" of the film without outright copying everything about the Scott original.
Amerika said:
Ryan Gosling (who is one of the few Hollywood superstars where I can usually completely buy into what he's selling) gives a perfect performance as K/Joe, who, thankfully, stays the most interesting character and is impeccably written, as compared to Deckard (I can't stand Ford's delivery/how smarmy and smug he comes across) or Robin Wright whose performance is forced from beginning to end.
Agreed for the most part.
The scene where Joe loses control of his emotions when told his memories were real is such a poignant one - considering how mild and nuanced he is (by necessity - Constant K) for the majority of the film.
I thought Ford was decent but also felt like Wright was miscast.
Sylvia Hoeks did a fine job as Joe's mirror/foil, emblematic of Roy Batty in the original, as a fully formed human with childlike emotions - as replicants were.
Even though Dave Batista was only in it for a little bit, he pulled off a surprisingly subtle and sympathetic performance opposite Gosling in that opening scene as the replicant Sapper Morton.
Amerika said:
By mostly sticking to the original Philip K. Dick material, I think the '82 version might have a generally more interesting/engaging story whereas the 2049 narrative doesn't really transcend general blockbuster fare (it's fairly shallow), although it is presented and executed with far more grace and emotional impact.
Yeah, the original had a very tight and personal story while this one ventured into Messianic territory which always risks adhering too much to film tropes and devaluing personal struggle and introspection.
The "twist" of sorts saved the film from that to some extent.