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
Daryl/ Pris's airbrushed-on eye mask makeup is black as she applies it. When sitting behind and "encouraging" Sebastian, it is medium-royal blue. When she fights Deckerd it is black again, and when Batty is kissing her it is blue again. 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 »
A 113 minute 70mm workprint was shown at the some sneak previews in Dallas and Denver in 1982. The film scored extremely poorly from the test audiences, and it was this poor reaction which led to the happy ending and the voice-over narration. In 1989, sound preservationist Michael Arick came across a 70mm print of Blade Runner in the TODD-AO vaults. Thinking it was the International Cut, Arick purchased the print for Warners, who loaned it out to the Los Angeles Cineplex-Odeon Fairfax Theatre in 1990 for a festival of 70mm prints. It was at this screening that people realized they were watching the Dallas/Denver Workprint. The film was subsequently screened at UCLA's Los Angeles Perspectives Multimedia Festival in 1991. A 35mm reduction of this version was later shown at the NuArt Theatre and the Art Deco Castro Theater in San Francisco in 1991. It was the success of these four screenings that prompted Warner Bros. to look into the possibility of releasing a Director's Cut of the film. The workprint briefly resurfaced again, by accident, for a one-week engagement (1/15 - 1/21) at the Seattle, WA Landmark Egyptian Theater in 1999. However, this print was the one-of-a-kind 70mm blow-up, directly from the Warner Bros. vault. In 2007, the workprint was made available to the public for the first time on disc 5 of the 5-disc Ultimate Collector's Edition DVD/HD-DVD/Blu-ray Disc of the film (which also contains the US theatrical cut, the European cut, the Director's Cut and the Final Cut). The differences between the workprint and the other versions include:
The logo for the Ladd Company is on a white background, not a black background.
The title screen for the film is different, with the words 'BLADE RUNNER' sliding onto the screen accompanied by the sound of knives.
New American Dictionary (2016) definition of a replicant is used in lieu of the opening credit crawl.
The opening shots do not include the close-up and subsequent pull-away from the eye seen in all other cuts, it simply cuts closer and closer to the Tyrell building. Additionally, the shot moving into towards the window is absent, as are two interior wide shots of Holden standing at the window. Throughout the scene, air-traffic control headings can be heard.
After Leon shoots Holden and he crashes through the wall, hitting the table, the shot stays on Holden as fan blades brush his hair and his back smokes from the gunfire.
Deckard's meal at "The White Dragon" can be seen being laid on the bar in front of him, rather than merely being heard. Additionally, the shot of Deckard rubbing his chopsticks together is longer. Also, as Gaff speaks to Deckard, the shot remains on Deckard rather than cutting to Gaff, showing Deckard having some difficulty eating his noodles.
As Deckard and Gaff are flying to the police station, in all versions of the film, you can see Gaff speaking to Deckard, but in the Workprint you can actually hear what he says.
During the briefing, the shot of Bryant getting a bottle and pouring two drinks is absent. Also missing is Bryant's line "I need the old Blade Runner, I need your magic."
Bryant says "two" replicants were fried running through an electric field instead of one."
When looking at the incept tapes, Bryant comments on Leon's ability to work all day and night.
As Gaff and Deckard approach the Tyrell building, there is more air traffic control heard.
When Rachael asks Deckard if she can ask him a personal question, Deckard responds "Sure. What is it?" In all other versions of the film, he simply says "Sure."
When Deckard and Gaff inspect Leon's address and the attendant opens the room for them, he mutters "Kowalski".
After Chew tells Roy that J.F. Sebastian will take him to Tyrell, the shot where Roy leans forward and says, "Now, where will we find this J.F. Sebastian?" is missing.
After Rachael has left Deckard's apartment, and he walks out onto the balcony, there is the sound of a police siren, which is absent in all other cuts.
When Deckard plays the piano in a depressed stupor: a) there is no unicorn vision, b) there is no background music, and c) we hear one or two notes Harrison Ford actually played on the set.
A whirring sound comes from the Esper that is absent in all other versions.
After zooming in on the shot of Roy in the photo, Deckard can be heard to say "Hello Roy." Then, after printing the hardcopy, he says "Zhora or Pris?"
When Deckard gives the snake scale to the Cambodian lady, she says "It will take a moment."
Deckard's search for Abdul Hassan lasts longer: we see more of Animoid Row and the back streets of the sector. As Deckard moves away from the Cambodian lady, there is an eighteen second crane shot showing Deckard disappearing into the crowd.
The dialogue heard during the scene with Hassan matches perfectly with the lip movements.
As Deckard nears Taffy Lewis' club, there is a twelve second crane shot showing the geography of the street.
There is a shot of two dancers in hockey masks outside Taffy's bar.
There is a shot of Deckard asking for directions to Taffy Lewis' from a uniformed policeman.
The audio-only introduction of 'Miss Salome' is slightly different.
There is a close-up shot of Deckard examining a sequin from Zhora's costume.
After Zhora attacks Deckard and flees, we see Deckard loosen his tie from his throat.
"If I Didn't Care" by the Ink Spots, is in the background when Deckard purchases a bottle of Tsing Tao, instead of "One More Kiss, Dear."
After Rachael shoots Leon, the shot of him falling forward onto Deckard is absent, as is the shot of Rachael lowering the gun and stepping forward.
In Deckard's apartment, there is no "Love Theme"; the initial music track merely continues on longer. Also, Rachel plays a different selection on the piano when testing herself, and the shot of her undoing her hair and letting it floor to her shoulders is missing.
Roy says to Tyrell, "I want more life, father".
When Roy kills Tyrell, the footage is the same as in the International version, showing Roy's thumbs going into Tyrell's eyes and blood spurting out. Additionally, when Roy turns to Sebastian, he says "I'm sorry, Sebastian. Come. Come", as he walks towards him. As Sebastian turns to run, he can be heard whimpering.
Bryant's info to Deckard over the CB about Tyrell's and Sebastian's deaths are heard as we see Deckard driving through the tunnel. When Deckard is parked in his sedan on the street, he is merely preparing to call J.F.'s apartment before the police spinner interrogates him. Also, when the spinner arrives, we hear police sirens.
During the fight between, Pris and Deckard, we see Pris lift him up by the nostrils.
When Deckard shoots Pris, he shoots 3 times instead of 2.
There is the sound of a thunderclap as Roy examines Pris' body.
We actually see Roy break Deckard's fingers, in a split second close up, with a prop-hand. Also, the shot when Deckard pops his fingers back in is taken from a different angle, and Deckard's scream is much quieter than in all other versions of the film.
There are more shots of Roy running through the Bradbury.
When Roy pushes his head through the wall, there is an extra line; "You're not in pain are you? Are you in pain?"
There are more shots of Deckard as he climbs to the roof, and also more shots of him as he hangs on to the neighboring building.
Different, farther-away shots of Roy as Deckard watches him die. Additionally, there is an alternate narration (the only narration in this version): "I watched him die all night. It was a long, slow thing and he fought it all the way. He never whimpered and he never quit. He took all the time he had as though he loved life very much. Every second of it...even the pain. Then, he was dead."
Deckard's movement through his apartment as he searches for Rachael is different, with a wide shot of him scanning the room. The overall scene is approximately 20 seconds shorter than in all other versions
The shot of Deckard telling Rachael to wait before leaving the apartment is missing.
There is no happy ending, the film ends when the elevator doors slam.
There are no end credits, merely exit music for about a minute: the same cue heard as when Gaff takes Deckard to see Bryant at the start of the movie.
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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