Blade Runner
Tags: dark, boring, neo noir, gothic, murder, fantasy, mystery, dramatic, cult, atmospheric, action, philosophical, romantic, blaxploitation, sci-fi

Plot synopsis:
In 2019, humans have genetically engineered Replicants, which are essentially humans who are designed for labor and entertainment purposes. They are illegal on earth, and if they make it to our planet they are hunted down and killed.Rick Deckard is a blade runner, a hunter of replicants. A group of replicants makes it to Los Angeles seeking a way to extend their life span. Replicants have a built-in 4 year life span, and this group is near the end.==========================================A crawl after the opening credits informs us that, in the near future, technology that has created synthetic humans has entered a new phase: replicants, sophisticated androids that are virtually identical to humans, are now equal in strength and emotion to their creators. Replicants are designed and built by the Tyrell Corporation, a giant multi-conglomerate headquartered in two pyramid-like towers. The latest version of replicant technology is the Nexus 6 model. Replicants are mostly used as manual laborers in the "off world" colonies out in space. Because of their advanced nature and tendency towards violence, replicants have been outlawed on Earth. Specialized police units, "blade runners," are charged with the difficult task of detecting replicants who come to Earth. If found, replicants are executed or "retired." An opening title tells us that the setting for the story is Los Angeles, and the date is November, 2019. Los Angeles and the surrounding area have become heavily industrialized, crowded with people and rain falls constantly.At the Tyrell Corporation, a blade runner, Holden (Morgan Paull) is interviewing a new employee using a special device called a Voight-Kampff (VK) analyzer. The machine is designed to detect any physical changes in the test subject in response to questions that are deliberately meant to affect the subject emotionally. After a few questions, the man being tested, Leon, becomes obviously agitated and eventually hostile, shooting Holden. (We learn later that Holden survived: "He can breathe okay, as long as nobody unplugs him.")Deckard (Harrison Ford), a former blade runner, is eating at a Japanese noodle bar when another man, Gaff (Edward James Olmos), tells him he's under arrest. Deckard tries to ignore the man but eventually agrees to go with him. Gaff flies Deckard to police headquarters and delivers Deckard to his old boss, Bryant (M. Emmet Walsh). Bryant tells Deckard that a small group of Nexus-6 replicants have come to Earth illegally. Two of them were killed trying to scale a high-voltage security fence outside the Tyrell Corporation. Four have survived; Bryant shows Deckard their files. The leader is Roy Batty (Rutger Hauer), the most advanced and intelligent of the group. The others are Zhora (Joanna Cassidy), Pris (Darryl Hannah) and Leon (Brion James), the replicant who shot Holden. Deckard is charged with tracking them down. Bryant also tells Deckard that the Nexus-6s are believed to be advanced enough that they may have developed emotions, which might make them harder to detect via VK testing. Subsequently, the scientists designed the Nexus-6s to have only a four year lifespan. Bryant sends Deckard to Tyrell Corp's headquarters to test the VK machine on a Nexus-6.Deckard and Gaff fly to Tyrell headquarters. While Deckard awaits Tyrell, he meets Rachael (Sean Young), a beautiful woman who welcomes him and who acts as Tyrell's personal assistant. Tyrell (Joe Turkel) appears and questions Deckard about the Voight-Kampff test, doubting its processes in detecting replicants among humans. Tyrell offers Rachael as a test subject, saying he wants to see a negative test result on a human before providing a replicant to be tested. Deckard asks Rachael over 100 test questions before the VK machine finally alerts Deckard that Rachael is actually a replicant. Rachael leaves and Tyrell explains that Rachael is a Nexus-6 and one of the most advanced replicants ever designed. She has been designed to possess memories, however, the memories given Rachael have been culled from Tyrell's nieces or other family members. Deckard is surprised to realize that Rachael doesn't know she's a replicant.Deckard's first lead takes him to Leon's apartment. He finds a stack of photographs there, as well as a scale from an animal's hide. Not far away, Roy Batty is waiting on the street for Leon to return from his apartment. Leon appears and tells Roy that there were policemen there and he was unable to retrieve his photographs. Roy is perturbed but takes Leon with him to a shop called Eye World, owned by a Chinese man named Chew, who engineers eyes for replicants for Tyrell. He is confronted in his subzero lab by Roy and Leon, the latter of whom rips open Chew's thermal coat to make it easier for Roy to interrogate him. Roy asks Chew about "inception dates," the date marking a replicant's first activation and beginning of their four year lifespan. Chew, quickly freezing to death, desperately tells them that they need to talk to Tyrell about increasing their lifespans. Roy suggests that meeting with Tyrell will be difficult, however, Chew tells him that a Tyrell employee, JF Sebastian, may be able to gain Roy access.Deckard takes Leon's stack of photos home with him. He is surprised by Rachael in the elevator. Deckard, seemingly feeling betrayed, is quite rude to Rachael, who was unable to talk to Tyrell himself after she found out she is a replicant. Though Rachael shows Deckard a picture of herself with her mother, Deckard insensitively quashes Rachael's insistence that she has actual memories, telling her they'd been taken from other people. Rachael leaves, extremely hurt. Later, while drinking, Deckard examines old photographs on his piano and dreams of a white unicorn. When he awakes, he examines one of Leon's photos and finds that Zhora was in a back room. Deckard notes that she has a prominent tattoo on her neck of a looped serpent.In another part of Los Angeles, near an old, neglected hotel called The Bradbury, a woman walks into an alley and covers herself with waste paper to keep warm. She dozes for a bit until a man approaches her and startles her awake. She runs away, breaking the window of his van, but the man kindly returns one of her bags and she becomes friendly. The woman is revealed to be Pris, one of the Nexus-6s Deckard is pursuing. The man is JF Sebastian (William Sanderson), a genetic designer for the Tyrell Corporation and the person Chew told Roy to find. Pris agrees to stay at Sebastian's place where he designs lifelike toys and dolls.Deckard visits the crowded streets near Chinatown and has a old Asian woman examine the animal scale. Deckard believes it to be from a fish but it's from a snake and, like most animals of the time period, is artificial. The maker's serial number is also visible under the microscan, a man named Abdul Ben Hassan, whose shop is right up the street. Deckard confronts Hassan, who tells him he'd made a snake for a dancer working at a club owned by Taffy Lewis. Deckard goes to the club and places a quick call to Rachael, apologizing for his insensitivity and asking her if she'd like to join him at the club. Rachel refuses.Deckard finds that Zhora is an exotic dancer at the club who uses artificial snakes in her performances. Deckard poses as an irritating private eye investigating abuses by club owners who may spy on female performers. Zhora sees through Deckard's ruse and beats him violently and dashes from the club into the streets. Deckard quickly catches up and chases her until he's able to shoot her. Zhora crashes through several plate glass windows and falls to the street, dead. When a passerby examines Zhora, they see the snake tattoo under her ear.Bryant arrives on the scene and talks to Deckard, congratulating him for finding and retiring Zhora. He tells Deckard that there are four more replicants to retire; Deckard insists that there are only three left. Bryant tells him that Rachael has disappeared and Deckard now has to find her. Deckard spots her a few moments later across the street. As he follows her, he's suddenly grabbed by Leon, who beats him severely. As Leon appears poised to kill Deckard by stabbing his fingers through Deckard's eyes, his forehead explodes; he has been shot by Rachael using Deckard's own pistol, which Leon had batted from Deckard's hand a few moments before. Deckard returns to his apartment and Rachael joins him. Deckard appears to be much more sympathetic toward Rachael since she saved him from Leon. When she asks him if he'd hunt and retire her, he tells her he wouldn't, but someone else surely would. He gives her a drink and the two play together on Deckard's piano. Deckard becomes more amorous and Rachael rejects his advances. Deckard prevents her from leaving his apartment and the two have sex off screen.Pris wakes up in Sebastian's apartment. She talks to him about his strange skin condition, "Methuselah Syndrome," which makes him age quickly -- he is only 25, but looks older. Suddenly, Roy appears (likely summoned there by Pris). He sadly shares the news that Zhora and Leon are both retired. Roy and Pris both reveal to Sebastian that they are Nexus-6s and they need to get "help" for Pris or she'll die. Pris proves to Sebastian that she's artificial by grabbing an egg from boiling water and tossing it to Sebastian, who finds it too hot to handle. Roy notices that Sebastian plays chess and asks him about his opponent, who is Tyrell himself. Roy convinces Sebastian to use his connection to Tyrell to arrange a personal meeting. Sebastian reluctantly agrees.Roy and Sebastian go to Tyrell's pyramidal home and take an elevator to his penthouse. They are stopped as a security measure but are allowed to proceed when Sebastian voices two moves to Tyrell himself that win the chess match they'd been playing; the last move is given to him by Roy. In Tyrell's bedchamber, Roy confronts his creator, saying specifically he wants an extension of his short lifespan and calls Tyrell "father." (In the 1982 Theatrical and 1992 Director's editions, Roy says "fucker" in place of father.) Tyrell explains, with technical details, that artificial beings like Roy have been permanently designed not to live longer than their lifespan and that no known biological process has yet been able to change that. Roy becomes more despondent, telling Tyrell he's done "questionable things." Tyrell patronizes him, saying he's also accomplished great things. Roy, still despondent, first kisses Tyrell, then begins to crush his skull, poking his thumbs through his creator's eyes. Tyrell falls dead and a horrified Sebastian, unable to escape, is killed off screen by Roy.Deckard flies in his car to the sector where JF Sebastian lives. He receives a report from Bryant who tells him that Tyrell is dead and Sebastian has also been found dead at the same scene. Deckard places a call to Sebastian's apartment claiming to be a friend. Pris answers the call but hangs up without a word. Deckard has to move his car when some street people climb on the back, apparently hoping to scavenge parts they can sell. Deckard enters Sebastian's apartment and searches for evidence or leads. The apartment is full of lifelike toys and mannequins. As Deckard searches the mess, he is surprised by a disguised Pris, who assaults him using acrobatics. As she performs a series of back flips to finish Deckard off, he shoots her through the abdomen. She twitches violently for a few moments before Deckard shoots her twice more and finally kills her.Roy finds Pris dead, and he kisses her lifeless lips. Deckard shoots at him, and Roy accuses him of "not being very sporting to shoot an unarmed man." Roy stalks Deckard, seizing Deckard's hand through a wall and deliberately dislocating and breaking two of his fingers in memory of Zhora and Pris. Deckard escapes to an upper floor in the building but is easily found by Roy, as he howls from the pain of trying to reset one of his fingers. Deckard keeps moving, but is in great pain and drops his gun. Roy is already showing signs of his own impending death - he stabs himself through the hand with a large nail to temporarily stabilize his condition. Deckard seizes an opportunity to beat Roy with a large pipe but he cannot incapacitate Roy, whose superhuman strength is too much for Deckard. Deckard eventually escapes to a window ledge. Deckard climbs to the roof, but Roy appears moments later. Deckard tries to jump to another roof across the street. He nearly plummets, hanging on by one hand. Roy makes the jump quite easily and peers over the ledge at Deckard, saying "Quite an experience to live in fear, isn't it? That's what it is to be a slave." Deckard slips and Roy catches his arm with one hand, dragging him to safety. Roy sits down near him, holding a dove he found on the other roof, and tells Deckard that he's seen more in his short life than most humans would see in a full lifetime. Roy is saddened by the idea that all the memories he's acquired will be lost "like tears in rain." Then, echoing the last thing Leon said to Deckard, Roy says "time to die" -- but he's referring to himself. As he finally dies, the dove in his hand flies off. In the original theatrical version (1982) the rain has stopped and the dove flies toward a clear blue sky. In the Final Cut (2007) the rain continues and the dove flies toward an overcast sky. In a Deckard notes that the replicants only want the same things that humans do.Gaff meets Deckard on the roof and throws his pistol back to him. He congratulates Deckard on completing his investigation; Deckard tells him he's officially finished with hunting replicants. As Gaff walks away, he looks back over his shoulder, and yells, "It's too bad she won't live, but then again, who does?", referring to Rachael.Deckard returns to his apartment and is alarmed to find the door ajar. He takes out his gun, and calls Rachael. When she doesn't answer he walks through the rooms with his gun drawn. In the bedroom, Rachael is completely covered by the sheet. He fears that she is dead. Much to his relief, she wakes up when he pulls the sheet back and touches her. He asks her whether she loves and trusts him; she replies that she does. A few minutes later, she is dressed and Deckard, after checking the lobby outside his apartment, motions for her to join him in the elevator. On the floor of the lobby is a small origami unicorn, left there by Gaff. Deckard studies it, and Gaff's words about Rachael not living echo in his head. He realizes that Gaff was there but let Rachael live. Deckard studies the unicorn for a moment, then crushes it in his hand. In the Final Cut and Director's (1992) editions, the film ends when the elevator doors close. In the Theatrical edition, Deckard and Rachael drive into a mountainous area and Deckard explains in voice-over that Tyrell told him that Rachael has no termination date. Echoing Gaff's sentiment atop the roof, he muses, "I didn't know how long we had together... who does?"

Review: Dick's post-apocalyptic bounty hunter story 'Do Androids Dream Of Electric Sheep' is a visionary work of art; it's a dystopian masterpiece and I'd personally call it as much a milestone of science fiction as Kubrick's '2001' (and be advised to watch the version known as the "final cut" if you want to catch 'Blade Runner' as it was intended by its director).
These themes are set in a fairly basic detective story that moves slowly but gradually builds power as the viewer is immersed in a dystopian futuristic Los Angeles.Harrison Ford fans accustomed to the normally dynamic roles that he plays may be dissatisfied with the seemingly lifeless lead character that he portrays here as the replicant-hunting detective known as a "blade runner".
Anyone who "gets" the film should be moved by this; others will sadly miss the point and may prefer watching some mindless action flick instead."Blade Runner" is a masterpiece that deserves recognition and long remembrance in film history..
Dark, deep, uncertain, unsettling  imagine the most beautiful nightmare you've ever had  this is Blade Runner (1982).Ridley Scott's Blade Runner is a brilliantly crafted science fiction film that not only touches upon, but bravely plunges into deep philosophical questions, making it simply ten times more important than any film of its genre.
It is timeless beauty with huge doses of emotion.Set in 2019 Los Angeles, Blade Runner zooms in on the eerily-lit, urban streets of the city and follows Richard Deckard  superbly played by Harrison Ford who brings an exquisite moral ambiguity to his character  a special policeman who tracks down and terminates artificially-created humans called replicants, who have escaped from an Off-World colony and made their way to earth and need to be stopped.
Dick's novel Do Androids Dream of Electric Sheep, is a Sci-fi slash Noir film about a cop named Rick Deckard (Harrison Ford) in a decrepit 2019 Los Angeles whose job it is to "retire" four genetically engineered syborgues, known as "Replicants".
The movie itself is a detective noir quest for the meaning of life in a science fiction environment, but the story is a commentary on what it means to be human and the questions each one of us have about life, like: How long have I to live?
By merging together the moral conflict and the emphatic character arc of the private detective, a trait that is exclusive to and definitive of the Film Noir genre, with a futuristic dystopian environment, Blade Runner creates the ultimate Neo-Noir setting, the only one capable of supporting such strong ideas and posing such significant questions to the viewer, without compromising on an interesting plot development and an appealing pace, things that are masterfully achieved via a tight script and persuasive performances.In a dark, future dystopian portrait of a 2019 Los Angeles, where humans have alienated themselves with their true nature and claimed the title of god/creator of life, effectively manufacturing artificial intelligence and bioengineering androids, called "Replicants", a retired "Blade Runner" named Rick Deckard is assigned with the undertaking of terminating four rogue such replicants that have illegally returned to Earth in a quest to force their maker, Tyrel, into postponing their grim destiny, basically prolonging their already predetermined four-year lifespan.
Blade Runner's unique depiction of the future has been imitated numerous times quite unsuccessfully, mostly due to the fact that no other film to this date has managed to create such an engaging atmosphere so beautifully connected to every part of it, effectively enhancing every scene and allowing for a strong conveyance of all the moral and existential questions that are posed during the whole duration.
Vangelis has also composed one of the best and most awe-inspiring scores of all time, effectively managing to capture the very essence of each scene, thus making all sound a significant and inseparable part of the whole cinematic experience that Blade Runner has to offer.
The moral and existential complexity of this reality that Blade Runner has offered to the world reaches depths unparalleled by the majority of the films available, therefore greatly distinguishing it from all others and thus emphasizing its uniqueness through the most complete portrayal of science fiction to date..
Blade Runner (either version) stands the test of time as an epic story which transcends a disparity of genres, as well as the seminal "dark" sci-fi film which has been mimicked so frequently (to varying degrees of success) since its original release.
I would suggest picking up a reader by someone like Nietzsche, Foucualt, Descartes, Kierkegaard, or any of the great existentialist philosophers after viewing this film in order to appreciate the story & its concepts at a whole new level, regardless if you're watching it for either the 1st, or the 100th time.
The film gives no answer - it just opens our eyes and makes us aware that we should be grateful for being alive.Some people prefer the Director's Cut, but I like the original version better - mostly because of the wonderful end line: "I didn't know how long we had together.
But it's almost like an art movie, the first science-fiction art film It's a futuristic film beautifully put together It's really impeccably made by one of the great visionary directors And you really saw a future that looked very different from the future you had seen before A future that looked very believable like the visual-effects shots of the flying car going over a futuristic city The fight sequence doesn't prepare you for the traumatic emotional side that there is in the film, it leaves you sort of broken There is a beautiful, delicate emotional great scene that I remember when I first saw the movie I'm in the theater and I'm so drawn in what Rutger Hauer's doing I'm so drawn in by what the theme of the movie has brought us to The magnificent moment where he is letting go of life And in those last moments of letting go of life he's really learned to appreciate life to the point where he spares Deckard's life, and where he's even holding a white dove because he just wants to have something that's alive in his hands It's an amazing sort of crescendo that's going and there's Rutger saying: "I've seen things you people wouldn't believe.
All these moments will be lost in time like tears in rain." Hauer puts all the things that are so amazing about people: sense of poetry, sense of humor, sense of sexuality, sense of the kid, sense of soul Scott brought out the best qualities in his performers He coaxed and very gently manipulated performances from his actors that in some instances I think they've rarely topped You feel the story, you feel the emotions of the characters and you will be lost in the middle of this wild world, you know, it's so rich and it's painful I mean it's a very bluesy, dark story and told very compassionately The overpopulation, the sort of crowd scenes is so rich and varied and there's such an extreme detail designing the magazine covers, designing the look of the punks, the Hare Krishnas, the biological salesman, everything is designed You have just Piccadilly Circus punks walking by You have a sense of layers in that society That is one of those things that you see again and again The city landscape with the big billboards à la Kyoto or Tokyo Scott was able to create the look based on what goes on in various cities all over the world Whether it is Tokyo, Kyoto or Beijing or Hong Kong or whatever, you're right in "Blade Runner" country "Blade Runner," to me, embodies the elegance, the power, and the uniqueness of a film experience It's the most classical, beautiful, purest movie-making writing and then the film-making itself is The images and the sound and the music, it's pure cinema Ridley came out with an amazing, brilliantly executed future of an absolute dystopia The intensity of his perfectionism on "Blade Runner" made the movie This is a master at his best.
Director Ridley Scott seems to want to savor every shot, and an astute audience will be able to sense this.Now, I say the film is told in a classic Noir style, but this can be misleading.
Instead, we find Rick Deckard questioning his own existence and drinking away his constant doubts, all the while embroiled in a romantic relationship with someone he's sworn to kill.Blade Runner requires audience participation, particularly in the Director's Cut, which is entirely devoid of some rather necessary exposition provided by the Original Cut's much-maligned voice-over.
Blade Runner is not for the adrenaline junkie, nor for those who like flashy gadgets and bright explosions, with a healthy Hollywood-made dose of convincing storyline spoon-fed for their satisfaction.The film is set in the apocalyptic, suggestively post-war future Earth, where there seems to be a lag in technology.
Despite being made over 25 years ago, Blade Runner still looks very much state-of-the-art.Scott says this is the best version and the best his film has ever looked and sounded.
For the life of me I can't think of a reason why this movie is held with such high regards in the sci-fi community, except for having the holy trinity of geekdom (it's set in the future, sexy robots and Harrison Ford).
Blade Runner is like a hand-made classic European sports car whereas most modern films are like a Toyota Corolla, supposed to be better than the old ones but they are not, made out of plastic in an assembly line, and they look cheap.Another thing, other than the visuals, that makes this film so good is the soundtrack.
Because it's visually and story-wise so good, It would still be a great film with different soundtrack, but at the same time, the soundtrack of Blade Runner is probably the best soundtrack for a movie ever, even though it didn't depend solely on its soundtrack for the mood.The story and acting are also very good.
The film mixes extraordinary (well, for 1982) visual effects, great acting and a genuinely original and deep plot about what it means to be human.The plot, on a base level, concerns the exploits of "Blade Runner" Deckard as he hunts down rogue Reploids; advanced human-like androids that have a four-year lifespan to compensate for their other advantages.
In "Blade Runner", Scott explores corruption, man's destructive nature, but he also delves into emotion and the possibility of someone ELSE creating those emotions for us, as is the case for the replicants.The plot plays second fiddle to the set design and costumes.
Maybe not 2019, but somewhere down the track the science fiction of films such as these may become science fact."Blade Runner" is one of THE definitive sci-fi movies ever made..
When Roy Batty chases Deckard in his shorts (when a few moments before he was fully clothed?) The film goes over-the-top to the point where I find myself asking, "why in the world would the characters do that?!" But here's what's interesting: as silly as Blade Runner may get it never betrays its own world.
Everything that happens, in some queer way, feels natural to this strange futuristic world.I like the movie in its action scenes, but I simply adore it during the quieter moments – the parts where not a whole hell of a lot is happening, and you can simply watch and absorb Jordan Cronenweth's marvelous cinematography.
He finds another clue that might lead somewhere (albeit, since it's a movie it's a good guess the clue does lead somewhere.) In my mind at least moments such as the Voight-Kampff scenes, Deckard's briefing, the photograph analysis, both of Rachel's scenes in Deckard's apartment gives the world of Blade Runner a solid grounding so later on it can get away with the absurd.Which brings me to the replicants.
Why should a shmuck like Deckard live for 50+ years when Roy in his 4 short years has seen attack ships burning off the shoulder of Orion and seen C-beams glitter in the dark  "If only you could see what I've seen with your eyes," he proudly and warmly tells one of the scientists who helped create him.As for which cut of the film, I don't think any single one is perfect (and I'd honestly watch any of them in a heartbeat.) I prefer the "Final Cut" over the others and admire Ridley Scott's restraint in his definitive DVD release.
It's all clear now.Blade Runner is one of a precious few pantheon of science fiction film that has become even more prescient as time passes (the other that comes to mind is 2001: A Space Odyssey).
When a replicant starts to piece things together before it dies, Deckard must take it out before it harms humans.As the film progresses, we can see that Deckard doesn't particularly like his job despite the fact that he is the best Blade Runner in town.
The replicant Rachael (played by Sean Young) seems to trigger a re-evaluation of his life, and he takes no pleasure in hunting the group of dangerous androids he's been hired to "retire".This film is Sir Ridley Scott's masterpiece, and the one that best shows his talents.
Also, we get the complete unicorn scene, which is crucial to the film's big question, as well as sticking with the DC's omitted voice-over narration (which is such a blessing, by the way).In the end Blade Runner is a masterful look at that which makes us human.
Set in post apocalyptic Los Angeles, the film tells the tale of Deckard (Harrison Ford), a semi retired cop who is persuaded back into his role of a Blade Runner (special units trained to identify and kill outlawed androids, or "replicants", who illegally return to Earth).
Scene-after-scene reminded me of a Stanley Kubrick film or another bizarre 1980s movie called "Jacob's Ladder." Because there are so many things to see and hear, and the story is different, one filled with strange characters, I can see where people would watch this film multiple times and enjoy it very much each time.
Scene-after-scene reminded me of a Stanley Kubrick film or another bizarre 1980s movie called "Jacob's Ladder." Because there are so many things to see and hear, and the story is different, one filled with strange characters, I can see where people would watch this film multiple times and enjoy it very much each time.
Sci-fi films usually get dated in a hurry, thanks to ever-increasing special-effects progress in the movie industry, but this still looks very good.
Sci-fi films usually get dated in a hurry, thanks to ever-increasing special-effects progress in the movie industry, but this still looks very good.
Ford's OK, Young is pretty and dull, Olmos is cool, twenty years before being cool fighting Cylons, and Hannah is sexy but hopelessly out of her depth.Apologists for Scott's fiasco blame the evil "suits" for messing up their Lord's film but in truth the directors cut is worse than the original movie.The sound is badly mixed too..
Human after all?If you're not interested in such questions, this is still a beautiful film for the unequaled visuals, music, atmosphere and acting.I like the simple, original romantic ending, it's less ambiguous than the director's cut and I didn't mind the voice over at all.
After seeing this movie over 10 times (over the years) I have to say that the 'directors cut' does not hold up to the stand of time when compared to the actual 'first release' version.The release version had the classic 'detective voice over' which really added A LOT to the plot and the depth of the characters.I moved my rating down from '9' to '8' for this reason.
Who knew a film named "Blade Runner", a movie with such high praise, could be so boring.
maybe creating perfection is more of a fluke than a norm but Riley has given us some of the best movies ever.if you get a chance please read or watch Ridley's interview regarding the making of Blade runner, you will find it very revealing, he was constantly being pushed and threatened by the mob who had financed the movie.the final scene with Rutger Hauer had to be shot in one take
One of the best science fiction movies ever made, Ridley Scott's "Blade Runner" has survived the passage of time thanks to Scott's impressive attention to detail and the strengths of Philip K.
Blade Runner is quite simply wonderful, and not only is it one of Ridley Scott's best films, but also one of the best of the genre.
Ridley's Scott masterpiece, Blade Runner: The Final Cut, transcends the typical troupes of the genre and uses great thematic imagery, writing, characters, and beautiful direction to make a truly defining piece of science fiction that demonstrates what stories can be told with the power of film making, and despite its age, Blade Runner contains a world full of imposing characters, a thought-provoking narrative, and exquisite themes that has not been well replicated (no pun intended) ever since, and with the recent final cut in 2007, it also looks better than most Sci-Fi films today..
"Blade Runner" is one of the best science-fiction movies ever made.
This masterpiece, is probably the finest Sci-Fi movie ever made, and i can't see a reason for it not to have a place in everyones collection.The story, direction and cast are all perfect, and although i agree that the directors cut is better, i still believe that the original Harrison Ford voice over is pretty good, even if the end of that version was s**t.I first saw the movie when i was about 15 years old, and it blew me away (and yes that was the original cut of the film).
Rating-5/10Blade Runner is a movie starring Harrison Ford set in a future full of crazy robots and Rutger Hauer.
Which would make perfect sense because the movie is a very noir like film.Sets and effects.