The ultimate vision of the future!

Rating: 10/10 (9 September 1999)

What can I say about this remarkable and brilliant film that hasn't already been said a million times before? Well, here we go anyway. Blade Runner is ultimate downer when it comes to visions of what the future. So many films have copied its style and imagery of a city drenched in a non-stop rain torrent illuminated by massive neon billboards its inhabitants most beyond redemption. (Terminator, Highlander, Robocop, The Fifth Element, and even Seven, the list is endless). It is ironic then that these films have enjoyed far more commercial success on first release than the film that inspired it. Ridley Scott can then smile that while most of these films, Highlander, Terminator and Robocop especially, have significantly dated, Blade Runner remains as fresh and original as it always was. The special effects, all done with models and matte work too, haven't changed. CGI is uncalled for; air brushing would nothing for a Monet. Ford is superb as Deckard, the embittered cop assigned without much choice to track down 4 rogue replicants. Ford hates the film, partly because he was almost killed in shooting and because he claims he played "a detective who does no detecting and who just gives focus to Scott's sets". This is untrue, the plot is compelling as Scott and the scriptwriters, David Peoples and Hampton Fancher transposed a Marlowe case in a dire future. However the plot takes second place to mood and atmosphere. Over the course of two hours we sniff great gulps of a hopeless future and mmmm! It tastes good! The film's countless sub-texts too are more prominent than the plot. The story is littered with clues as whether Deckard is a human or replicant and asks important questions such as who we are, what we're here for. Hauer, too is brilliant as Batty, the desperate replicant leader. It's a tragedy he never found a role that came anywhere close. Supporting players, Young, Sanderson and Hannah are superb to. But its Ridley Scott who takes all the glory. As well from having one of the coolest names in cinema, this is arguable his finest hour. His subtle direction HINTS at all the themes that he covers with no overt moralising and his awe inspiring visual genius and eye for detail was repeated in the brilliant, though criminally underrated 1492: Conquest of Paradise. One is hopeful that his dark vision will be repeated in Gladiator to be released next year.