Blade Runner (1982)
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92% of critics liked it
(102 reviews) -
89% of users liked it
(288,583 ratings)
A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased… More A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard's former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he's saved by Rachael (Sean Young), Tyrell's assistant and a replicant who's unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian's, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city. In 1992, Ridley Scott released a popular director's cut that removed Deckard's narration, added a dream sequence, and excised a happy ending imposed by the results of test screenings; these legendary behind-the-scenes battles were chronicled in a 1996 tome, Future Noir: The Making of Blade Runner by Paul M. Sammon. ~ Karl Williams, Rovi
- Rating, Runtime
- R, 1 hr. 54 min.
- Directed By
- Ridley Scott
- Written By
- Hampton Fancher, David Peoples
- Genres
- Drama, Science Fiction & Fantasy
- In Theaters
- Jun 25, 1982 Wide
- On DVD
- Aug 27, 1997
- Studio
- Warner Bros. Pictures
Critic Reviews
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Owen Gleiberman, Entertainment Weekly
This is perhaps the only science-fiction film that can be called transcendental.
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Richard Corliss, TIME Magazine
As a display terminal for the wizardry of Designers Lawrence G. Paull, Douglas Trumbull and Syd Mead, the movie delivers.
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Peter Hartlaub, San Francisco Chronicle
This definitive print should be the last little push that "Blade Runner" needs to complete its 25-year journey from box office failure to cult favorite to full-blown classic.
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Colin Covert, Minneapolis Star Tribune
The film still represents the cutting edge of dark science fiction.
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Terry Lawson, Detroit Free Press
Blade Runner: The Final Cut plays better now than ever.
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Ty Burr, Boston Globe
Open the champagne: Blade Runner is finally just the way Ridley Scott wanted it. And it only took 25 years.
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Cole Smithey, ColeSmithey.com
[VIDEO] Blade Runner is one of the most enigmatic yet problematic science fiction films ever made.
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Emanuel Levy, EmanuelLevy.Com
A quintessential film noir of the 1980s, much underestimated at the time of release.
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Common Sense Media Editors, Common Sense Media
A dark, philosophical sci-fi drama. Older teens +.
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David Nusair, Reel Film Reviews
...a hopelessly overrated piece of work.
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, Film4
From the opening shot of a Los Angeles cityscape at night in the year 2019, it is clear that Scott has conjured up something special.
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Jonathan Kiefer, Sacramento News & Review
For all its armor of brutalizing urban dystopia (and, boy, is there a lot of that -- you could fund a war on terror with the fog- and rain-machine budgets alone), Blade Runner has a gooey center.
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James O'Ehley, Sci-Fi Movie Page
It may be a quarter of a century old, but Blade Runner still seems like the future . . .
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Amy Nicholson, I.E. Weekly
Paradoxically, Scott's crowded, misty, neon streetscape seems even murkier; fuzz I chalked up to VHS tapes is production designer Lawrence G. Paull dumping ashtrays in the air.
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Ken Hanke, Mountain Xpress (Asheville, NC)
Probably close to being on par with Fritz Lang's Metropolis in terms of grandeur -- although of a stunningly different and far more unsettling kind.
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John Mark Eberhart, Kansas City Star
The new version helped me see the soul because, ironically, this rendering is so much brighter. Noir or not, a film you can't see properly is a film you can't fully appreciate.
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Rob Gonsalves, eFilmCritic.com
Though it's a triumph of visual futurism and an ornament to sci-fi cinema as well as to cinema in general, I resist it on some level.
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Sean Axmaker, MSN.com
It's an overwhelming, immersive experience, a total creation of a possible future so complete that you don't need exposition to know how we got from here to there (2019).
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Sean Axmaker, MSN.com
This "Final Cut" is full of minor adjustments (with subtle reverberations) and major corrections, and the digital enhancements both refine the special effects and deliver a sparkling image.
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John J. Puccio, Movie Metropolis
Science fiction with thought...few sci-fi films pose such significant questions. (HD DVD Edition)
Critic ratings and reviews powered by RottenTomatoes.com
Fresh (60% or more critics rated the movie positively)
Rotten (59% or fewer critics rated the movie positively)
Featured Audience Ratings
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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. -
Sajin P
** Awesome Set Design + Art Direction ** Crafty Cinematography ** Rutger Hauer I'm fairly certain that the cult status this film has gained is mainly down to these stand out factors. On its own, score by Vangelis can also be considered legendary, but does'nt fit along with… More
** Awesome Set Design + Art Direction ** Crafty Cinematography ** Rutger Hauer I'm fairly certain that the cult status this film has gained is mainly down to these stand out factors. On its own, score by Vangelis can also be considered legendary, but does'nt fit along with the movie particularly well. As for everything else about the movie, I found it to be mediocre, boring and deeply disappointing. -
Sergio G
No. 6 in my list is SO Unfair to this movie. Actually is unfair for at least the first 10. Anyway, amazing visual effects, magnificent story, great cast, direction, score and photography. Perfect. The neverending paradox of AI. -
Shawn E
An overrated sci-fi with interesting visuals and story, but it's slow pace makes this film hard to sit through. -
Jacob E
NOTE: This is a review for the Final Cut, not the abomination known as the Theatrical Cut This film has become legendary amongst fans of the sci-fi genre and is arguably one of the founders of the sub-genre cyberpunk. A strange mixture of noir, science fiction, and what it means to… More
NOTE: This is a review for the Final Cut, not the abomination known as the Theatrical Cut This film has become legendary amongst fans of the sci-fi genre and is arguably one of the founders of the sub-genre cyberpunk. A strange mixture of noir, science fiction, and what it means to be human, Blade Runner is a film that must be watched more than once. It provides one thing that a lot of films these days (or in the sci-fi genre in general) fail to do, create a living, breathing world. 2019 Los Angeles is one of the best realized future settings I've seen on film. Certain parts of this future look a little dated, but most of it actually resembles what has happened since this film's release, very eerie if you ask me. The special effects have aged very well, only 2 shots (I counted) looked dated to me. The final note I can make of this film is an incredible performance from Rutger Hauer whose presence on screen often left me with chills long after he had left, but for good reasons. You should watch this, if for nothing else, as a way to understand where literally hundreds of films, books, mangas, and animes come from. This is the film that started it all, one of the founders of cyberpunk. "More human than human is our motto." -
Tim S
I've spent hours, nay, 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 it was probably Star Wars, but mostly negativity surrounds that now. It's a… More
I've spent hours, nay, 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 it was probably Star Wars, but mostly negativity surrounds that now. It's a safe bet to say that this is the best film Ridely Scott ever committed to celluloid, with Alien following a close second. It's dark and brooding but yet touching. It's a really human story. And as far as I'm concerned, I am not swayed in one direction or the other on whether or not Deckard is a replicant or not. I find the question and the discussion about it infinitely more interesting than settling on a final answer. The film is so widely open to intrepetation that it's not much fun to form an opinion on the matter. Despite that, I believe that this is Ridley's masterpiece. I prefer both the Final Cut and the Original Theatrical Cut (depending on my mood), but no matter which version I see I will always marvel at the magnificent scope of the visuals and the touching underlying human themes within the story. -
AJ V
I didn't understand this movie very well when I first saw it, and I've read about it since then, so I understand the story, but I couldn't get over how slow it is. Normally people either love it or hate it, but I think it's just okay. -
Alexis N
Harrison Ford is a babe. I tried to follow the plot, but the director's cut is just too long and it made it difficult. The soundtrack is rad. It's futuristic and smart, but are we really meant to believe this is what our world will look like in just 9 years!? 2019… More
Harrison Ford is a babe. I tried to follow the plot, but the director's cut is just too long and it made it difficult. The soundtrack is rad. It's futuristic and smart, but are we really meant to believe this is what our world will look like in just 9 years!? 2019 isn't too far off and we don't have flying cars yet. -
Daniel M
There comes a point in the life of any true-blooded film reviewer when they must plant a flag in the sand and argue their case for the greatest film of all time. It's a daunting task, since the films which we most revere often take on an 'untouchable' quality. They… More
There comes a point in the life of any true-blooded film reviewer when they must plant a flag in the sand and argue their case for the greatest film of all time. It's a daunting task, since the films which we most revere often take on an 'untouchable' quality. They resonate so strongly with us and are so perfect in construction, that we almost daren't approach them, lest our feeble words and platitudes fail to convey their majesty. Blade Runner is everything you could want from a film, and so much more. It straddles genres ably, incorporating elements of science fiction, gothic horror, film noir and action-adventure. It achieves a perfect balance between style and substance, allowing for a bittersweet examination of complicated ideas amidst a vivid landscape of light and colour. It has the scientific head and cold surroundings of a perfect dystopia, but genuine characters and a heavy human heart. And once experienced in its fully-realised Final Cut, nothing will ever come close again. A quick glance at the production history, however, shows that things could have turned out very differently. The original screenwriter, Hampton Fancher, fell out with both director Ridley Scott and author Philip K. Dick, who resented the very idea of a Hollywood adaptation of Do Androids Dream of Electric Sheep?. Scott had only come to the project because of the pre-production delays on Dune. He took the job to rid him of that burden and to take his mind off the recent death of his brother. Scott arrived in Hollywood expecting a free rein after the critical success of The Duellists and the ample box office of Alien. What he got instead was a heavy-handed studio and a very difficult Harrison Ford, who had just cemented his megastar status with Raiders of the Lost Ark. What followed were many miserable months of night shoots, funding issues and voiceover recordings, as the studio re-cut Scott's footage and made Ford record endless voiceovers in case the punters didn't get the plot. This disjointed and expository original cut received mixed reviews and underperformed commercially, and that, it seemed, was that. It has taken a long time for the true version of Blade Runner to come to the surface. But with every passing year, and every new cut that has come along, more of the true nature of this extraordinary work has come to light. Now we have the Final Cut, the only cut over which Scott had full creative control. It is Blade Runner at its most personal, complete and immaculate. Scott believes it to be his best and most personal film; on the basis of this cut, that's not about to change. Most of the critics who praised Blade Runner the first time round were quick to dismiss the film is visually beautifully but lacking narratively. They were half-right. No-one could deny that the film is breathtakingly beautiful, with every shot perfectly composed and a score of both scenes and images which take one's breath away. The opening shots of the Los Angeles skyline are mesmerising, as is the image of a tower of flame arcing and reflecting in the eye of a nameless observer. These scenes embody what is so special about the film - its ability to take the vast, the mechanical and the dystopian, and find the personal, the hopeful and in human in everything we see. The film has been appropriately described as a neo-noir, since it takes the conventions of classic noirs like The Third Man and retunes them to better suit its own particular choices in terms of themes and character development. Scott clearly has great affection for the various noir motifs, filling his scenes with carefully chosen shadows and beautifully lit cigarette smoke. His visual decisions with both lighting and colour really bring out the sense of mystery and ambiguity which is at the heart of all great noirs. Even without the voiceovers, Deckard is a born natural in the role of unreliable narrator. But there is so much more to Blade Runner than pretty experiments with light and shade. The true strength of the film lies in its myriad themes and complex exploration of ideas, ranging from man's environmental impact and the nature of advanced urban society, to the spiritual and existential quest for self-knowledge and the boundary between what is human and what is not. Scott's greatest trick is to bring out these ideas through the most subtle and intelligent of visual touches; his background in advertising allows him to offer us multi-layered imagery as a guide in place of dry philosophical meanderings. The most prophetic message of Blade Runner is that the future is far bleaker than we could have imagined. The society presented to us in Blade Runner is akin to our own in one key aspect: we are living with the consequences of what has gone before and are uncertain of where to proceed from here. In this Los Angeles, there is social decay, uneasy multiculturalism, widespread crime, prominent sexuality, massive inequality and an intelligent but emasculated underclass, both in our midst and 'off-world'. The predominant mood is one of gloom, struggle and pathos, embodied by the fact that it is nearly always raining. The replicants in Blade Runner make up this underclass, and are symbolic of both the persistence of slavery and the dangers of technological advancement. The twist is that their status as second-class citizens was not forced upon them by circumstances but preconceived before their creation. Just as all the newborns in Brave New World have their class and intelligence predetermined, so replicants are created with varying levels of intelligence and capabilities, and are all given a four-year lifespan - a failsafe against them 'developing their own emotions' and turning on their creators. Roy Batty's rebellion against his 'father', Dr. Eldon Tyrell, is both the monster turning on his master in the manner of Frankenstein and a powerful religious allegory of the distant relationship between God and Man. Roy, played with terrifying presence by Rutger Hauer, is the Prodigal Son whose intelligence and desire for consciousness lead him to his creator (whether literal or metaphorical). Tyrell is both a benevolent father and some form of monster, showing compassion and understanding while never properly accepting his 'son'. 'Man' rejects 'God', doing literally what Nietzsche described symbolically, and condemns Himself to a short life of loneliness and fear. But that is not the end, for one of the greatest themes of Blade Runner is salvation and redemption. Deckard's encounters between both Roy and Rachael are steeped in the idea that, in the midst of all this uncertainly and terrible injustice, hope can thrive and the true goodness of people can come through. The big question at the heart of the film is this: what does it mean to be human? How can we define what is human and what is not? And - perhaps more importantly - does it matter if we cannot? So much ink has been spilled over whether or not Deckard is a replicant, and there are strong arguments on both sides; Scott believes that he is, Ford believes that he isn't. Perhaps the real answer lies in a third explanation, namely that the boundaries between human and non-human are now so blurred that definitions of what counts as 'human' are little more than irrelevant expressions of power. The concept of being 'human' is so complicated, so ambiguous and so multi-faceted, that to exclude or demarcate any one body from another through codes, whether moral or political, is pointless. In this situation the only thing that triumphs is love - whether the brotherly love of Roy sparing Deckard's life or the romantic love between Deckard and Rachael. Both these relationships begin with the lines between human and replicant clearly drawn; Deckard is down Roy, and the first time Rachael visits him he dismisses her fondest memories as "implants". But eventually both Roy and Rachael prove a certain kind of devotion toward Deckard, saving his life on one occasion each. These acts of compassion render Deckard's preconceptions obsolete. He undergoes the same act of soul-searching and reaches the same conclusion with both parties; replicant or not, so long as there is love, there is meaning. Both the tender love scene with Rachael and the heartbreaking 'tears in rain' sequence with Roy are the consummations of this revelation; as the dove flies into the sky, Deckard puts his old ways behind him, and surrenders himself to the only thing that matters. Blade Runner is by far and away the greatest film ever made. Every aspect of it from the acting to the Vangelis soundtrack is flawless, both in design and execution. The performances of Harrison Ford and Sean Young are mesmerising, and remain the highlights of their respective careers. It is also Scott's best film by a county mile; for all his great work on Alien and Gladiator, he has never bettered this. Most of all, Blade Runner is an extraordinary odyssey through the human psyche, taking characters in the gutter and using them to focus on the stars. It is, quite simply, perfection. -
Jeff "
A very unique and intriguing Sci Fi film, Blade Runner is an underrated film with a very good storyline. Ridley Scott is a master filmmaker, and this film showcases his talents perfectly. Blade Runner is a misunderstood film by many, but it's definitely a cinematic masterpiece.… More
A very unique and intriguing Sci Fi film, Blade Runner is an underrated film with a very good storyline. Ridley Scott is a master filmmaker, and this film showcases his talents perfectly. Blade Runner is a misunderstood film by many, but it's definitely a cinematic masterpiece. I'll admit that I first saw this recently, and found it kind of weird, but really, I thought it was a brilliant film with an awesome storyline. A film not for everyone, Blade Runner is only for the diehard Sci Fi film fan or true cinema enthusiasts. The music by Vangelis fits very well with the mood of the film, it's very futuristic and has melancholic elements that really elevates Scott's film to a new high. Harrison Ford and Rutger Hauer are truly something else on screen, and they really bring something great to the audience to see. Ridley Scott's vision of a Dystopian future is amazing, and he really does do something here that defers from other futuristic films. The story keeps you interested in the film, the cast gives great performance, Ridley Scott's directing is as usual brilliant. This film along with a string of others, puts Ridley Scott as one of the best filmmakers living today. Blade Runner is a must see.
Cast
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Harrison Fordas Rick Deckard -
Rutger Haueras Roy Batty -
Sean Youngas Rachael
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Edward James Olmosas Gaff -
M. Emmet Walshas Harry Bryant -
Daryl Hannahas Pris
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William Sandersonas J.F. Sebastian -
Brion Jamesas Leon -
Joe Turkelas Tyrell
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Joanna Cassidyas Zhora -
James Hongas Chew -
Morgan Paullas Holden
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Kevin Thompsonas Bear -
John E. Allenas Kaiser -
Hy Pykeas Taffey Lewis
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Charles Knappas Bartender -
Robert Okazakias Sushi Master -
Kimiko Hiroshigeas Cambodian Woman




