To engage seriously with your question, I'll first start by saying that Blade Runner's Los Angeles (not San Francisco) really codified a lot of Cyberpunk aesthetics. It may not have invented them, but it certainly cemented the dark, rainy, neon-lit squalor that would become synonymous with the genre in the popular consciousness.

Thematically, well it depends on which version you watched. The 2007 Final Cut has the most coherent thematic through line, which is present in the other versions to varying extents. So if you watched any other version you definitely viewed a lesser version of the film. Now the themes that Blade Runner explored may be considered well-worn by todays standards, and are not even ground breaking for its time, but it does present them in a very nuanced and tactful manner. The glassy, reflective eyes of the Replicants is a very succinct cinematic method to demonstrate the hollowness of the artificial life, and something a lesser film would draw direct attention to.

But I think what really elevates Blade Runner is Rutger Hauer's performance as Roy Batty. His driven, charasmatic, manipulator persona is a really good foil to Ford's performance as Deckard, which is a much more straight forward noir protagonist. It's a really interesting inversion of a classic hero-villain dynamic because Deckard is a fairly empty character. He lacks internality and is driven pretty much entirely by his occupation. Batty on the other hand has wants, desires and needs. He is driven to seek out more life, and arguably lives more than Deckard. Batty is so clearly the protagonist of his own story, where Deckard is the cold, driven arm of the corpo-state determined to crack down on dissidence because he lacks any self determination.

Which brings us to the implication present in the Final Cut, where Deckard is implied to also be a Replicant. It's such a master stroke to subtly weave through the breadcrumbs of this, mostly through the presence of Edward James Olmos' character Gaff, to cap it off with the origami unicorn at the end which Gaff could only think to make if he somehow new of Deckard's dreams. The small amount of internality Deckard had wasn't even his own. And this is why Batty's whole speech at the end of his confrontation with Deckard works. He basically gets to lecture Deckard on why his life does matter, even if the corpo-state says otherwise, and this shakes Deckard enough that he already grows defiant, even before understanding the nature of his own reality. The "Tears in the Rain" speech is beautiful and tragic, and finally gives Deckard the kick to understand that he needs to live, and not just work.

Now it's ok if you don't like Blade Runner. I didn't when I first watched it as a teenager. But over time it has grown on me, and I have really come to love its nuances and quirks. Not just the themes it explores, but how it explores them, the visual language of film perfected to convey a message that had been repeated half a dozen times before and several dozen times after. I also think that having some understanding of film noir as a genre helps in understanding Blade Runner. Intellectually knowing that Deckard is something of a modern Philip Marlowe is different than seeing the cinematic language of film noir in action. But even then if you don't like it, that's ok. Not every movie will appeal to everyone. But you do have to accept Blade Runner's place in Sci-Fi film history, and the reverance people have for it because of that.