Deckard, a blade runner, has to track down and terminate 4 replicants who hijacked a ship in space and have returned to earth seeking their maker." />
Reviewed byNazi_Fighter_DavidVote: 8/10
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?
Reviewed bymarntfieldVote: 7/10
What can be said about this film that hasn't already been covered in preceding decennia? 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. The interplay of film noir, sci-fi, and what is one of the most philosophically symbolic and academically analyzed narratives of the modern era holds its ground on both visual and cerebral levels even in the face of today's CGI laden blockbusters. The new director's cut, contrary to many cinematic re-hashings, actually serves to clarify many of the more nebulous aspects of the plot and makes a great film even better, arguably allowing it to be modernized and polished for a new generation of viewers who are more picky and yet simultaneously less idealistic. All while sustaining the feeling and flavor of the original. Call it restorative work if you will. The tinny and meandering score by Vangelis is pure 1980s at its most brooding and fits the texture and mood of the film beautifully. Indeed, for many reasons, finding this film in someone's DVD collection makes a true statement about their discriminating and refined taste in movies, and equally their appreciation of film as an artistic medium. 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. An enduring classic and an intrepid piece of film-making with rich & often haunting visuals designed to entertain and promote introspection amongst its viewers. 9/10.
Reviewed byCaptain SpandexVote: 7/10
This is a film that is so deep, rich, and multi-layered, it may require more than one viewing to fully absorb the brilliance of what you've just seen. At first glance, it can be a bit slow. It's told in a classic film noir fashion, so this is to be expected. 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. There is no Humphrey Bogart in Blade Runner, snapping off brilliant one-liners once a second. Only hopeless people, in many ways victims of the merciless world of which they are all a part. Deckard is a typically downbeat protagonist, a hard-boiled cynical leading man with a weakness for heavy drinking. The plot is a mystery in name only, as the audience is allowed to know what Roy Batty, Pris and Leon are all up to before Deckard ever finds out. This only lends to the dread and inevitability of the film, lending further to its pervasive gloom. There is no final scene at the end where the bold detective puts all the pieces together and says "Ah-Ha!". 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. Certain facts will not be clear even at the end of the film, requiring personal interpretation in order to be appreciated fully. Other facts will be given away in much more subtle ways than in most modern cinema, such as through visual cues and tenuous dialogue.
Finally, visually, this movie is quite simply a science fiction triumph. It looks better than modern computer effects in every way that counts. Superimposed special effect objects don't give off that unnatural, clearly computer-generated "Lord of the Rings" sheen common in today's effects-driven blockbusters. This, of course, is because Blade Runner - while a gorgeous movie - is not effects driven in the least. Rather, it is a visually driven story that doesn't rely on special effects. This is an important distinction to make in today's Hollywood.
"Touch of Evil" really wasn't the last of the Great Film Noirs!
In a cyberpunk vision of the future, man has developed the technology to create replicants, human clones used to serve in the colonies outside Earth but with fixed lifespans. In Los Angeles, 2019, Deckard is a Blade Runner, a cop who specialises in terminating replicants. Originally in retirement, he is forced to re-enter the force when six replicants escape from an offworld colony to Earth.