The long-awaited sequel to Ridley Scott’s 1982 science fiction masterwork, “Blade Runner” possessed me unlike any other film in 2017. As I accumulated four theatrical sojourns watching “Blade Runner 2049” I found a deeper and richer cinematic experience with each viewing, one that, to me, even surpassed the original as a work of serious art (for this is no action picture). The reason for this undoubtedly was due to Scott entrusting the great Canadian director, Denis Villeneuve (who previously made “Incendies”, “Prisoners”, “Sicario” and the previous year’s “Arrival”) to honor the original film’s world and philosophical themes while laying claim to his own vision and personal style. Taking place 30 years after Deckart and Racheal emerged from the elevator to leave the smog and overpopulation of 2019 Los Angeles, the new film follows a recent model replicant (with a normal human lifespan) called ‘K’ (played perfectly by an appropriately laconic Ryan Gosling) as he investigates a growing replicant freedom uprising to discover the remains of a once-pregnant replicant, something that leads him not only into mysterious territory in which he discovers the now reclusive Rick Deckart (Harrison Ford in one of his most subtle performances), but also leads him into a journey into his own identity. Darker and more sparse than the original, “Blade Runner 2049” goes into more nihilistic territory that becomes its own original film while respecting the original (as well as the Philip K. Dick source novel). I think this balance between honoring the original film and reaching out with its own different form to become something different, all perfectly designed and executed by Villeneuve and his crew, is arguably its greatest achievement. Of course its cynical detractors point to its length – 164 minutes – and criticize the film’s slowness, but I praise it for having the courage to allow its story to develop in a carefully measured fashion, taking the time to engulf its willing and patient viewers into its world view. I liken it to turning over one’s self to the listening of a Wagner opera like “Parsifal” in which time seems to stop as one is encompassed completely into another place, another time -- and after its long viewing I seem to awaken as if having submitted to a dream, emerging somewhat reborn and more enlightened with knowledge of the human experience. And that is really what this and the original film are really about: underneath its marvelous science fiction trappings with its state-of-the-art production design and special effects (often eschewing CGI for authentically-constructed sets and realistic miniatures), and heightened to a level of unmatched beauty by the cinematography of Roger Deakens, the film is really a thoughtful meditation on what makes us human. To me this is the most accomplished film of 2017, and one I long to experience again and again in future viewings. Unfortunately, the 3D experience on Blu-ray is slightly on the dark side and, since the company didn't think the film warranted a 7.1 Atmos track, it might be better to watch it in 2D Blu-ray. The 3D was great in the theater however, but they kind of messed this up putting it on disc.