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 the second Death Star. Meanwhile, Luke struggles to help Darth Vader back from the dark side without falling into the Emperor's trap.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
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
Tyrell's bedchamber was modeled on that of the Pope's in Rome. See more »
After Deckard recovers his weapon from Batty, he falls against the wall, making it wobble. 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 »
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.
Dark, deep, uncertain, unsettling imagine the most beautiful nightmare you've ever had this is Blade Runner (1982).
Ridley Scott's Blade Runner is a brilliantly crafted science fiction film that not only touches upon, but bravely plunges into deep philosophical questions, making it simply ten times more important than any film of its genre. I love it not only for the initial feeling it gives, but because of its perseverance none of the visuals, themes or technology feel dated but as deep, gripping and current as ever. It is timeless beauty with huge doses of emotion.
Set in 2019 Los Angeles, Blade Runner zooms in on the eerily-lit, urban streets of the city and follows Richard Deckard superbly played by Harrison Ford who brings an exquisite moral ambiguity to his character a special policeman who tracks down and terminates artificially-created humans called replicants, who have escaped from an Off-World colony and made their way to earth and need to be stopped. The things Deckard encounters on his detective journey raise many philosophical questions like: Who is really a replicant? Are replicants really bad? If replicants are bad, when why did we go to such lengths with our technology to create them? Are replicants really humans? Is Deckard a hero? This truly is a film that demands subsequent discussion and its ambiguous ending leave a haunting and eerie feeling.
In spite of a rich glaze of science fiction and futurism coating this adventure, there are distinct film noir elements present primarily in the bluish haze that the film is seen through and its gritty urban atmosphere. Whoever thought of this combination is a genius. Since it is all about technology, it fits then that Blade Runner features a ridiculous amount of product placement, especially from Atari. In any other film, this would have felt out-of-place but here it is simply perfect. The score by Vangelis is strangely gripping when combined with the striking cinematography of the film.
Blade Runner deserves credit, celebration and remembrance for it is simply an excellent film.
10 out of 10 (and I don't just throw this grade out like SOME people)
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