A young blade runner's discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who's been missing for thirty years.
After a space merchant vessel receives an unknown transmission as a distress call, one of the crew is attacked by a mysterious life form and they soon realize that its life cycle has merely begun.
After discovering a mysterious artifact buried beneath the Lunar surface, mankind sets off on a quest to find its origins with help from intelligent supercomputer H.A.L. 9000.
Director:
Stanley Kubrick
Stars:
Keir Dullea,
Gary Lockwood,
William Sylvester
Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
Director:
James Cameron
Stars:
Sigourney Weaver,
Michael Biehn,
Carrie Henn
In a post-apocalyptic wasteland, a woman rebels against a tyrannical ruler in search for her homeland with the aid of a group of female prisoners, a psychotic worshiper, and a drifter named Max.
In 1984, a human soldier is tasked to stop an indestructible cyborg killing machine, both sent from 2029, from executing a young woman, whose unborn son is the key to humanity's future salvation.
Director:
James Cameron
Stars:
Arnold Schwarzenegger,
Linda Hamilton,
Michael Biehn
In 1936, archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before Adolf Hitler's Nazis can obtain its awesome powers.
A family heads to an isolated hotel for the winter where a sinister presence influences the father into violence, while his psychic son sees horrific forebodings from both past and future.
Director:
Stanley Kubrick
Stars:
Jack Nicholson,
Shelley Duvall,
Danny Lloyd
A pragmatic Paleontologist visiting an almost complete theme park is tasked with protecting a couple of kids after a power failure causes the park's cloned dinosaurs to run loose.
A cyborg, identical to the one who failed to kill Sarah Connor, must now protect her teenage son, John Connor, from a more advanced and powerful cyborg.
Director:
James Cameron
Stars:
Arnold Schwarzenegger,
Linda Hamilton,
Edward Furlong
In the 21st century, a corporation develops human clones to be used as slaves in colonies outside the Earth, identified as replicants. In 2019, a former police officer is hired to hunt down a fugitive group of clones living undercover in Los Angeles.Written by
MadMovieManiac
The photo analysis technology allows Deckard to see around corners, as if the photo had multiple layers of images from multiple angles. This presages the "bullet time" multiple still camera technique developed by the Wachowskis for the Matrix series that enable them to seemingly dolly the camera while the image is frozen in time.
It should be noted that a recent development in photography is for a camera (ranging from an iPhone 6 Plus to a specialty camera such as the Lytro Illum) to take multiple photos simultaneously with a range of focus settings. The advantage is that after the image is captured, the editor can select various regions of the image and dial in the focus and depth of field as desired. This is simulated in the way that Deckard can choose a camera angle and focus from a seemingly 2-D photograph. See more »
Goofs
Neither Holden nor Deckard utilize the videos they already had of the replicants for identification. If they already knew what they looked like then why did Holden need to test Leon, or Deckard need to make a new photo of Zhora? It's not like the replicants went to any great lengths to change their appearances. See more »
Quotes
[first lines]
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »
Crazy Credits
In the "happy ending" Theatrical/International cuts, the credits play over the gorgeous scenery. In later Director/Final cuts, they play over a normal black background. See more »
Alternate Versions
In 2007, Ridley Scott released "Blade Runner: The Final Cut", digitally remastered with improved visual and sound effects, and with numerous revisions to the 1992 Director's Cut. The more noticeable differences between The Director's Cut and The Final Cut include:
The overall film has been brightened considerably, revealing previously hidden details in many shots. Additionally, the digital enhancement reveals many heretofore obscured details, such as dirty dishes in Deckard's apartment and a freeway high above Pris as she approaches the Bradbury.
The opening credits have been completely redone, although in the exact same font as in the original film. The noticeable shimmer effect from the theatrical cut and the Director's Cut has been removed.
In the opening shot, the flames shooting up have been re-animated to look more synchronized with the associated light play on the smokestacks.
In the shots of the staring eye, you can briefly see the pupil react to the setting of 2019 L.A.
A couple of shots were trimmed (such as Deckard's intro reading the newspaper).
Additional smoke was added behind the cook when Gaff (Edward James Olmos) and a police officer are talking to Deckard while he is eating at the White Dragon.
All spinner wires have been removed and matte lines erased.
Bryant's (M. Emmet Walsh) line "I've got four skin jobs walking the streets" has been improved so it's not obviously an inserted recording.
Bryant says that "2" replicants were fried in the electrical field (as opposed to the theatrical release and Director's Cut, where he says only 1 was killed).
Bryant describes Leon's job during the incept tapes scene.
New Cityspeak and other chatter comes over on the police scanner in Gaff's spinner rides both to the police station and the Tyrell building.
The original shot of Roy (Rutger Hauer) in the VidPhone booth that had been recycled from the later confrontation with Tyrell (Joe Turkel) has been digitally altered so that it truly does look like Roy was in the booth. The thumb on his shoulder has also been digitally removed from the shot.
The hotel manager mutters "Kowalski" as he opens the door to Leon's (Brion James) room for Deckard and Gaff.
The new Unicorn footage is longer and shows Deckard to be awake during the sequence. This is how Ridley Scott and editor Terry Rawlings originally conceived of the scene. Deckard is shown staring into space, and there is a cut to the unicorn. The film then cuts back to Deckard and again cuts back to the unicorn, before returning to Deckard once more. The shot of the unicorn which appeared in the Director's Cut has also been recolored, and the sound mix has been completely redone.
The blue grid lines on the Esper machine have been reanimated, to make them look less smooth.
When Deckard finds Zhora lying down in the back room on the photo, the image is now that of Joanna Cassidy; previously, it was clearly someone else.
New footage of the LA streets before Animoid Row and Taffy Lewis's club, including the hockey-masked geisha dancers.
The serial number on the snake scale now matches the Animoid Row lady's dialog.
There is a shot of Deckard asking for directions to Taffy Lewis' from a uniformed policeman.
The lip flap between Deckard and Abdul Ben Hassan has been digitally corrected (using Harrison Ford's son, Ben, as a stand-in for his mouth movements).
In Zhora's death scene, you can tell it is her the entire time; previously it was obvious that her stunt double, Lee Pulford, was in the shot. Joanna Cassidy's head was digitally superimposed over Pulford's.
Deckard's cut after retiring Zhora was digitally removed (it wasn't supposed to be there until after the fight with Leon).
The marquee inconsistencies on the Million Dollar Theatre have been corrected.
During Roy's confrontation with Tyrell, he says, "I want more life, father", as opposed to "I want more life, fucker".
When Roy kills Tyrell, the footage is the same as that found in the International Cut, with the additional violence. Additionally, when Roy turns to Sebastian, he says "I'm sorry, Sebastian. Come. Come", as he walks towards him.
When Pris (Daryl Hannah) attacks Deckard, she reaches down and grabs him by the nostrils
When Deckard shoots Pris, he shoots 3 times instead of 2.
The two shadows (of Ridley Scott and Jordan Cronenweth) seen on the wall during the chase sequence have been removed.
When Roy pushes the nail through his hand, there is a shot of the nail coming through the skin on the other side.
When Roy releases the dove, it now flies up into a background that matches 2019 L.A.
The music which plays over the end credits is a newly composed piece by Vangelis; a different version of the 'End Credits' theme as heard in all other cuts.
In the closing credits, David L. Snyder is now listed as 'David L. Snyder', instead of 'David Snyder'. Additionally, Ben Astar is now credited for playing the role of Abdul Ben Hassan.
A feast for the eyes. Dark and uncompromising. With a haunting musical score by Vangelis that adds a hypnotic quality to those breathtaking megacity landscapes of future Los Angeles. Ridley Scott's adaptation of Philip K. 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).
It's hard to overstate how influential the film was; it invented the sci-fi subgenre now known as "cyberpunk", and it was also the first "film noir" in a sci-fi setting. And although it looks so distractingly gorgeous that even today there are people who still dismiss it as superficial and mere "eye candy", it is a philosphically deep film that ponders existential questions about the nature of being human. Its slow, brooding quality will perhaps leave some modern audiences who are used to a different pace and more action underwhelmed - but make no mistake: this is a groundbreaking masterwork of its genre and a timeles classic. 10 stars out of 10.
A feast for the eyes. Dark and uncompromising. With a haunting musical score by Vangelis that adds a hypnotic quality to those breathtaking megacity landscapes of future Los Angeles. Ridley Scott's adaptation of Philip K. 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).
It's hard to overstate how influential the film was; it invented the sci-fi subgenre now known as "cyberpunk", and it was also the first "film noir" in a sci-fi setting. And although it looks so distractingly gorgeous that even today there are people who still dismiss it as superficial and mere "eye candy", it is a philosphically deep film that ponders existential questions about the nature of being human. Its slow, brooding quality will perhaps leave some modern audiences who are used to a different pace and more action underwhelmed - but make no mistake: this is a groundbreaking masterwork of its genre and a timeles classic. 10 stars out of 10.
Favorite films: IMDb.com/list/mkjOKvqlSBs/
Lesser-Known Masterpieces: imdb.com/list/ls070242495/