Blade Runner (1982)

Featured Audience Ratings

• xGary X

  
  When four artificial humans return to Earth to seek their maker and extend their lifespans, an ex-"Blade Runner" is sent in pursuit to "retire" them. Based on a story by Philip K. Dick, Blade Runner is a true watershed in the evolution of science fiction cinema.… More
  When four artificial humans return to Earth to seek their maker and extend their lifespans, an ex-"Blade Runner" is sent in pursuit to "retire" them. Based on a story by Philip K. Dick, Blade Runner is a true watershed in the evolution of science fiction cinema. It's one of the most visually influential films ever made and although William Gibson's novel Neuromancer is often cited as the birth of "Cyberpunk", he freely admits that Ridley Scott did it first. Although most cyberpunk influenced movies look very silly in this day and age, Scott's future detective story created its own sub-genre (often referred to as "tech noir") by skillfully blending the format of Film Noir with the visual trappings of science fiction making for an immersive world that is the melting pot of styles and cultures of an overpopulated near future. And considering that this film is now three decades old, it still looks incredible. Harrison Ford's burnt out detective who is sick of his role as executioner is a far more interesting protagonist than the usual Hollywood action hero and his showdown with a typically intense Rutger Hauer while he is coming to terms with his new and burgeoning emotions is one of the greatest ever committed to celluloid. A timeless classic and personal favourite, and yet another reason why Ridley Scott is rightly considered to be one of the best in the business.

• Carlos M

  
  A dazzling post-modern sci-fi noir with an evocative atmosphere and a fascinating philosophical story about humanity, death and oblivion. The splendid ultimate deluxe version, or Final Cut, is considerably superior to the theatrical one, without its cheap, concocted happy ending and… More
  A dazzling post-modern sci-fi noir with an evocative atmosphere and a fascinating philosophical story about humanity, death and oblivion. The splendid ultimate deluxe version, or Final Cut, is considerably superior to the theatrical one, without its cheap, concocted happy ending and expository narration.

• Alexander D

  
  Harrison Ford is never a failure. He has both saved movies from disaster (EXTRAORDINARY MEASURES, COWBOYS & ALIENS), and he has also done his fair share of topping off movies to becoming their very best (RAIDERS OF THE LOST ARK, WITNESS, STAR WARS, AMERICAN GRAFFITI). His… More
  Harrison Ford is never a failure. He has both saved movies from disaster (EXTRAORDINARY MEASURES, COWBOYS & ALIENS), and he has also done his fair share of topping off movies to becoming their very best (RAIDERS OF THE LOST ARK, WITNESS, STAR WARS, AMERICAN GRAFFITI). His performance here is exceptional. We wouldnâ(TM)t even be wondering if this film was a nod to classic film-noir, had his performance not been so steady, tense, and well-done. Then thereâ(TM)s the directing alongside. Other than this, the only Ridley Scott film I have seen was ALIEN (yes, Iâ(TM)m prepared to be yelled at tremendously for not having seen GLADIATOR and THELMA & LOUISE). Though this isnâ(TM)t the same kind of science fiction as ALIEN, and certainly not a horror film, we can see some similar blood, especially with the cinematography, the phobia-inducing sequences (though more acrophobic than claustrophobic), the distinct feeling of tension we get. READ THE WHOLE SHE-BANG: http://themoviefreakblog.wordpress.com/2012/04/05/review-blade-runner-the-directors-cut/

• Dan S

  
  An undeniably impressive but overall flawed and overrated science-fiction movie that works best whenever Rutger Hauer's wry grin appears on screen, but isn't as compelling whenever Harrison Ford is on screen with a very robotic Sean Young. The thing that makes this movie… More
  An undeniably impressive but overall flawed and overrated science-fiction movie that works best whenever Rutger Hauer's wry grin appears on screen, but isn't as compelling whenever Harrison Ford is on screen with a very robotic Sean Young. The thing that makes this movie work for the most part are the intriguing questions it raises concerning "what is life?" and if the dependency and increasing amount of technology in our world is necessarily a good thing. Scott has proved to be a visionary artist before, and he successfully captures a dystopian society in which it is always black and raining and society is on a downward spiral. This unremittingly bleak, sometimes almost unbearably dark backdrop actually works wonders for the overall story, which is itself serious and not easy to watch. While Ford has definitely been better, Hauer's rich performance compensates for this, and the ending struggle between the two serves as an iconic portrayal of the "man vs. machine" battle - before pulling the rug out from under you in it's last, unexpected shot.

• Bently L

  
  The year is 2017 and Replicants, a type of android that is identical to humans, are created and sent to Off-world colonies to work as slaves. After a mutiny, Replicants become illegal on Earth. Police squads known as Blade Runners are given the order to kill Replicants who trespass… More
  The year is 2017 and Replicants, a type of android that is identical to humans, are created and sent to Off-world colonies to work as slaves. After a mutiny, Replicants become illegal on Earth. Police squads known as Blade Runners are given the order to kill Replicants who trespass onto Earth. Rick Deckard, an ex-cop, ex-killer, ex-Blade Runner, is sent back to work after four Replicants, or "skin jobs", make their way to Earth. This band of Replicants is led by Roy Batty, who plans to unleash his vengeance on his creator, Dr. Eldon Tyrell. Along the way, Deckard grows a relationship with Dr. Tyrell's Replicant assistant, Rachael. Blade Runner is a very good film, but I did not find myself loving it like many other people. I do think the story and effects were ahead of its time, but in my opinion, they feel dated by today's standards. I take that back about the story. I can't think of any other complex sci-fi flicks that have to do with androids that were released before Blade Runner. There were some things that I did enjoy. The effects were very cool, the writing and storytelling is strong, and the acting is very good. Blade Runner is based on Philip K. Dick's novel, "Do Androids Dream of Electric Sheep?" Once you see the film, you'll understand the title of the novel more clearly. The film is very complex and mental. It has to do a lot with how the mind works. I guess this is where Inception may have gotten some inspiration. I didn't fully understand the movie after my first viewing. I had to read theories and explanations on the Internet and they surely gave me a better understanding. Blade Runner's story is very cool. I was a little bugged by the pacing. I watched both the original cut and the Director's cut and they seemed to pace the same way. The tone of each version was different however and I really appreciated that. Harrison Ford takes on the lead role in Blade Runner and he portrays Rick Deckard very well. He also adds emotion into the performance. He knew how to kick butt. The supporting cast is all good, but I though Rutger Hauer was great as Roy Batty. He just had that sinister looks on his face and every time he appeared on screen, you know he's up to something. His famous "Tears in the Rain" monologue was just epic. Sean Young did a good job as Rachael, the innocent Replicant. Edward James Olmos' character was pretty cool and I liked Daryl Hannah as the seductive Replicant, Pris. Now I have a crush on the character. The cast played their parts very well. Blade Runner is indeed a well-crafted film. Ridley Scott's direction is awesome. He claims it to be the most "complete" and personal film he has directed. The cinematography and atmosphere in the film is exciting. This is a good example of an escapism film. The original cut of the film is pretty good, but I prefer the 1992 Director's cut. It had more a dark and mysterious tone while the original one felt more like an action thriller. Either way, both version is worth taking a look. I plan to get my hands on The Final Hands and the Workprint version. The score in the film is like a mix between jazz and electronic music and I did like it. Blade Runner was a very good film. I'm glad that I watched it. I just wasn't blown away like many people. I need to re-watch the film again since I feel I'm missing something. I did catch one of the most important themes and I was able to see why many people call think this is influential. It may take me a few more viewings before I come to understand the film. Anyways, Blade Runner is an original and epic sci-fi film. "Wake up! Time to die!"

• Sanjay R

  
  The premise is very interesting and the story is good up until the end when long developing story lines come to an abrupt end. It is the movie's setting, however, that decides the fate of it for most viewers. The dark and disturbing backdrop sets the mood of the movie perfectly,… More
  The premise is very interesting and the story is good up until the end when long developing story lines come to an abrupt end. It is the movie's setting, however, that decides the fate of it for most viewers. The dark and disturbing backdrop sets the mood of the movie perfectly, but is also aesthetically displeasing. I think it is a good movie if you are into the dark sci-fi thing, but awful if your are not, and I'm caught in the middle.

• Matthew R

  
  The film that can contest as the catalyst for creating the cyber-punk sub genre is the greatest science fiction marvel that has so far been released. The practical effects are amazingly constructed and detailed and the computer effects are forever timeless. Based off the eclectic work… More
  The film that can contest as the catalyst for creating the cyber-punk sub genre is the greatest science fiction marvel that has so far been released. The practical effects are amazingly constructed and detailed and the computer effects are forever timeless. Based off the eclectic work by author Phillip K. Dick, "Blade Runner" sets the dystopian tone for what is an epic of magnanimous proportions. Acting by Harrison Ford and Rutger Hauer are some of the best in film history as well as the personal drama that is experienced when life is in such short supply. Death is constantly publicized, investigated and shirked by all characters in the film and the frailty of existence sets the overall tone. The pacing, the writing, the direction, everything is perfectly in balance that very few films have ever achieved, and will ever achieve. A reflection again on our pursuit of technology and dominance that concaves and makes us look harder into the mirror, to discover who we are and where we are ultimately going.

• Mark W

  
  Director Ridley Scott released "Alien" in 1979. For many, it stands as one the finest science fiction films ever made. A mere three years after it though, he delivered "Blade Runner". It was wrought with production problems, a less than happy crew and abundant… More
  Director Ridley Scott released "Alien" in 1979. For many, it stands as one the finest science fiction films ever made. A mere three years after it though, he delivered "Blade Runner". It was wrought with production problems, a less than happy crew and abundant studio interference. The end result, however, would lead you to believe that everything went smoothly. This is the definitive of science fiction movies and Scott's finest film. Los Angeles, 2019: Rick Deckard (Harrison Ford) is a 'Blade Runner' - a unit of the police force that hunt and kill human clones, known as 'Replicants'. Replicants have been declared illegal after a bloody mutiny on an Off-World Colony, and are to be terminated upon detection. Some have escaped and prowl the streets of Los Angeles looking for answers from their creator. This is when Deckard's services are called upon. Loosely based on the novel "Do Androids Dream Of Electric Sheep" by, the master of the genre, Philip K. Dick. If you are familiar with Dick's immersive and intelligent ideas, then you'll know exactly why this film works on so many levels. On the surface, it one of the most gorgeous pieces of cinema ever committed to the screen. The opening shot of the vast, dystopian city of Los Angeles - dubbed "The Hades Landscape" - is an absolute feast for the eyes and a vision that's yet to be beaten, even by today's standards. The city itself is stark, rain drenched and has a heavy Eastern influence. Giant global corporations are rife; slavery, overcrowding and a decaying environment permeate the proceedings. Cinematographer Jordan Cronenweth can't be praised enough for his eye in capturing this inhospitable future world. This is also helped immeasurably in it's realisation by Production Designers Lawrence G. Paull and Syd Mead; Art Director David L. Snyder and Douglas Trumbull's exquisite special effects. Everyone pulls their weight in capturing the sheer visual beauty of this film. Underneath the luscious surface, courses a deep and philosophical pondering. The reference to French philosopher Rene Descartes and his metaphysical statement "I think, therefore I am", addresses the doubt we have as living beings and the nature of our existence. It's a recurrent theme throughout the whole picture. It's a film that is renowned for being tinkered with. Several different cuts were released over the years. The original had Harrison Ford supply a Philip Marlowe like voice-over, talking us through the events. This was deemed insulting to the audience as it caused continuity problems. However, I actually liked it. It gave a film-noir feel that complimented the look of the film but no matter which cut you prefer, the film is still a masterpiece regardless. It also boasts excellent performances from its entire cast. Ford has been outspoken about his dislike for the film but he has rarely performed better and Rutger Hauer is commanding throughout - with his shiver inducing, "Tears in Rain" monologue, going down as one of cinema's classic scenes. The haunting soundtrack by Vangelis also deserves mention and accompanies Ridley Scott's creativity perfectly. It's testament alone that with all the big budget special effects these days that a film done in the early 80's still stands as one of the most amazing visual spectacles ever made. And how many films do you come across, that not only look astounding but also channel Film-Noir and Cartesian doubt? This connects on a visual, emotional and philosophical level that few films have ever achieved.

• Tim S

  
  Believe me when I say that I've spent not just hours but days talking about this film with fellow film fans. I think it's a contender for the most positively and thoroughly discussed film in the history of cinema. At one time that mantle might have belonged to Star Wars, but… More
  Believe me when I say that I've spent not just hours but days talking about this film with fellow film fans. I think it's a contender for the most positively and thoroughly discussed film in the history of cinema. At one time that mantle might have belonged to Star Wars, but negativity is what surrounds that film now, unsurpisingly. It's a safe bet to say that Blade Runner, no matter what cut you're watching, is the best film Ridley Scott ever committed to celluloid (with Alien following a close second). While it can be both dark and brooding it winds up being a story about humanity. When it comes to the actual story mechanics, fans are mostly divided on whether Rick Deckard's character is really a replicant or not. If he is, then it's a story about a man realizing he isn't what he thought he was. If he isn't, then the story's about discovering your humanity. As far as I'm concerned, I don't have a firm foothold in one direction or the other. I find the questions and the discussion about it infinitely more interesting than actually forming an answer, which is why I've discussed this film over and over again with fans. Most of the time it's good-natured debate, yet other times it's very passionate. Either way, the film is so widely open to intrepetation that it's not much fun to form an opinion on the matter. When it comes to which version to watch, I prefer both The Final Cut and the Original Theatrical Cut (depending on my mood). If you haven't seen it and you're wondering which version to see, I'd recommend The Final Cut the most as it's the director's intended vision. No matter which version of Blade Runner you choose to see, get ready to witness a true work of art in cinematic form.

• Christopher H

  
  Every sci-fi movie today has this movie in its DNA. The gritty noir setting of 2019 L.A. is one of the most memorable and iconic visions of the future. The synth score is ambient and haunting. The mysterious atmosphere of the film gives the it a dream-like quality that is simply… More
  Every sci-fi movie today has this movie in its DNA. The gritty noir setting of 2019 L.A. is one of the most memorable and iconic visions of the future. The synth score is ambient and haunting. The mysterious atmosphere of the film gives the it a dream-like quality that is simply magical. The film has a slow neo-noir story that delves into the philosophical issues pertaining to what makes us human and the human condition. Their are two versions of the film, the theatrical version and the Director's Cut. The theatrical version has a useless campy narration by Harrison Ford and a tacked on happy ending. The Director's Cut removes the narration and it is closer to Ridley Scott's original vision. The movie is also more thought provoking without the narration. I prefer the Director's Cut. Blade Runner is one of the greatest sci-fi movies ever made, it has an influence that is still felt to this day.

• Graham J

  
  Ridley Scott's second sci-fi masterpiece is a much more philosophical look into the future. Filled with more breattaking cinematography and a great performance by Ford.

• Matt G

  
  Next to Star Wars, this is quite possibly the greatest Sci-Fi film in recent memory. Easily one of my favorites of the 80's. If you are reading this and have yet to see it; what are you doing with your life?

• Phil H

  
  Probably the greatest sci-fi distopian flick made, Really grim yet sooo ice cool. Hauer rules in this, so uneasy so lethal and unpredictable, the score is spooky and touching and the action is cold and realistic. So many details and so many different stories haunt this film from… More
  Probably the greatest sci-fi distopian flick made, Really grim yet sooo ice cool. Hauer rules in this, so uneasy so lethal and unpredictable, the score is spooky and touching and the action is cold and realistic. So many details and so many different stories haunt this film from creation to final cuts which makes it so historic in cinematic history. Love those futuristic police Spinners, love the look of futuristic LA, the dark rainy look, the architecture, its all another work of art from Scott. Blade Runner: International Cut, 82 Personally I liked the narration by Deckard during the film, it gives it a more classic black n white noir detective feel, which its suppose to be like really. The added seconds of gore n blood do add that extra punch too, good version and better without the 'Legend like' unicorn dream sequence in my opinion (which appeared after this cut in the Director's cut in 92, but that was not Scott's actual version, others did it I believe) The recent final cut is of course the best and most picture perfect version. The few touch up's (unlike Star Wars) actually do improve the film and finish it. The workprint recently available in the 5disc DVD tin is probably my favourite version now.

• Thomas B

  
  The thing to know about Blade Runner is, despite the futuristic setting, the story of cops and criminals and a whole assortment of other things which Michael Bay would jump for joy at, it's difficult to like the first time around. This is proved by the fact that there are around… More
  The thing to know about Blade Runner is, despite the futuristic setting, the story of cops and criminals and a whole assortment of other things which Michael Bay would jump for joy at, it's difficult to like the first time around. This is proved by the fact that there are around about a million director's cuts after the theatrical release, chopped and changed by the studio who also found it difficult to like the first time around. But after watching Ridley Scott's vision in the director's/final cut of the film more than once, the true genius of this film can be realised. We follow Rick Deckard, a retired Blade Runner, whose job description was "retiring" Replicants who are exactly what you think; synthetic humans. After a group of fugitive Replicants cause a stir on Earth, Rick is brought out of retirement to track them down. I am one of the few people who have read the book "Do Androids Dream of Electric Sheep?" Phillip K. Dick's sci-fi which the film is based on and, let me tell you, there's a marked difference between it and the film. The film's moody presence and foreboding atmosphere, its noir-centric style and its intriguing and troubled central characters are almost all products of the film, not the source material. It's a tribute, then, to Ridley Scott's vision that the film is all these things and more. Opening with hypnotic wideshots of a dystopian world where flames billow skyward from smokestacks below and moving into the opening sequence with Leon's interrogation, all underscored by a Vangelis electronica, it's clear that Scott's vision is not going to be easy going. Scott is unafraid of moving slowly through a scene; focussing on a detail or nuance for a time before moving on. This means that each and every moment hits with a thud without being trampled by the next one. He also shows his keen eye for visuals. There is a reason that Blade Runner is the preferred example for film teachers everywhere for matters relating to noir and Scott's imagery is why. Contrast and shadows abound with silhouettes and smoke creating a world with the same murky quality as the subject matter involved. Scott also manages several action sequences without breaking the movie's style, making each second rivetting in each scene. His production team must also be mentioned here, as the visuals in the movie would not have been as mesmerising without the incredible city design. Like Alien before it, Scott's film manages to create a future civilisation which is recognisable but so removed from today's world. It's a bleak outlook, filled with synthetic animals and synthetic humans alike, an almost sterile quality to the surrounds. Scott manages to bring this all together with the story seamlessly. Harrison Ford was already Han Solo and Indiana Jones by the time Rick Deckard rolled in. The character is so far removed from these two jovial heroes that it must have been a confusing choice to begin with. But the casting is perfect. Ford's comedic side occasionally comes to surface but his hard-bitten, cynical persona is the dominating one here and he portrays it brilliantly. His sarcastic smile is also out in force but it's the restraint which he shows which is the most fascinating here. Some scenes involve very few lines and Ford doesn't seem altogether willing to give much away to the viewers, preferring to keep them in the dark as to his true feelings. It's this sort of depth which gave the studios the idea to record a voiceover for Deckard, something which neither Ford or Scott wanted, for the theatrical release. But after repeat viewings his performance becomes more and more impressive without the overblown emotion or character arc which Oscars are given out for. Sean Young plays Rachael, Deckard's eventual love interest. Her performance is a hard one to nail down as she plays jumprope with the line between femme fatale and damsel in distress. It is easy to tell that it's amazing, however, as she's able to convey mountains of emotion and intention with a flick of her eyelashes. Her interview with Deckard is one of the best moments in the film and is filled with an uneasy sexual tension coupled with a testing each other out feel. She is a key player in a difficult film and as such the burden of responsibility must way heavy but she never seems to show it. The eventual sexual overflow reaches a climax when Rachel turns up at Deckard's apartment and the strained emotion is beautifully portrayed by both actors. The two of them apart are fantastic but together the two of them are spectacular. But stealing the show with a brilliantly batshit performance is Rutger Hauer as Roy Batty. His icy, detached yet fascinated glare is always intriguing and downright scary at times and his delivery of his perfectly left of centre lines is as alienating and magnetic as it gets. Ordinary lines like "police-man?" turn into pure gold with his performance and his genuinely disturbing turn to unhinged is an amazing thing to watch. And of course, there's that incredible line about c-beams and attack ships which might have been overly sentimental in someone else's hands but with Hauer it's so haunting and riveting that it'll stick with you for a while. Vangelis also adds to the film's atmosphere with a haunting electronic score, perfectly underscoring what's happening onscreen. Despite the fact that it's not very flashy or rousing, it's perfect for the film. The very first scene is one of the better opportunities which the score gets to shine, permanently marking Scott's skyline with its slowly invading hum. It's a brilliant piece of work in an incredible composer's repertoire despite being overshadowed by his work in Chariots of Fire. Hampton Fancher and David Webb Peoples' work with the script is something so often overlooked in a film glorified for its style and sumptuous imagery, but it's a masterclass in restraint and realism. Deftly moving between the strange romance between Deckard and Rachel and the ongoing police drama, Peoples and Fancher are able to manage all the aspects of their story with a strangeness and surreal quality which is almost impossible to replicate. It's almost reminiscent of Paul Schrader's ability to rivet and unnerve in the way that each scene is impossible to look away from but subtly disturbing in so many ways. It had to be an incredible script to support Scott's and it definitely is, in its realism and its restraint and Peoples and Fancher's ability to juggle so many complex relationships so fully. Ridley Scott's vision is beautifully realised in this cyberpunk masterpiece which will forever leave its dystopian mark on cinema. It's not often you see flying cars and unicorns in the same film. Defining Scene: It's tough to say but it might have to be the Batty and Deckard showdown culminating in that amazing line. Quotes: I need ya, Decks. This is a bad one, the worst yet. I need the old blade runner, I need your magic. You're in a desert, walking along in the sand, when all of a sudden you look down... Fiery the angels fell. Deep thunder rolled around their shoulders... burning with the fires of Orc. Describe in single words only the good things that come into your mind about... your mother. My mother? Yeah. Let me tell you about my mother. Quite an experience to live in fear, isn't it? That's what it is to be a slave. It's too bad she won't live. But then again, who does? I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain... Time to die.

• Brad W

  
  Blade Runner is a life changing sci-fi film and is honestly one of the greatest achievments ever made in film.

• Jan Marc M

  
  A visual masterpiece of the future, Blade Runner is an instinctive science fiction work implanted with artificial contemporary features set in the year 2019, Los Angeles, California. Fixated on the idea of anthropomorphism, Blade Runner reveals and examines life in complexity… More
  A visual masterpiece of the future, Blade Runner is an instinctive science fiction work implanted with artificial contemporary features set in the year 2019, Los Angeles, California. Fixated on the idea of anthropomorphism, Blade Runner reveals and examines life in complexity soliciting a profound and intensive philosophical inquiry. Quintessential.

• Jameson W

  
  Brilliant! Unlike any Sci-Fi film in the genre. Truly a thought-provoking masterpiece!

• Chris W

  
  Not nearly as good as the source material it's based on, but it's stands up as a brilliant work of art in it's own right. The list of films influenced by Blade Runner is virtually endless. This film really set the standard for sci-fi films when it comes to art… More
  Not nearly as good as the source material it's based on, but it's stands up as a brilliant work of art in it's own right. The list of films influenced by Blade Runner is virtually endless. This film really set the standard for sci-fi films when it comes to art direction, set design, cinematography, the beautiful score by Vangelis, and the myriad philosophical questions/intelligent conversations that people often have concerning films like this. It's a dark and bleak film, but it's great to look at. Ridley Scott and all of the performers are at the tops of their games on this one. Bottom line: see this film no matter what before you die. Also, I watched the Final Cut for this review, just so you know.

• Spencer S

  
  *Note: The version seen was the First Cut, which does not feature the voice-overs we all hate so much. A classic in the sci-fi genre, this neo-noir film with retrofitted landscapes and all the complexities of a "should we feel empathy for robots" type film, has captured the… More
  *Note: The version seen was the First Cut, which does not feature the voice-overs we all hate so much. A classic in the sci-fi genre, this neo-noir film with retrofitted landscapes and all the complexities of a "should we feel empathy for robots" type film, has captured the attention of audiences, making it a cult classic. The effects are still old enough to be considered space aged but realistic, the feel is very noir, right down to M. Emmet Walsh's interpretation of a craggy police chief, and the villain is one of the greatest on screen. The pacing is very slow, methodically so, enticing you to pay strict attention to the detailing in every scene. Everything from the Chinese influenced city scapes, to birds flapping against dust covered furniture, to the Times Square-esque billboards flitting colorized light throughout every close-up of the city is a picture perfect representation of a somewhat dystopian society. Not much is revealed about Earth and the true roles of replicants on our colonies, but as we witness their deaths, their tragic circumstances in begging for life without supposed emotions, it makes for an empathic response. As this supposed omnipotent blade runner tracks down these replicants, now gaining emotional responses to one another and the pain of death, there are many scenes of Ford's character being thrown around as if he were a light rag doll. I believe this puts the replicants in the position of being the antiheros of the film, survival based on nothing more than a want to survive evident, in their frightened faces. The first half of the film is a bit anti-climactic and drags with the slow pacing, but if you can watch with intent for the beauty more than the substance, you will be rewarded with a magnificent second half. All in all, I'd say this film has a lot to say, and a lot of ways to say it.

• Coxxie M

  
  Harrison force-feeds his cock to an android.

Read all 20 featured audience ratings