Rain comes to LA

Rating: 7/10 (29 October 2017)

Something has happened between 1982 and 2019 that has turned arid LA into grimy Tacoma but that is the least of former cop Rick Decker's (Harrison Ford) problems as he grudgingly takes a job whacking replicants, robots imbued with identical human features and actions. Seems four of them rebelled somewhere beyond earth, killing their masters and now were heading for home. Deckard is an expert on replicants and hates them as part of a warped technology that has ruined the universe yet he falls for one (Sean Young). It does not cloud his thinking however as he ruthlessly pursues and "retires" the replicants.
Submerged in futuristic noir ambiance and with Ford our stoic Bogart, Blade Runner is an entertaining vicarious midway shooting gallery where the hunted are mere robots. None are programmed very nice to begin with as Deckard dispatches them amid shadow, neon and rain when in the film's climactic moment Roy the replicant played by Rutger Hauer is allowed a King Kong moment of provocative introspection.
Ford is a lot darker than his Solo in this futuristic manhunt, more cynical, sarcastic and finer in a different way. Sean Young has the right fatale look, Hauer is intense and M.Emmett Walsh gives it a real noir stamp with brief his presence.
The real star of the picture though is the dazzling production design provided by Laurence Paul along with the art direction of Paul Snyder, some wonderful special effects and if I can step away from my snobbery, an impressive music score by Vangellis.
With much of everything in order however Director Scott allows the film to run a solid half hour too long forsaking the compact storytelling that noir crime dramas depend. Add to this the fact most of the main characters are robots Blade Runner simply runs too long for the same payoff reducing the punch while admittedly giving us more time to admire the impressive furniture.