After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun.
In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
It's the first week of winter in 1982. An American Research Base is greeted by an alien force, that can assimilate anything it touches. It's up to the members to stay alive, and be sure of who is human, and who has become one of the Things.
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the galaxy from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
In the futuristic year of 2019, Los Angeles has become a dark and depressing metropolis, filled with urban decay. Rick Deckard, an ex-cop, is a "Blade Runner". Blade runners are people assigned to assassinate "replicants". The replicants are androids that look like real human beings. When four replicants commit a bloody mutiny on the Off World colony, Deckard is called out of retirement to track down the androids. As he tracks the replicants, eliminating them one by one, he soon comes across another replicant, Rachel, who evokes human emotion, despite the fact that she's a replicant herself. As Deckard closes in on the leader of the replicant group, his true hatred toward artificial intelligence makes him question his own identity in this future world, including what's human and what's not human. Written by
As Batty and Tyrell talk about how to prolong replicant lifespans, Batty suggests a process involving "EMS". Tyrell responds by saying that "Ethyl methanesulfonate" was tried unsuccessfully. Ethyl methanesulfonate is an actual organic compound with mutagenic and teratogenic qualities, used in genetics. See more »
When Deckard is being chased by Batty through the Bradbury building, there are two shadows visible on a wall; the shadows belong to director Ridley Scott and cinematographer Jordan Cronenweth (this has been corrected for the 2007 Final Cut; the shadows have been digitally removed). See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
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The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »
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!
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