In every way, a magnificent beauty.

Rating: 10/10 (17 March 2007)

It is not an easy task to write and critique a film that has become my favourite science fiction experience of all time. It is even harder to comment on the technical aspects in such a way that Philip K Dick might approve.
So I shall instead try to write in laymens terms as succinctly as I may.
Los Angeles 2019 ..
From the beginning, we are given the opportunity to traverse a panorama of majestic beauty. The beauty of a dark, rain infested city set in the future. As we take this tour the atmosphere is punctuated by fireballs thrust up by dark towers and spires; much like torches burning on a great red carpet that leads us into greater visual treats.
It seems that Los Angeles is under considerable Japanese influence, with not much room given to its former Hispanic dominance. From the giant advertisements hugging the tall buildings to the food outlets to the citizens on cycles, we realise that the superior advancements of the Asian east have finally bled into the west to the extent that it has its feet are fimly under the table. This actually adds to the experience, in my opinion.
The basic premise is that Deckard (Harrison Ford) is summoned and assigned to investigate the hijacking of an aircraft, or airship by a small number of 'skin jobs', or Replicants. It seems that there is no other choice to accept, and so with a reluctance, but eventual determination Decker sets the wheels in motion.
Visually, the film is exemplary; and rather than the visuals, though indeed being special effects, are not blatant to the eye. Not like the recent Star Wars movies where the blue screen green screen is so obvious that although the fans, and non fans can enjoy the film, the suspension of disbelief is not entirely possible.
The acting is flawless throughout. Harrison Ford, James Olmos, and others of a high caliber lose themselves in their characters. Perhaps the award should go to Rutger Hauer; who's character goes from bad guy, to seemingly not so bad character, once his motives and pathology are realised. After all, what, we can ask ourselves, would we ourselves do in such a predicament?
The ending sequence, which I will not give away can perhaps only be described as a thing of beauty and marvel. Hauers monologue and final demise is quite incredible.
Without forgetting what could be considered to be the crowning spice of the film, step forward the score.
Vangellis delivers an operatic masterpiece. A flavour to not only compliment the experience, but transport the senses where even perhaps the visuals may fail. The score, and motifs within help keep this dish in the flavour that it has retained, and will keep retaining even after decades of release.
This film does require an audience of some appreciative mind frame. Those with short attention spans that bring phones into theatres, though I stereotype will more than likely not enjoy this experience. It takes an appreciative eye to savour this for what it is, and that is quite simply . .
An exemplary slice of science fiction.