See, the official 1982 version was never Ridley Scott's intended film, nor was the hasty, stilted narration ever Ford's fault -- the studios forced every one of those changes on the movie just before release. They're the ones who inserted the dreary, awkward first-person narrative, because they were worried that viewers wouldn't be able to follow the objectively simple (if occasionally muddy) noir plot. They're the ones who inserted that bullshit ending shot of Deckard and Rachael driving happily through pastoral landscapes like German tourists on vacation, and they're the ones who cut the galloping unicorn, because they hate magic and the laughter of children.
In the director's cut, however, there are fewer distractions from what was actually set down on film, and so the dystopian Los Angeles of 2019 really gets a chance to shine. Although to be fair, both versions opened with this shot:
Which told you everything you needed to know about this world. That one setpiece was worth an entire screenplay: The huge, looming mega-scrapers, the obtrusive, unregulated, gargantuan billboards, huge factories belching fire into the sky -- this was a logical extension of our reality, except for the obvious fact that nobody was taking human needs like space, or privacy, or even clean air into account. In short, this was a world without empathy.
That's not a throwaway message in there just to make the dystopia even dystopier -- Philip K. Dick's original story, Do Androids Dream of Electric Sheep? revolved entirely around empathetically caring for animals and a virtual religion that allowed people to jack into a Christlike figure's torment. Empathy was an extremely important element to the story that was exclusively relayed through the setting of Blade Runner. The plot doesn't do it -- at its heart, it's just a basic bounty hunting/detective tale. The characters don't do it -- Harrison Ford and Rutger Hauer are badass and all, but there's just not enough screen time for either to get across any grandiose, abstract moral lessons in between bangin' future-broads and poundin' future-whiskey.
Philip K. Dick wrote that story because he wanted to talk about empathy; Scott had to settle for showing you what a world without it looked like. Well, that, and what titties look like covered in Saran Wrap.
"You want me to wear what? Isn't this movie about determinism?" "Oh yeah, baby. Totally. Now, let's wrap them titties!"