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?
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 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 evil Darth Vader.
A space-opera spanning the dawn of man to humanity reaching the stars, 2001: A Space Odyssey tells the story of the Black Monolith, humanity's evolution and the rise of A.I.'s ultimate supercomputer HAL 9000.
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.
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
Conflicts on set arose almost immediately upon commencement of filming. The first scenes to be shot where those which take place in Eldon Tyrell's (Joe Turkel) office. Despite careful pre-production, director Ridley Scott was very dismayed to find that the columns of the office had been built upside down; rearranging them took several hours. After two weeks of shooting, he decided he didn't like the lighting for the scenes, and ordered everything to be reshot from scratch. This not only put the film two weeks behind schedule only two weeks into the shoot, but also created a major conflict between Scott and the camera crew, headed by director of photography Jordan Cronenweth. Scott's perfectionism throughout production would often cause considerable delays when he decided to change lighting and sets on the spot. He also had many unused takes printed at considerable costs, causing the budget to inflate rather quickly. This also put a strain on his relation with the film's producers, but Scott stood his ground, and maintained that his background in commercials and keen eye for detail were exactly the reasons they had hired them. See more »
When Deckard and Gaff are in the Spinner flying to Tyrell Corporation, a close up of Gaff's face is shown (at 16:05 in final cut) where his "movie mustache" has slid over to the left side of his face and down below his lip. In previous and later scenes featuring Gaff, his mustache is evenly placed. See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
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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 »
In the San Diego sneak preview version of the film, exhibited only once in May 1982, there are three unique shots which are nowhere to be found in any other version, including the "Workprint". One shot is from the introduction of Roy Batty, displaying a full-body shot of him inside the VidPhon booth, another is of Deckard feebly attempting to reload his weapon after Batty has broken his fingers, and the last one is a high-angled shot of Deckard and Rachael's ride into the sunset. See more »
An incredibly beautiful-looking film as one would expect with director Ridley Scott
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
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