After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
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?
A seemingly indestructible android 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.
After a daring mission to rescue Han Solo from Jabba the Hutt, the rebels dispatch to Endor to destroy a more powerful Death Star. Meanwhile, Luke struggles to help Darth Vader back from the dark side without falling into the Emperor's trap.
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 mysterious Darth Vader.
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
In the strange Japanese advertisement shown on the side of a blimp, in which a Geisha-like woman is swallowing a pill, the loud speakers play a line from a Japanese Noh play, saying "Iri Hi Katamuku," literally "the setting sun sinks down." According to special photographics effects supervisor David Dryer the pills being swallowed are birth control pills. See more »
When Deckard is talking to the Egyptian snake vendor, you can see
through the glass that each characters dialogue does not match their mouth movements. This is true in all versions of the film, except the Workprint. Even in 2007 "Final Cut", the obviousness of the error has been reduced, but if you look closely, you can still see that the audio doesn't quite match the visual. See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »
The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »
CBS edited 3 minutes from this film for its 1986 network television premiere. Some of the missing scenes include:
Bryant's line "Don't be an asshole Deckard" was changed to "Don't be an ass Deckard".
The word "Christ" was cut from Byrant's line "Christ Deckard, you look almost as bad as that skin job you left on the sidewalk"
The word "goddamn" was cut from Bryant's line "He's a goddamn one man slaughter house."
All scenes showing Zhora's breasts have been removed.
Roy's line, "I want more life fucker/father" was changed to "I want more life".
Roy's murder of Tyrell is much shorter than in all other versions.
The fight between Pris and Deckard is heavily edited; all shots of Pris thrashing on the ground after being shot were cut, as were all the scenes where Deckard's head is trapped between her legs.
Blade Runner is perhaps the best sci-fi film and undoubtedly one of the best films of all time. Along with 2001: A Space Odyssey, it is one of the most philosophical and influential movies ever created, as it conveys a plethora of fundamental questions, which are woven in the very fabric of the human essence and existence. It seems near impossible to imagine a more suitable fusion of two of the most successful genres of all time, Science Fiction and Film Noir. By merging together the moral conflict and the emphatic character arc of the private detective, a trait that is exclusive to and definitive of the Film Noir genre, with a futuristic dystopian environment, Blade Runner creates the ultimate Neo-Noir setting, the only one capable of supporting such strong ideas and posing such significant questions to the viewer, without compromising on an interesting plot development and an appealing pace, things that are masterfully achieved via a tight script and persuasive performances.
In a dark, future dystopian portrait of a 2019 Los Angeles, where humans have alienated themselves with their true nature and claimed the title of god/creator of life, effectively manufacturing artificial intelligence and bioengineering androids, called "Replicants", a retired "Blade Runner" named Rick Deckard is assigned with the undertaking of terminating four rogue such replicants that have illegally returned to Earth in a quest to force their maker, Tyrel, into postponing their grim destiny, basically prolonging their already predetermined four-year lifespan. Their greatest sin, however, is having the audacity of desiring one of the most sought-after values in the history of the human species, the freedom to live as they please. In this uneasy and twisted world, the lines between humanness and machinery are blurred and Deckard is faced with the consequences of the realization that not all is as it seems and there is more to "being-alive" than most believe.
Blade Runner's unique depiction of the future has been imitated numerous times quite unsuccessfully, mostly due to the fact that no other film to this date has managed to create such an engaging atmosphere so beautifully connected to every part of it, effectively enhancing every scene and allowing for a strong conveyance of all the moral and existential questions that are posed during the whole duration. The audience is instantaneously absorbed by the vivid and compelling world depicted in the film, and that's where Ridley Scott succeeds the most, offering a glance into an original and somewhat disturbing reality that might very well be humanity's near future. The cinematography is impeccable, the art direction is gorgeous and along with some of the best visual effects that have ever been used in film-making, creates one of the most realistic and visually stunning environments that have ever graced a motion picture to this day. Vangelis has also composed one of the best and most awe-inspiring scores of all time, effectively managing to capture the very essence of each scene, thus making all sound a significant and inseparable part of the whole cinematic experience that Blade Runner has to offer.
This thorough examination of what it means to be human isn't, thankfully, to no avail, as a careful observant, is forced to question their beliefs and attempt to choose a side on dilemmas that are still discussed by philosophers to this day, such as the traits that define humanity, the relativity that characterizes concepts like right or wrong, good or evil, as well as the meaning of life itself. The moral and existential complexity of this reality that Blade Runner has offered to the world reaches depths unparalleled by the majority of the films available, therefore greatly distinguishing it from all others and thus emphasizing its uniqueness through the most complete portrayal of science fiction to date.
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